Es Verjüngt Sich Nach Unten

Es Verjüngt Sich Nach Unten (1983 – for piano)

Augustus ’93

Augustus ’93 (for string quartet)

November ’96 – ‘SELA/AIRE’

November ’96 – ‘SELA/AIRE’(for bass clarinet)

Augustus ’02

Augustus ’02 (for mixed choir)

December ’02

December ’02 (for viola)

Juli ’03

Juli ’03 (for marimba)

Oktober ’03

Oktober ’03 (for double bass)

André Morsch– piano
Moritz Eggert – baritone

text: Bas Geerts

[lifdeslit] / December ’03

[lifdeslit] / December ’03 (for baritone and piano)

Michel Marang – clarinet
Fie Schouten – bass clarinet
Anna Duinker – oboe
Eduardo Olloqui – english horn
Stefanie Liedtke – bassoon
Annet Karsten – double bassoon

Juni ’04

Juni ’04 (for reed sextet)

September ’04

September ’04 (for piano with three pedals)

Maart ’05

Maart ’05 (for trumpet)

Margo Rens – soprano
Andrei Kavalinski – trumpet
Frank Peters – piano
Tony Nys – viola
Cristin Wildbolz – double bass
Arnold Marinissen – marimba

text: Bas Geerts

Mei ’06

Mei ’06 (for ensemble)

[warwords] / Juli ’06

[warwords] / Juli ’06 (for soprano voice)

Juni ’07

Juni ’07 (for violoncello)

Marianne Smit – harp
Esther Kooi – harp

November ’07

November ’07 (for two harps)

Januari ’09

Januari ’09 (for harpsichord)

‘By their networks of structures these pieces create ambiguous labyrinths in which a striking music is hiding in plain sight.’

(Samuel Vriezen)
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Margriet Hoenderdos was born on 6 May 1952 in Santpoort (Netherlands) and passed away on 14 October 2010 in Amsterdam (Netherlands). She completed her studies composition with Ton de Leeuw at the Conservatory of Amsterdam in 1985, by winning the ‘Prijs voor Compositie’.

Hoenderdos’ works are characterized by a rigorous methodological approach rarely encountered in contemporary Dutch music; a ‘radical research into the essence of sound’. The relationships between various aspects of sound determine the structure of her works, creating, not abstract, but vital, colourful and even obstinate music. Since the early 1990s her exclusion of non-musical factors is reflected in her titles, which are simply the month and year in which they were written.

Popular tracks by Margriet Hoenderdos