Uploaded November 2010 | Updated September 2026, 4 days ago
Matthjis Vermeulen's 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. Politics and society kept on occupying Vermeulen passionately. He found the stifling atmosphere of the cold war increasingly depressing. Fearing a nuclear confrontation he spoke out against the arms race in several periodicals. During the first large-scale peace demonstration of 1955 he said: "The atomic bomb is an anti-life, anti-God, anti-man weapon."
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.
Matthjis Vermeulen's 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. Politics and society kept on occupying Vermeulen passionately. He found the stifling atmosphere of the cold war increasingly depressing. Fearing a nuclear confrontation he spoke out against the arms race in several periodicals. During the first large-scale peace demonstration of 1955 he said: "The atomic bomb is an anti-life, anti-God, anti-man weapon."
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.
![Renè Koering, Sonate - Michaël Levinas, piano [part 2 of 2]](https://i.ytimg.com/vi/JMz1q6nEoFg/mqdefault.jpg "Renè Koering, Sonate - Michaël Levinas, piano [part 2 of 2]
Ecrite en 1974, elle fut créé au Festival de Royan et donnée quelques jour plus tard à Boston per Herbert Henck. Maurice Fleuret, que y voyait la grande sonate romantique après Berg na sy trompait guère, puisque je voulais écrite une sonate dont les racines étaient chez Berg et qui de là rencontrait le languate qui était naturellement le mien : celui de la grande 2e Sonate de Boulez.
Les différents « moments » de le œuvre simposaient tout naturellement comme par exemple le fugato au début de lœuvre dont multiples voix allaient se résorber dans les « étoiles » du scherzo de la fin. Un autre élément que je ne voulais par éviter, st celui de la virtuosité pianistique, qui appliquée avec un certain sadisme, fait évoluer souvent la phrase dans un sens non prévisible.
Nombreux sont les passages qui, rédigés ou distribuées autrement aux deux mains du pianiste, lauraient amenée vers dautres possibilités sonores ce choix né du tumulte me fait parfois penser à ce que lon appelait autre-fois « un programme ». Sans me lavouer, ce programme préexistait mais quel peut-il être ?
A la musique de répondre.
René Koering
Né à Andiau (Alsace) en 1940, René Koering étudia la musique à Darmstadt dans les années Soixante. En 1961, création de sa première œuvre, commande des « Musiktage » de Donaueschingen. En 1967, il se voit attribuer le Prix de la « Fondation de la Vocation » et le Premier Prix de la Fondation Maeght. Ses œuvres (musique symphonique, concertos, œuvres électroaccostiques, musique de chambre et opéras) furent données dans divers festivals. Depuis 1971, il enseigne à lEcole des Beaux-Arts. Vice-Président de la Société Internaitonal de Musique Contemporaine, il occupe pas ailleurs dimportantes fonctions au sein de Radio France.
Michaël Levinas
Son père est le philosophe Emmanuel Levinas. Après des études au Conservatoire de Paris (Yvonne Loriod, Olivier Messiaen) où il obtient de nombreux premiers prix, Michaël Levinas effectue des stages au GRM, suit des cours à Darmstadt (Xenakis, Stockhausen, Ligeti) et, en 1974, devient co-fondateur puis responsable de lensemble lItinéraire. Pianiste concertiste international, il enseigne lanalyse au Conservatoire de Paris depuis 1992.
Dès les premières œuvres, en marge du sérialisme, Michaël Levinas développe un style singulier dune extraordinaire puissance expressive.")
