GENESIS - music by FUGITEMPUS
My entry for the Berlin International Film Scoring Competition of 2022. 
Video here: https://www.youtube.com/watch?v=yDAnazAuA2M&t=3s

While sketching things out, I noticed that the robot was having several moments of hesitation, moments that I identified with a simple three note motive.  The DNA of the track, so to speak. That motive, as a kind of pending question, dominates the soundtrack, just until the End Title appears and in fact answers have been given. After that, the motive is given upside-down, to stress the fact that the question has been answered; the robot accepted its fate and therefore his crucial  (vital!)  purpose on the planet he was sent to investigate.

Used East West Symphony Orchestra, Spitfire's BBC Symphony Orchestra (not yet Appassionata vst alas!), Garritan Harps and winds, UVI ethno instruments, a varied bunch of Synthesizers and lots of other VST-instruments by mainly Spitfire, East West and UVI. Mixing and mastering it all mainly with plugins by Waves, Izotope and Fabfilter.

BTW: Fugitempus = classical composer Sipke Hoekstra

GENESIS - Soundtrack only

https://www.youtube.com/watch?v=TB6SrcFqFNk

In this film, I re-arranged and edited several short video fragments made and shared (cheers for that!) by Cottonbro. In how I arranged all the fragments, the film corresponds loosely to the structure of the canon. 

This three-part 'grounded' canon actually started out as an assignment I made for Berklee College of Music: make a string arrangement on four chords. I decided to make a 3 part canon above a 'ground', in a baroque manner. Be it not strict though - but rather with a contemporary and soundtrack-ish feel. Kitschy? Perhaps - I'd prefer 'Baroque 2.0'. 

Enjoy!

I used the authentic Miroire lib by Orchestral Tools and added the very nice Viola da Gamba lib by Cinesamples. Mixing and mastering plugins by Waves, Izotope and Fabfilter.

Canon A 3 'Common Ground' | modern baroque for film

Talking Music
	
 	The construction
 	This prelude draws from a technique similar to twelve-tone technique- but only to a certain degree. Whereas dodecaphony rises all chromatic tones to equality, I chose to leave distinct tonal markers in the genome of this piece, in order for it to remain communicating. The choice of material helped. The single 16-note progression upon which material is based, was derived from the already rather chromatic dux of a baroque (so utterly tonal) fugue I wrote around the year 2000. This tonal dux fitted the purpose of a rather strict use in bending, tossing around and transposing utterly smoothly, because of the chromatic aspects of it and almost complete use of a chromatic scale. Retrograde motion, transposition and inversion were used in the context of a traditional formal structure and a free tonal harmonic vocabulary, the balance between tonal and atonal shifting now and then. 
	The piece
	The structural model for Breakdown is the Baroque Prelude.  The principal sequence of notes (called 0) is stated repeatedly, be it at first in ‘cells’ of four sixteenth notes, in a fluid rain of notes. Then the theme appears more or less complete and is repeated in various ways, increasingly interrupted by fragments of itself. Towards the end all material is disintegrating to continuously shrinking fragments that are mixed unrecognizably, deteriorating to a musical void. The piece ends with a sudden and short moment of relived brightness.  
On (a)tonality
	Hopefully this modest addition to the still ever-growing symphonic repertory may contribute to the definitive defeat of the convulsive (and still rather powerful) modernistic view, in which all things should be new for the sake of being new. What wrong lies in the synthesis of something Old and something New? Why completely abandon principals that already proved their merits, purely for the sake of abandoning? And why trying to reach musical goals by solely using dissonances? Or complex systems that possess hardly any communitive properties? Just like light exists only exists because darkness does, consonance and dissonance are the Ying and Yang in music. They are in fact the Ferdinand and Isabella that make our musical realm complete.
	I refuse to understand why music without consonances should be more worthwhile to create, perform or listen to than music predominantly consonant. I think it is out of sheer intellectual elitism that we’ve presumed otherwise for so long. It is time we dare admit that the Emperor is, in fact, naked.
	So, in this aphoristic  musical statement, I have sought to combine tonal and atonal principals, and to bring together old and new forms. In harmony.   

Breakdown is the result of my final assignment for a Berklee Orchestration class in 2022.

Breakdown

Breakdown, a prelude for orchestra, by Sipke Hoekstra (=Fugitempus)

Tribute to the Cinesamples Viola da Gamba en Harpsichord libraries!

The melody I composed many years ago for my wife, Rachel, on our then newly bought spinet. It's a filmic mix of folk, renaissance and baroque music. Enjoy!

