Uploaded November 2010 | Updated September 2026, 2 days ago
Matthijs Vermeuelen's Symphony No. 6, 'Les Minutes hereuses,' was inspired by a line from Le Balcon by Baudelaire: 'Le sais l'art d'evoquer les minutes hereuses.' Vermeulen had set this poem to music in 1944. The symphony is built on a single motif la-do-re, in French 'l'adoré. Acording to the composer, the overall structure could be indicated graphically by a spiral and a crescendo. The work consist of three movements which are played without interruption. The first is mainly calm and ends with an apotheosis on la-do-re in the brass. The second is an Andante amoroso which starts with a beautiful melody in the cor anglais and continues with alternating fast and slow passages which juxtapose brass and percussion fanfares on the one hand with the intimate sound of four solo strings on the other.
Matthijs Vermeulen was born in Helmond. After primary school he initially wanted to follow in the footsteps of his father, who was a blacksmith. During a serious illness his inclination towards the spiritual gained the upper hand. Inspired by a thoroughly Catholic environment, he decided to become a priest. However, at the seminary, where he learned about the principles of counterpoint of the sixteenth-century polyphonic masters, his true calling -- music -- came to light.
His symphonies, especially the last six of his seven, are atonal but also extremely contrapuntal, involving many musical lines combining simultaneously. In this he resembles Allan Pettersson in some ways. In his compositional work Vermeulen always focused his attention on melody. In his music a flow of melodies can be heard from beginning to end, quite diverse in form and character. The majority of the material is asymmetrical, based on the principle of 'free declamation', that is to say: the melodic curve and length of two consecutive sentences usually vary. Frequently Vermeulen spins long melismas into ever continuous melodies, in which every memory of period structure is absent. Particularly striking is the free rhythm of flowing lines, which have become disengaged from a fixed classification of metre by antimetric figures and ties. Yet elsewhere we come across short and pithy melodies, with a clear pulsation. A characteristic feature of his music is the sophisticated climactic activity and the alternation of tension and relief, mostly supported by harmony.
In his writings Vermeulen draws a parallel between melody and the individual: "The melody is a frame of mind expressed in tones." Seen in the light of Vermeulen's line of reasoning, a multi-voiced, polymelodic composition takes on the meaning of an aural representation of society. By combining several individual melodies, he reveals the wish he cherishes for society, namely that of every individual being able to freely express and develop himself, without infringing upon other people's freedom to develop their abilities. Although Vermeulen's writings on music give the impression that he was completely consistent in applying his polymelodic concept from the beginning until the end of a piece, most of his compositions contain several passages with only one or two voices, embedded in marvellous harmonies. Open, simple textures alternate with very complex ones, as does quasi-tonality with atonal constellations. Early on, a spirit of freedom and urge for innovation prompted Vermeulen to abandon tonality and reject the traditional form schemes. In the First Cello Sonata free atonality breaks through in spurts, which from his Second Symphony onwards determines melody and harmony in his oeuvre. As opposed to Arnold Schoenberg, Vermeulen did not choose to build a new regulatory system, but proceeded purely in terms of thematic information and its logical and psychological development. His symphonies and chamber works consequently differ greatly as far as construction is concerned. But he always succeeded in creating architectonic cohesion. The Third Symphony is in a large A-B-A form, in which A develops linearly and B is reminiscent of a Classical rondo. The Fourth Symphony is built on six themes, three of which return just before the end; the long epilogue is counterbalanced by the hammering prologue, both on the pedal tone C. The large-scale Violin Sonata is based on the major seventh, omnipresent both in melody and harmony.
Vermeulen's compositions share a unique combination of energy, power, lyricism, and tenderness. The vitality of his works is the result of the aim he had in mind: to compose as an ode to the beauty of the earth and in astonishment about life, creating music which appeals to the spirituality of man, bestowing feelings of happiness on him and making him acquainted with the source of life, the Creative Spirit. These ambitions, put into words in the book titled Princiepen der Europese muziek (Principles of European music) and numerous articles, were at right angles to the mainstream movements. Consequently, Vermeulen did not have followers or disciples.
