Trio for Flute, Viola and Cello

Part III, written in the 8-notes-scale and arranged with only harmonies within that scale. It results in somewhat unusual sounding harmony, full of surprises. Whereas a 'normal' scale has 7 different notes, The scale here uses 8 different notes, which has the consequence that some sequences are pretty chromatic and of course it has repercussions in the chord building as well.

Trio for Flute, Viola and Cello - Part III: 8 Notes Reel

La Lejeune is a contradance taken from the collection of Jean-Baptiste Robert D'Aubat de Saint-Flour (1756). This was salon music for the upper classes and nobility. D'Aubat collected some 120 dances in a booklet, edited in leather with copper engraving. That was rather expensive and only affordable for the wealthier people. The booklet provides a melody and a brief figured bass. This arrangement was made for chamber strings and 3 flutes with the VSL Elite Strings and Synchronised woodwinds.

La Lejeune

Fourth movement of the trio: written in the zigane scale (except middle part). 
The whole trio was recorded with the VI Pro full instruments by VSL (Vienna Symphonic Library).

Trio for Flute, Viola and Cello - Part IV: Ziganeska

A traditional contradance from about 1750, found in the collection of the French danse master R. D'Aubat de Saint-Flour, working in Ghent at that time. He collected some 120 dances in a booklet and published it on copper plate with a leather cover. It was sold to the upper middle class and nobility for the price of 2 gold ducats.
"Propres à exécuter sur toutes sortes d'instruments, avec les basses chiffrées pour le clavecin et une explication raisonnée de chaque contredanse." (These dances were notated as a melody with a figured bass for the use of a harpsichord and a description of the dance itself.)

Matelotte: Le Concert ou La Sabatine

After 200 years, man wants to return from outer space to earth after he had destroyed the planet and its nature almost completely. He left it as an arid and lifeless world. He hopes now that nature could have restored itself so that a return would offer him a new future, a new genesis.
The sung choir text is not yet available. The narrator text is in Dutch.

The recording was made with all VSL instruments and choir, in Studio One Pro.

Texts and lyrics:

Exodus (voice)

God created man in His image and likeness.
However, man wanted more and tried to be God's equal.
His pride and self-interest brought him down.
He was driven out of paradise by God.

God did still give him insight and reason,
so he could bend nature to his will
to provide for himself.
But again, man abused creation.
He wanted to rule over nature:
over plants and trees,
over the animals on the land, in the air and in the water,
over the earth, the resources, the air...
Again this went wrong
and the earth became dry and barren.

Driven and driven away by hubris
he had to flee, away from the earth
into the infinite chilly darkness
searching the universe for a new home.

But nowhere did he find a planet
equal to Earth.

200 years his space odyssey lasted
and the stories about Mother Earth tormented him.
Finally, he decided to return
in the hope that the blue planet had recovered.


Song of the exodus (chorus)

In the deep darkness
there is only icy cold.
No voice nor whisper
no sun or skies blue.
Neither bird, fish or plant lives here,
only dust and stone so chilly.
No habitation for man or beast,
everything is so bleak and silent.

Genesis II-part I

Genesis II - Exodus - Part I - for narrator, choir and orchestra

Hymn for the celebration of the 900th anniversary of my village Kuurne. The hymn will be played at every festivity during 2023 and beyond. There is another version for concert band as well.

Hymne Voor Kuurne 900

This is a song taken from "De Wijze Kater", a musical stage play for which I wrote 21 songs in 1998.
Unfortunately the only recording I have is the one performed on the Roland synthesizer, without the voices.
I'll post some more songs later.

Antoinette's Song

Another song taken from my musical: "The Wise Tomcat". This stage play counts in total 21 songs.

The Marshal's and Steward's Song

The song of the king in despair about his finances... Unfortunately I didn't have any text recording.

The stage play was written in 1998, with as main instrument the Roland JV 1010 synth.

The King's Song

Song Baker-Butcher-Cobbler

Princess' Song

Catwalk

Song Hans and the Money

Minuet

Arthur's Song

March

Baroness' Song

Gregor

Song Hans' Youth

Wedding March

Rats' Dance

The Tomcat's House Dance

Antoinette's and Jonathan's Song

This part 2 deals with the return of humans to earth after 200 years in space. What would they see, how would nature look like, is the planet ready to accept humans again? A piece full of changing emotions and expression, performed by the instrument sections and the choir. A voice tells briefly the story and the expectations... (Note for the attentive listeners: The piece doesn't end on the 'tonica' as expected, but on the dominant because men's return remains an open question.) A real singing choir is unfortunately not yet available.

Texts and lyrics in English (original is Dutch):

2. Introitus (voice).

200 years or more. Time flowed differently in space. 
Day and night blurred, months no longer existed.
Years are determined by the sun and it was not everywhere.
For more than 10 generations, humans dwelled
in the infinite universe.

The mother planet lived only in stories
and images.

That was now coming to an end.
A puny golden dot pointed to the Earth Moon,
the faithful guardian of the great bright blue sphere,
the Earth.

For years, Earth refugees had been preparing
for this return.
It was important for the space man to remember
that Earth and life had already been destroyed twice:
by an impact of a meteorite
and by the irresponsible, selfish behaviour
of its human inhabitants.
That was never to happen again,
that would never happen again.

Hopefully, Mother Earth wanted to welcome her inhabitants 
a second time.
A second genesis.


Song of introitus (chorus)

Many millions of years ago
the earth arose out of chaos
and two hundred years ago
the world perished through chaos.

The great suffering is silently softened
at the sight of that faithful watchman,
of the golden orb, the earth's moon,
who was always there at bedtime.

That blue orb is Mother Earth,
for humanity of great value.
After two centuries finally in sight,
the new future is really closing in.

GenesisII-(Pre)Introitus-part2 - for narrator, choir and orchestra

GenesisII-(Pre)Introitus-part2

This ballet was commissioned by my town for its 900th anniversary. It is a burlesque ballet, referring to the "asini", donkeys transporting vegetables and flax to the market of Courtrai in the 19th and early 20th century. The inhabitants of my town were called "donkeys", because they were always accompanied by their animals for the transport...

Balletto dell'Asino

A collection of shanties in one suite. All of the pieces have a Dutch text, except the last one. All of them are instrumental here. The last one is a contradance, a hornpipe.
In this arrangement, I didn't use the violas.

Zeemanssuite (Fisherman's Suite)

Cembalo concerto (with own cadenza). Virtual performance realized with the VSL instruments.

Allegro di Molto, J.C. Bach, Cembaloconcerto in E flat

Dance music as an entr'acte for the opera "La Rosière Républicaine by André Modeste Grétry, Belgian composer. He worked mainly in Paris as director of the Paris Conservatoire.
The Ouverture had never been recorded before.

Carmagnole

This is the first movement of a piece for flute, viola and cello. The different movements have an unusual scale to obtain a great variation in expression and experience. The recording is close and intimate to draw the listener into the music.

Trio for Flute, Viola and Cello - Part I: Whole Tones Impression

The second movement of the trio, in dorian scale.

Trio for Flute, Viola and Cello - Part II: Chasing Dorian

Retired music teacher and composer from Flanders (Belgium). Founder and conductor of De Kleine Compagnie. Composer of orchestral/symphonic music, religious songs, theater music; arranger of a large number folk tunes and dances.

I prefer to write in a classical or romantic style, avoiding to use experimental musical languages in order to reach a broad audience. A number of the orchestral pieces have already been performed live (by a large orchestra).

To listen to my pieces here, the use of headphones is recommended.

Have a pleasant listen!

Jos Wylin

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