Acrylic landscape with woman in white dress is a painting by Inspirations by Raine

And Softly She Asked The Trees

Tribute to the Bolder Sounds Virginal library!

Modest baroque menuet I improvised some while ago on our (real) spinet. Recorded this one in Cubase, using this awesome Virginal lib. The plugin allows all kinds of adjustments, including microtuning, lute, octaves - just what you'd expect from them copying this faboulous instrument.

Blue Menuet

Actually my first ever action track, but the second one to upload here :-) 

Used some existing rythm loops, added some percussion manually. Rest is all my own, using mainly BBC by spitfire and East West Symphony Orchestra. Plugins by Waves.

Chaseburger XL No.2 - Action Scene for Hybrid Orchestra

Here's three takes on eight simple chords, combined into one build-up for full orchestra, culminating in a grand orchestral tutti. The sec eight chord sequence is presumably by Berklee's Ben Newhouse, all the thematic and motivic material, including the orchestration, is mine.

Used BBC Symphony Orchestra Pro and mainly Waves plugins.

Eight Chords. Three Takes. One Orchestra.

In this track I used four chords and repeated them twice. Added a short coda. The first take is Shostakovich-ly grim. Winds help change the mood in the second take, after which the third take, with a Holst-like approach, brings hope of a reunion. 

Made in Finale, bounced in Cubase Pro with Spitfire BBC SO, East West SO and UVI OS. Honestly, neither of them performed a realistic legato attack in the pianissimo sections. Only combined they sound rather ok. I later replaced this one with a new version, in which I use mainly Spitfire Appasionata Legato Strings and let the others play just second violin :-) 

Plugins by Waves and Izotope mainly.

Farewell | for orchestra

Some fifteen years ago I wrote a sonata for flute and harpsichord, baroque style, based on the famous La Folia-theme. Some years later I made a simple arrangement for organ and trumpet and later yet one for flute, harpsichord and strings (bc). The version for organ and trumpet can be heard on of my soundclouds, The Eckmann Family. 

Here, I bounced the Finale file in Cubase, using baroque instruments by Orchestral Tools (Miroire), Cinesamples (viola da gamba) and UVi (harpsichord, Flemish). I mixed with Waves and Izotope plugins. Enjoy!

The Craze - Concerto Grosso For Flute, Harpsichord And Strings

This Pavana originates from a piano suite I wrote in 2009.. The entire suite was composed using a technique similar to twelve-tone technique- but without the atonal bit ;-)

Retrograde motion, inversion, transposition, augmentation and diminution were used in the context of a traditional formal structure and a free tonal harmonic vocabulary, the balance between (poly)tonal and atonal shifting now and then. 

	Inspiration the for Pavana and its primary rhythm  is the Renaissance dance of that name. So working on the Pavana inevitably evoked images of a late 16th century court. This gave me the idea to make the Pavana a kind of tableau vivant, with every variation or version of the theme portraying one or more courtiers. In fact very much like a Lego-set with minifigures, every figure taking its place and role in a miniature story. The story? About a dancing master who desperately tries to teach the courtiers (the old first minister, the astrologer, the jester, murmuring bishops, a bunch of knights joking around, a light-footed princess, heralds – you name it) the Pavana, before the King enters. Will he succeed? It’s all in the score!

PAVANA - a Dance in Miniatures for Orchestra

Testdriving Era II in a Pseudo-Dufay-Ish Motet ('Mon Coeur Détruit' by Fugitempus)

Bought Era II recently and wanted to testdrive it immediately; wrote some 'medieval' things in the past and now I had a chance - finally - to make it sound right. 

This is a motet I wrote in Dufay-style, many years ago. In this testdrive I tested quite some instruments of the Era II library, including a bunch of recorders, bowed strings (viola de roda, nyckelharpa and bass viola da gamba), plucked strings (zither, langeleik and early renaissance harp) and a diverse percussion ensemble. 

Will be sharing more of my Era II exploits soon, but the conslusion for  the time being: like!

Mon Coeur Detruit | True Medieval Instruments | Testdriving Era II

After having completed the reasonably violent project 'Lindisfarne 793 AD' (to be found here as well), about the first recorded Viking raid, I felt the need to use the theme in a totally different setting. One of reconciliation and hope, both so much more needed in the grim times we're in right now. 

Watch the movie I made here: https://www.youtube.com/watch?v=vT1MCtvwb-s

Perhaps I will be orchestrating this one in the near future!