Matthijs Vermeuelen's Symphony No. 6, 'Les Minutes hereuses,' was inspired by a line from Le Balcon by Baudelaire: 'Le sais l'art d'evoquer les minutes hereuses.' Vermeulen had set this poem to music in 1944. The symphony is built on a single motif la-do-re, in French 'l'adoré. Acording to the composer, the overall structure could be indicated graphically by a spiral and a crescendo. The work consist of three movements which are played without interruption. The first is mainly calm and ends with an apotheosis on la-do-re in the brass. The second is an Andante amoroso which starts with a beautiful melody in the cor anglais and continues with alternating fast and slow passages which juxtapose brass and percussion fanfares on the one hand with the intimate sound of four solo strings on the other.
Matthijs Vermeulen was born in Helmond. After primary school he initially wanted to follow in the footsteps of his father, who was a blacksmith. During a serious illness his inclination towards the spiritual gained the upper hand. Inspired by a thoroughly Catholic environment, he decided to become a priest. However, at the seminary, where he learned about the principles of counterpoint of the sixteenth-century polyphonic masters, his true calling -- music -- came to light.
His symphonies, especially the last six of his seven, are atonal but also extremely contrapuntal, involving many musical lines combining simultaneously. In this he resembles Allan Pettersson in some ways. In his compositional work Vermeulen always focused his attention on melody. In his music a flow of melodies can be heard from beginning to end, quite diverse in form and character. The majority of the material is asymmetrical, based on the principle of 'free declamation', that is to say: the melodic curve and length of two consecutive sentences usually vary. Frequently Vermeulen spins long melismas into ever continuous melodies, in which every memory of period structure is absent. Particularly striking is the free rhythm of flowing lines, which have become disengaged from a fixed classification of metre by antimetric figures and ties. Yet elsewhere we come across short and pithy melodies, with a clear pulsation. A characteristic feature of his music is the sophisticated climactic activity and the alternation of tension and relief, mostly supported by harmony.
In his writings Vermeulen draws a parallel between melody and the individual: "The melody is a frame of mind expressed in tones." Seen in the light of Vermeulen's line of reasoning, a multi-voiced, polymelodic composition takes on the meaning of an aural representation of society. By combining several individual melodies, he reveals the wish he cherishes for society, namely that of every individual being able to freely express and develop himself, without infringing upon other people's freedom to develop their abilities. Although Vermeulen's writings on music give the impression that he was completely consistent in applying his polymelodic concept from the beginning until the end of a piece, most of his compositions contain several passages with only one or two voices, embedded in marvellous harmonies. Open, simple textures alternate with very complex ones, as does quasi-tonality with atonal constellations. Early on, a spirit of freedom and urge for innovation prompted Vermeulen to abandon tonality and reject the traditional form schemes. In the First Cello Sonata free atonality breaks through in spurts, which from his Second Symphony onwards determines melody and harmony in his oeuvre. As opposed to Arnold Schoenberg, Vermeulen did not choose to build a new regulatory system, but proceeded purely in terms of thematic information and its logical and psychological development. His symphonies and chamber works consequently differ greatly as far as construction is concerned. But he always succeeded in creating architectonic cohesion. The Third Symphony is in a large A-B-A form, in which A develops linearly and B is reminiscent of a Classical rondo. The Fourth Symphony is built on six themes, three of which return just before the end; the long epilogue is counterbalanced by the hammering prologue, both on the pedal tone C. The large-scale Violin Sonata is based on the major seventh, omnipresent both in melody and harmony.
Vermeulen's compositions share a unique combination of energy, power, lyricism, and tenderness. The vitality of his works is the result of the aim he had in mind: to compose as an ode to the beauty of the earth and in astonishment about life, creating music which appeals to the spirituality of man, bestowing feelings of happiness on him and making him acquainted with the source of life, the Creative Spirit. These ambitions, put into words in the book titled Princiepen der Europese muziek (Principles of European music) and numerous articles, were at right angles to the mainstream movements. Consequently, Vermeulen did not have followers or disciples.
