Uploaded July 2025 | Updated September 2026, 2 weeks ago
Netherlands Ballet Orchestra conducted by Thierry Fischer.
I - 0:00
Franssens's "Echo's" was composed on 1983, being later revised on 1994. The piece was later adapted as music for the ballet "Lucifer Studies", based on the 1654 tragedy by Dutch author Joost van den Vondel, choreographed by Toer van Schayk on the occasion of his 85th birthday. It is scored for 4 flutes, 3 oboes, 3 trumpets, vibraphone, marimba and strings. Unfortunately, little more is known about the work itself.
After completing his musical studies with Louis Andriessen and Klaas de Vries, Franssens became inspired by Ligeti’s micropolyphony and the phase-shifting technique of Steve Reich. The relationship with Ligeti’s music becomes clear in works written in the eighties such as "Echo’s" and "Phasing". The influence of Reich can already be heard in "Between the Beats", an early piece for two pianos. During the nineties, Franssens’ sound became more open and more optimistic in tone. Because of the melodious, generous and emotional character of his music, he encountered growing resistance within the Dutch music scene. Contrarily he received growing acclaim by a wider audience. His first CD with "Echo’s", "Phasing" and "Sanctus" was a hit.
The piece opens with eerily ominous chords on strings, creating unresolved dissonances that chain with each other. The influence of Ligeti, particularly "Atmospheres" and "Lontano" is clearly perceptible. This first section is mostly textural, with no distinctive material appearing from the chords moving at a slow motion. The entire piece is based on this principle, which brings it closer to minimalism. A rhythmic, four-note motive introduces some dynamic movement to the music, leading to a dissonant climax. This is followed by another static section that follows the same principles as the previous one. After another dissonant climax, a deeply expressive and lyrical theme emerges from the low strings, before gradually dissolving. The four-note motive then returns in an agitated tremolo section, with menacing brass calls. The work then culminates with a dissonant crescendo that leads to the most dissonant climax of the entire piece, which suddenly cuts off at its highest peak. The music then dissolves in the silence with an enigmatic coda featuring the four-note motive.
Picture: "Lucifer" (1890) by German painter Franz von Stuck.
Musical analysis written by myself. Source: tinyurl.com/2brun3zn
Unfortunately, the score is not available.
Netherlands Ballet Orchestra conducted by Thierry Fischer.
I - 0:00
Franssens's "Echo's" was composed on 1983, being later revised on 1994. The piece was later adapted as music for the ballet "Lucifer Studies", based on the 1654 tragedy by Dutch author Joost van den Vondel, choreographed by Toer van Schayk on the occasion of his 85th birthday. It is scored for 4 flutes, 3 oboes, 3 trumpets, vibraphone, marimba and strings. Unfortunately, little more is known about the work itself.
After completing his musical studies with Louis Andriessen and Klaas de Vries, Franssens became inspired by Ligeti’s micropolyphony and the phase-shifting technique of Steve Reich. The relationship with Ligeti’s music becomes clear in works written in the eighties such as "Echo’s" and "Phasing". The influence of Reich can already be heard in "Between the Beats", an early piece for two pianos. During the nineties, Franssens’ sound became more open and more optimistic in tone. Because of the melodious, generous and emotional character of his music, he encountered growing resistance within the Dutch music scene. Contrarily he received growing acclaim by a wider audience. His first CD with "Echo’s", "Phasing" and "Sanctus" was a hit.
The piece opens with eerily ominous chords on strings, creating unresolved dissonances that chain with each other. The influence of Ligeti, particularly "Atmospheres" and "Lontano" is clearly perceptible. This first section is mostly textural, with no distinctive material appearing from the chords moving at a slow motion. The entire piece is based on this principle, which brings it closer to minimalism. A rhythmic, four-note motive introduces some dynamic movement to the music, leading to a dissonant climax. This is followed by another static section that follows the same principles as the previous one. After another dissonant climax, a deeply expressive and lyrical theme emerges from the low strings, before gradually dissolving. The four-note motive then returns in an agitated tremolo section, with menacing brass calls. The work then culminates with a dissonant crescendo that leads to the most dissonant climax of the entire piece, which suddenly cuts off at its highest peak. The music then dissolves in the silence with an enigmatic coda featuring the four-note motive.
Picture: "Lucifer" (1890) by German painter Franz von Stuck.
Musical analysis written by myself. Source: tinyurl.com/2brun3zn
Unfortunately, the score is not available.