I once again used that terrific piano VST: Alicia's Keys, by Native Instruments. A piano VST allready well-dyed-in-the-wool but still very current in terms of warmth, clarity and technical approach. I've been using it for years and will probably continue to do so for many years to come.  

Set up: Alicia Keys' (virtual) Yamaha, by Native instruments! Plugins by Waves (delay, reverb+predelay, compression), Fabfilter (compression) and Izotope (EQ and limiter). 

native-instruments.com/en/products/komplete/keys/alicias-keys/

"The instrument samples come from Alicia Keys' very own Yamaha­™ C3 Neo grand piano. This unique and highly-sought after instrument was built to celebrate Yamaha's 100th anniversary in 2002 and represents the very top of the Conservatory Collection line. [...]

ALICIA'S KEYS was sampled from her own playing, recorded in the artist's own studio under the supervision of her trusted engineer, Ann Mincieli."

LINDISFARNE EPILOGUE | Perspectives on Alicia's Keys part 2

‘Fair Wells’ is actually one of my first ever DAW-productions, dating from 2018, when I was making my first, unsecure steps from notated music to improvised music and DAW. 

Here I let Alicia’s Keys (that wonderful piano vst plugin based on Alicia Keys’ favorite Yamaha grand piano) team up with a small chamber orchestra, containing no more than a solo soprano sax (Garritan Jazzband 3), accompanied by French Horn and Bassoon (both East West SO), low strings (East West SO + Spitfire Appassionata strings). 

At the core of this short atmospheric piece lies a live improvisation. The rest was added later on. Plugins are mainly by Waves, Izotope and Audiaire.


native-instruments.com/en/products/komplete/keys/alicias-keys/

"The instrument samples come from Alicia Keys' very own Yamaha­™ C3 Neo grand piano. This unique and highly-sought after instrument was built to celebrate Yamaha's 100th anniversary in 2002 and represents the very top of the Conservatory Collection line. [...]

ALICIA'S KEYS was sampled from her own playing, recorded in the artist's own studio under the supervision of her trusted engineer, Ann Mincieli."

Fair Wells | perspectives on Alicia's Keys part 3 (with small orchestra)

Commissioned work (2014) that helped the Frysk Jeugd Orkest win the National Competition for Youth Orchestra's in 2015, in De Doelen in Rotterdam. 

During the period that I was roughly sketching the outlines of what would eventually become the symphonic poem ‘Saga’, I was deeply moved by some anonymous Second World War graves I ran across during a random visit to a random graveyard. The men who had been buried there, died for the freedom of other people, having willingly taken that risk. 

They lay there without their names, without their identities. It made me realize very, very clearly that hero´s mainly are hero´s, not by nature or ambition, but by context and necessity. Is this the most tragic and therefore, perhaps, the most pure kind of heroism? 

This all inspired me in structuring the piece loosely in parallel with what well could have been a hero’s life: birth (Intro), youth (A + B), battle, (C) returning home (D), building up for and fighting the last battle (E) death (F), mourning (G) and the memory of the hero being honoured proudly for a while (H)) before that as well slips out of the collective remembrance.

By creating the poem in this specific way, I wanted ‘Saga’ to be a tribute to all persons, female and male, now forgotten, who helped change the world towards being a better place.

Performed by Frysk Jeugd Orkest, conducted by Theo Brouwer.
Fugitempus = Sipke Hoekstra

Saga | Soundtrack To The Life of a Forgotten Hero [live by the FJO]

View the video here: 
One of my first ever efforts in the realm of DAW, revisited in 2023, strengthening the palet, mix and master. 

Used Cubase, a Prophet V synth and lots of other synths and fx. Plugins mainly by Waves and Izotope. 

Hope you enjoy!

STARDOME

Watch the video here: https://www.youtube.com/watch?v=z-S5hH8CSSg
Unfortunately I was a bit lost in time myself and had to skip BIFSC 2023. But I couldn't resist at least sharing my ideas for the closing credits - hope you won't mind :-) 

The theme I composed is anticipated in several (fragmented) ways throughout the score. Perhaps I will finish it some day and share the whole thing later on. 

For the closing titles I used Spitfire appassionata strings and ethnic instruments and voices by East West. Mixing and mastering mainly with Waves and Izotope.

Lost In Time | BIFSC 2023 | Closing Credits

C-Implicity | Duet for 2 Pianos

This track is the result of me recomposing, arranging and orchestrating one of my all time favorite folk songs, The Maid of Coolmore. 
In this version for string orchestra, I unraveled the fabric of the original song and wove the strands into new harmonic and melodic textures. Enjoy!
Watch the video here: https://www.youtube.com/watch?v=xu5ozk0aaVY

(String VST's by Spitfire (BBC SO, Appasionata Strings), East West SO and UVI. Mixed and mastered mainly with Izotope and Waves plugins)

Coolmore

A track I made using KWAYA, the unique African vocal vst-lib featuring the renown Aba Taano Choir. 

