Delicate, precise, emotional, soft, lout, gentle, powerfull, smooth maybe even sexy. There are many words to describe textures in dance. As a composer I am always looking for a way to immerse the audience into the world of the choreographer by supporting the performance on stage with sound. It is a difficult task, there is a fine line bitween being too subtle and on the other side overpowering. For multiple years I have been making music for various choreographers in different styles. Every time a new piece comes around I tempt to make it my "Opus Magnum".
Being a dancer and performing artist myself gives me the advantage of knowing what "feels good" to dance to. This is of course a subjective matter that changes over time and also gets influenced by the input of the choreographer. But nevertheless, I believe that a deep understanding of composition, choreography and dramaturgy is a must for a theatrical composer. Knowing when to "go with the flow" or when to make counterpoints is crucial for making a piece exciting and most of al suprising.
Scoring is a process of finding moments when the sound really takes center stage or when it generates room for movement. In a way music is an entity that is performing on stage alongside the dancers. It can be the backdrop but also a soloist or become part of the ensemble.
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Choreography by Dalton Jansen. A piece about being connected but disconnected at the same time, harmony and conflict, light and dark, being different but still the same. In my opinion it's a dance that serves as a reflection on modern society. We all try to be so individually unique that in this effort we forget that we are all one and the same, we are all human. Confronting this fear of being " just another human being" is what this piece is about in my eyes, an inner battle bitween two ways of thinking. It's a duet that is influenced by urban and contemporary dance. Performed in the Zuidpark Theater in Rotterdam.
As If I Was As If We Were
Choreography by Heidi Vierthaler. The concept of this soundscape is not to have dancers count the music but ride on the flow. Every music has it's pulse since every sound has a wave, this pulse is a seperate entity from rythm. This piece of music was built around that concept and is an enlargement and enrichment of a single waveform moving through time and space. Make the inaudible into sound and turn the invisible into movement.
Need Someone's Hand
A piece choreographed by Gerleen Balstra performed by the second year students of the Urban Contemporary departement of the School of the Arts in Amsterdam. I used a lot of classical composing techniques for this piece combined with electronics. Finding a middle ground bitween the two was a challenge. A melancholic but strong piece is the result.
Within a Word
The first full length soundscape I made for a dance piece was Within a Word one. The group that performed this piece was my class in the Theatreschool. Unfortunately I was injured so I couldn't dance in the piece. Together with Heidi Vierthaler, the choreographer, we decided I would make the music for the performance. It thought me the importance of having creative partners to elaborate on ideas and not getting too emotionally attached to creation but being able to let go. Probably not my best piece of music but for sure interesting and experimental.
Lullaby is a piece choreographed and directed by Melanie Chrissy Bos and performed by dancer Jochen Kool at festival de hongerige wolf. It was a piece consisting of seven acts that I composed the music for. The two pieces in the video formed the last act, called The Last Dance and Night.
During the Magpie Summer Course there are always performances called Freakatoni's during the weekend. In 2015 we made the piece meeting. It was completely improvised, the soundscape was something I made beforehand. Leaving as much space as possible for lucky accidents to happen. The drumset was one of those "lucky accidents. We were four friends who hadn't seen eachother in quite some time and we met again on stage.