De Materie

various (Fl,Fl-E)

S,T,2speakers; chorus(2.2.2.2)
3.4(III,IV=corA).5.3bcl(III=dbcl).2asax.2tsax.barsax.0-4.4.4.1-perc(6):3marimbas/glsp/vib(4hands)/
11gongs/SD/2BD/string dr/2drum sets(hi-hat,cym,8boobams and/or syn dr,SD,BD)/lg rattle/
3lg cowbells/lg log dr/2lg metal boxes/2sets of tom-t/metal chimes(ad lib)/t.bells/lg slapstick/guiro/
bell tree/tam-t/timp/2bellplate/metal and heavy metal(eg 4car bumpers)-harp-cel-2pft-2synth-2gtr-bass gtr-
strings(2.2.2.2.1)

The four sections of the work, which can be performed on stage or in concert, offer different perspectives on the relationship between matter and spirit. Part I, combining 17th century Dutch treatises on shipbuilding and atomic theory, sets the monumental tone with 144 orchestral hammerblows forming a precisely plotted rhythmic crescendo to the first entry of the tenor. Hadewijch (Part II) is more expansive and lyrical, with a soprano exploring the mystical visions of the 13th century prophetess Hadewijch, but again rigorously structured in medieval fashion. De Stijl (Part III) is dominated by 20th century musical forms, most apparent in the boogie-woogie which accompanies reminiscenses of the artist Mondriaan at the dance hall. Part IV employs writings on science and death, set to a stately pavan hocketing between two groups of instruments.

"...there's no doubt that De Materie is Andriessen's finest work to date, and one of the most significant scores produced by a European composer in the last 20 years."
The Guardian

"...an arresting piece that combines rigorous planning with exuberant, vigorous invention."
The Observer

Poetic