Solo works

Camilla

Camilla (1982 – for flute)

Es Verjüngt Sich Nach Unten

Es Verjüngt Sich Nach Unten (1983 – for piano)

Borrowed Flesh

Borrowed Flesh (1986 – for organ)

Gruis

Gruis (1987 – for alto flute)

Blind Kind

Blind Kind (1988 – for soprano recorder)

Lex Inertiae Nº2

Lex Inertiae Nº2 (1989 – for viola)

January ’94

January ’94 (for percussion)

Augustus ’96

Augustus ’96 (for piano)

July ’97

July ’97 (for voice solo)

December ’98

December ’98 (for piano)

December ’02

December ’02 (for viola)

Februari ’03

Februari ’03 (for viola)

Juli ’03

Juli ’03 (for marimba)

Oktober ’03

Oktober ’03 (for double bass)

September ’04

September ’04 (for piano with three pedals)

Maart ’05

Maart ’05 (for trumpet)

[warwords] / Juli ’06

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

Juni ’07

Juni ’07 (for violoncello)

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.