2014
Mixed choir, piano. Duration: 2m. Key: E major. Commissioned by the VRO/VRK. Unpublished.
Mixed choir, clarinet in B flat, violin, piano, contrabass. Duration: 2m 5s. Key: B flat major. Commissioned by the VRO/VRK. Unpublished.
Mixed choir, clarinet in B flat, violin, piano, contrabass. Duration: 1m 55s. Key: D major. Commissioned by the VRO/VRK. Unpublished.
Voice (D4 –A5), female voice choir, clarinet in B flat, violin, piano, contrabass. Duration: 2m 30s. Key: G major. Commissioned by the VRO/VRK. Unpublished.
Mixed choir, piano, contrabass. Duration: 3m 30s. Key: B flat major. Commissioned by the VRO/VRK. Unpublished.
Voice (C#2 - D3), piano. Arrangement based on my former symphonic version (1996). Duration: 2m 20s. Key: D major. Private commission. Unpublished.
2 flutes, 2 oboes, 2 clarinets in B flat, 2 bassoons, 4 french horns, 2 trumpets in C, 2 trombones, timpani, bass drum, cymbals, snare drum, strings. Duration: 5m 15s. Key: A major. Commissioned by Walter Proost. Unpublished.
Voice (D2 - D3), piano. Arrangement based on my former symphonic version (1996). Duration: 3m 55s. Key: F major. Private commission. Unpublished.
4 female voices (2S – 2A), clarinet in B flat, violin, contrabass. Duration: 3m 40s. Key: C major. Commissioned by the VRO/VRK. Unpublished.
Male voice choir (3 voices), clarinet in B flat, violin, piano, contrabass. Duration: 2m 35s. Key: G minor. Commissioned by the VRO/VRK. Unpublished.
2 flutes, 2 oboes, 2 clarinets in B flat, 2 bassoons, 4 french horns, 2 trumpets in C, 2 trombones, timpani, bass drum, triangle, strings. Duration: 4m 40s. Key: E minor. Commissioned by Walter Proost. Unpublished.
4 male voices (2T – 2B), piano, contrabass. Duration: 4m. Key: A major. Commissioned by the VRO/VRK. Unpublished.
Voice (F3 – F4), mixed choir, clarinet in B flat, violin, piano, contrabass. Duration: 3m 40s. Keys: C major – F major – G major. Commissioned by the VRO/VRK. Unpublished.
4 male voices (2T – 2B), piano, contrabass. Duration: 4m 20s. Key: A flat major. Commissioned by the VRO/VRK. Unpublished.
Mixed choir, piano (4 hands). Duration: 3m 40s. Key: C major. Commissioned by the VRO/VRK. Unpublished.
Les trois orfèvres
(Traditional)
Mixed choir, clarinet in B flat, violin, piano, contrabass. Duration: 2m 25s. Key: B flat major. Offered to the VRO/VRK. Unpublished.
Mamzelle Nitouche (excerpt)
(G. Calvi / M. Achard)
Voice (C4 – F5), female voice choir, clarinet in B flat, violin, piano, contrabass. Duration: 3m 25s. Keys: F major – B flat major. Commissioned by the VRO/VRK. Unpublished.
Voice (B1 - G3), piano. Arrangement based on my former symphonic version (1996). Duration: 2m 35s. Key: E minor. Private commission. Unpublished.
Male voice choir (3 voices), clarinet in B flat, violin, piano. Duration: 3m 25s. Key: F major. Commissioned by the VRO/VRK. Unpublished.
Mixed choir, piano. Duration: 3m 30s. Key: B flat major. Commissioned by the VRO/VRK. Unpublished.
2 flutes, 2 oboes, 2 clarinets in B flat, 2 bassoons, 4 french horns, 2 trumpets in C, timpani, snare drum, cymbals, strings. Duration: 3m 5s. Key: D major. Commissioned by Walter Proost. Unpublished.
Mixed choir a cappella (8 voices). Duration: 4m 10s. Key: A flat major. Commissioned by the VRO/VRK. Unpublished.
3 flutes (flute 1 plays also the piccolo), 3 oboes, 3 clarinets in B flat, 3 bassoons, 4 french horns, 3 trumpets in C, 3 trombones, tuba, timpani, drum set, wood block, bass drum, cymbals (pair), suspended cymbal, snare drum, triangle, tubular bell, glockenspiel, xylophone, harp, strings. Duration: 12m. Key: C major. Commissioned by the Kalamazoo Symphony Orchestra. Unpublished.
Flute, oboe, clarinet in B flat, french horn, bassoon. Duration: 1m 15s. Key: B flat major. Commissioned by the Kalamazoo Symphony Orchestra. Unpublished.
Female voice choir (3 voices), clarinet in B flat, violin, piano, contrabass. Duration: 3m 10s. Key: F major. Commissioned by the VRO/VRK. Unpublished.
String quartet. Duration: 13m. Written for the Tana String Quartet. Unpublished.
There is a recurring notion in my work as a composer: a special attention to the expression of the fluidity, the constant permeability between all the sounds of the boundless continuum of the universe. This work, like all music and sounds of the past, present and future, is only a fragment of this absolute continuum that transcends any temporality, any aesthetic, any reference. Therefore, it seems essential to understand The 13th letter, not as a hard-edged bubble of music, that we "look-at-with-our-ears" from outside, but to sense it as a part of its environment. The piece is to be associated to intimately personal sounds and those of the neighbors (breathing, tiny noises due to movements), the false silence full of crunches of the concert hall, the diffuse sound that seeps in from outside this hall, and further, to the gush of sounds of the city, the world, and the universe. The 13th letter invites the listener to experience the mindfulness of sound.
There is a recurring notion in my work as a composer: a special attention to the expression of the fluidity, the constant permeability between all the sounds of the boundless continuum of the universe. This work, like all music and sounds of the past, present and future, is only a fragment of this absolute continuum that transcends any temporality, any aesthetic, any reference. Therefore, it seems essential to understand The 13th letter, not as a hard-edged bubble of music, that we "look-at-with-our-ears" from outside, but to sense it as a part of its environment. The piece is to be associated to intimately personal sounds and those of the neighbors (breathing, tiny noises due to movements), the false silence full of crunches of the concert hall, the diffuse sound that seeps in from outside this hall, and further, to the gush of sounds of the city, the world, and the universe. The 13th letter invites the listener to experience the mindfulness of sound.