Always wanted to create something like this, honoring Africa as perhaps our world's most intriguing continent and above all as the womb of all humanity. Lest we forget. 

Additional African sounds by UVI World Suite and others. Mixing and mastering was done mainly with Waves and Izotope plugins.

NO SEM BU!

NO SEM BU

This is a mockup of how I initially scored the closing credits for GENESIS. Decided late in the process, however, to go with an other, less retro approach. Remained fond of the theme and thought I ought to share it. So > here it is!

GENESIS Scoring the Closing Credits [Initial Version Mockup]

Part of the score (just the closing credits) for ESCAPE, the movie I scored for the  Berlin International Film Scoring Competition 2020.

Have a look at the full movie here: https://www.youtube.com/watch?v=cpxin7iD26I

ESCAPE Closing Credits Only Scored by FUGITEMPUS

Soundtrack I made for the BIFSC 2024 movie score competition. Sound fx are by Adam Chilcote, who won the 1st Prize in the Berlin International Sound Design Competition. 

Used instruments mainly by Spitfire, East West, 8dio, UVI. For Mixxing and mastering mainly UA, Waves and Izotope. 

FILM SYNOPSIS: A contemplative journey throughout the steps of the world's creation, inspired by an old Native Americans legend from the Pawnee tribe.

FILM CREDITS: Animated & Directed by Baptiste JAQUEMET, Lucas TEBIB, Yahnis VENTURA, Fiona VILLATE.

Trail Of Light Alternative Soundtrack BIFSC 2024

I scored the famous tightrope scene from Charlie Chaplin's brilliant movie The Circus (1927), and the end credits while I was at it. 
I am perfectly aware that Chaplin did not approve of 'mickey mousing', but, being a huge fan of Scott Bradley, I could not resist the temptation. 
Stereo version will follow later, as well as the Youtube version - as soon as I get Hitfilm to work again...

The Tightrope Scene | Music for Charlie Chaplin's The Circus (1927) (MONO)

First adventure in the realm of lo-fi, celebrating the incomparable sixties.
If it stinks, let me know and teach me.
No AI, no prefab Midi or Audio. Just me and the music.

I BELIEVE

I scored the famous tightrope scene from Charlie Chaplin's brilliant movie The Circus (1927), and the end credits while I was at it.
I am perfectly aware that Chaplin did not approve of 'mickey mousing', but, being a huge fan of Scott Bradley, I could not resist the temptation.
Stereo version will follow later, as well as the Youtube version - as soon as I get Hitfilm to work again..

End Credits | Music for Charlie Chaplin's The Circus (1927) (MONO)

Track I've been working on for some while. No AI, no premade midi fragments or prefab audio licks. Just me and the music. Enjoy.

Let Yourself Go

I Went Downstairs With This Idea In A Minor - and just played and recorded it. No more, no less. 

I Went Downstairs With This Idea In A Minor

Orginal working title Planet of the Grapes. Later orchestrated it as part of Soundscape and Toccata for Symphony Orchestra. Performed live on National Dutch Radio by the NNO, Feb 28th 2025. 

ARRIVAL

This song is about an invisible light bulb. It may be invisible, but it's there; you can see the light. And feel it. 
Wrote it for my son. And for everyone in need of an extra light bulb. Seen or unseen. It should be felt anayway :-)

INVISIBULB

Music & Concept: Sipke Hoekstra Mastering & Sparring: Jeff Hijlkema (a NOTEKNITTERS production) This movie was created purely for the purpose of showing how my music is capable of interacting with video. It consists solely of free stock clips made available by Pexel.com. I designed the storyline, produced/assembled the movie and composed the music and produced/mixed it in Cubase. Jeff Hijlkema mastered the audio of this version - cheers mate!

COLOR | Film & Music by FUGITEMPUS

My entry for the Berlin International Film Scoring Competition 2020.

Have a look at the full movie here: https://www.youtube.com/watch?v=cpxin7iD26I

Escape

ESCAPE [Soundtrack only]

Fugitempus = Sipke Hoekstra = Eckmann
Composer/orchestrator/arranger/producer of whatever music or sounds I like 
(classical stuff published by Donemus and released on Spotify)

FUGITEMPUS

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