![Edison Denisov, Symphony [No.1], USSR Ministry of Culture Orchestra, Rozhdestvensky](https://i.ytimg.com/vi/xiH4u8B_glg/mqdefault.jpg "Edison Denisov, Symphony [No.1], USSR Ministry of Culture Orchestra, Rozhdestvensky
It seems to me that one of the greatest values of music is its spiritual power, its ability to carry a great spiritual charge. Music carried this charge during pre-Bach and Bach epochs, as well as for some time afterwards (Mozart, Brahms). In the 20th century, this charge was, to a considerable degree, lost. During our lifetime, for a long while, the loss of spiritual values has progressed, - or their leveling, or even a negative attitude to them revealed by the growth of so-called atheism - a phenomenon very dangerous to mankind. I remember Shostakovich telling me a few times a year or two before his death: Earlier, there were ten commandments: thou shall not kill; thou shall not steal; thou shall not seduce your neighbors wife; etc. But now we have just one single commandment - do not violate the purity of the teaching of Marx and Lenin. A lot of artists perceived the leveling of spiritual values and their replacement by false values. In music - both in academic and in new - there is a lot of what we may call bluff. Currently, even some prominent names, experiencing intense professional scrutiny closely follow all the slightest changes of fashion - and, since they possess a certain technique and skills in the application of cliché, they often deceive the audience. Take the great artists of the past - Mozart, Bach, or Brahms; from Russian music, take Mussorgsky, Glinka, Tchaikovsky. Those never cheated the audience, never fooled anyone - they were always honest and sincere. At present, unfortunately, the idea of honesty often disappears from art. Even significant composers, and to a much greater extent, artists, often indulge in bluffing, whereas the audience, having lost the criteria, takes this bluff at face value.
In our society, false art has often substituted true one. There was a long period when the true art was suppressed, whereas false art was hailed, presented as true, and the entire mass media industriously persuaded the people that this was true art. This was how, in particular, they managed to fend the people off the concert hall. When before the war, Soviet music was played, people went to listen to it. In the 20s, concert halls were packed. Nowadays, one has to organize the audience; there is even an expression, filling groups. Once there was an authors concert of some secretary-composer, related to his nomination for the Lenin award. I asked a clarinetist from the State Orchestra: How was the concert? And he told me: It was wonderful - one to five. - What do you mean? - Fifty people on the stage, ten in the stalls. This is a standard picture. Here also lies one of the reasons for the fact that opera houses, especially provincial ones, stay empty. For a long time, all had been done to divert the public from art.
Unlike some other composers who got carried away by serialism, I have never rejected intention, because purely abstract reasoning deprived of any intentional content, makes music more superficial. One may compose a lot of good pieces, but they will be, so to say, beautiful musical architecture with very little spiritual content. For example, I appreciate Xenakiss music, but objectively speaking, it is very superficial - it has almost no psychological content. In a sense, this is objective music. If we attribute Xenakis to French music, he will appear to continue the tradition of Roussel and Varèse, but in no way is he even close to Debussys tradition. To me, other things are more appealing. In my opinion, Debussy is one of the greatest composers of the twentieth century. I think that he is even more innovative, if we use this word, than Stravinsky or Webern - but Debussys innovations do not lie on the surface. In Stravinskys music, the new immediately strikes you; whereas one initially takes Debussy as very traditional. However, when you start to analyze, you see that he was a much more daring thinker than many of his contemporaries. In this respect, Debussys music, in his best pieces, like Pelleas and Melisande, is to me as promising as Mussorgskys music - which was really appreciated almost one hundred years after [his death], or possibly has not yet been appreciated even today.
Edison Denisov
Denisov was born in Tomsk, Siberia into the family of a radio-physicist, who gave him the very unusual first name Edison, in honour of the great American inventor. He studied mathematics before deciding to spend his life composing. This decision was enthusiastically supported by Dmitri Shostakovich, who gave him instructions in composition.")
