Septième vision d'Hadewijch, tiré de Het Visionenboek van Hadewych (néerlandais)
3 flutes, 2 oboes, 2 English horns, 5 clarinets, 2 bass clarinets, 4 horns, 4 trumpets, 4 trombones, tuba, 5 percussionists, harp, 2 pianos, 2 violins, 2 second violins, 2 violas, 2 cellos, double bass, contrabass clarinet, 2 guitars, 2 electronic/MIDI keyboards/synthesizers [synthétiseurs], electric bass guitar
Pays-Bas, Amsterdam, Muziektheater
Wendy Hill : soprano, Materie Orkest avec des membres du Netherlands Chamber Choir, direction : Reinbert de Leeuw.
Hadewijch is the second part of the large four-section work De Materie (Matter) but can also be performed independently.
The text is one of the visions of Hadewijch, a 13th-century Dutch mystic poetess, and expresses her passionate vision, both spiritual and erotic, of union with Him.
The composition is organised to mirror the architectural plan of the cathedral of Reims in France. The intervals of time between the chords of the pianos, tuned percussion and guitars, which ring through the canvas at set points, have the same proportional relationship as the distance in space between the cathedral’s pillars.
This entry is encyclopaedic in nature and does not reflect the collections of the Ircam media library. Please refer to the "scores" entries.
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