Tag: Vita Aeterna

Variations and Fugue on an Original Theme (Vita Aeterna Variations). Version for Symphony Orchestra, Op. 62 no. 2a 

Introduction and Theme. Adagio
Variation I. Allegro energico
Variation II. Tempo di valse in modo subdolo
Variation III. Allegro tempestuoso
Variation IV. Largo
Variation V. Adagio
Variation VI. Tempo di marcia
Finale: Fugue Apotheosis. Allegro vivace

In 2007, Pim van Lommel’s scientific research on near death experiences Eindeloos Bewustzijn (Consciousness Beyond Life) was published. The book gives strong evidence for the assumption that life doesn’t end with death and human beings indeed do have a soul that lives on eternally, as all religions claim. I was intrigued by the subject and started reading books that attempt to describe life ‘on the other side’, like Life in the World Unseen and A Wanderer in the Spirit World.

In 2010 I was commissioned to write a piece for the Koninklijke Fanfare ‘Sint Caecilia’, from the Dutch town Puth, to commemorate one of its members, the recently deceased young euphonium player Jeffrey Lindelauf.  As coincidence would have it, Jeffrey’s parents asked me to express the viewpoint that life goes on after death in the composition, and they proposed that Vita Aeterna (Eternal Life) would be an appropriate title. They also sent me sheet music of the pieces that Jeffrey was fond of playing, and in my composition there are lots of hints to these pieces.

When I was asked to compose the test piece for the EBBC 2012 in Rotterdam, I soon came to the conclusion that I wanted to use the lyrical theme from Vita Aeterna as a theme for a set of variations, and to dedicate the new composition to Jeffrey’s parents. Not only do I use this musical theme from the previous piece, I also wanted to elaborate a bit more on the subject of ongoing life, now combined with what in Hinduism and Buddhism is called Karma.

As a result, the Vita Aeterna Variations have the sort of rudimentary ‘program’ that many composers from the past have wisely kept to themselves. Here it is:

Introduction and Theme. Adagio                             Tentative beginning of Life.
Variation I. Allegro energico                                       Full of vital energy.
Variation II. Tempo di valse in modo subdolo   Evil seeks to seduce and gradually succeeds.
Variation III. Allegro tempestuoso                          Fate strikes.
Variation IV. Largo                                                           Despair.
Variation V. Adagio                                                          Redemption.
Variation VI. Tempo di marcia                                    Gradual return of life power.
Finale: Fugue and Apotheosis. Allegro vivace.   Boisterous, overflowing with vitality and delight in the beauty of life.

There is one more person that put his stamp on the music of this composition. His name is Walter Saler. He was Naturheiler (naturopath), a very special person with an outspoken positive attitude to life, who has helped me on numerous occasions. As a way to thank him, I wrote Musik für Walter for him, a Theme with Variations for cello and organ, which reflects this positive attitude.

Since I wanted the music of the Vita Aeterna Variations to be uplifting for the soul and life asserting, my mind automatically returned to the composition for Walter, too, and then it turned out that elements from Vita Aeterna and Musik für Walter easily blended together. Some examples: the opening bars of the Walter theme can be played in counterpoint with the opening bars of the Vita Aeterna theme—which is exactly what happens towards the end of the composition, of course. The first and the fourth variation of the Vita Aeterna Variations have been derived from variations from the Walter piece, respectively called Super Super Super! and Immer Vorwärts (Onwards and Upwards).

Both men had their influence in shaping the music to what it has become; for which I am very grateful. And I am very happy that the piece has already reached such a wide audience. I hope that this version for symphonic wind orchestra will contribute to making a even wider audience acquainted with both men, their stories and the music they both influenced, each in his own way.

There are also versions for brass band, Op. 62 no. 2 (Youtube: http://www.youtube.com/watch?v=U5_gBREJL3k), for symphonic wind orchestra, Op. 62 no. 2b. and for fanfare orchestra (Youtube: https://www.youtube.com/watch?v=tRCVIMSFP0M&t=84s).

Variations and Fugue on an Original Theme (Vita Aeterna Variations). Version for Symphonic Wind Orchestra, Op. 62 no. 2b

At last, score and parts of this version have now become available for purchase. Scroll down for a first recording. Here are the prices:

Score paper € 55,50
Complete set, paper € 305,00
Score digital € 30,53
Complete set, digital € 167,75

All prices incl. 9% VAT, prices of hardcover material excl. package and postal expenses.

Introduction and Theme. Adagio
Variation I. Allegro energico
Variation II. Tempo di valse in modo subdolo
Variation III. Allegro tempestuoso
Variation IV. Largo
Variation V. Adagio
Variation VI. Tempo di marcia
Finale: Fugue Apotheosis. Allegro vivace

The original version for brass band was commissioned by the Foundation Kunstfactor to serve as the test piece for the EBBC 2012 in Rotterdam, and has been dedicated to Roger and Madeleine Lindelauf.

The version for wind band was commissioned by Thomas Haas and Rainer Fitsch and has been dedicated to Thomas Ludescher. The greater part of the score can be viewed and downloaded here.

In 2007, Pim van Lommel’s scientific research on near death experiences Eindeloos Bewustzijn (Consciousness Beyond Life) was published. The book gives strong evidence for the assumption that life doesn’t end with death and human beings indeed do have a soul that lives on eternally, as all religions claim. I was intrigued by the subject and started reading books that attempt to describe life ‘on the other side’, like Life in the World Unseen and A Wanderer in the Spirit World.

In 2010 I was commissioned to write a piece for the Koninklijke Fanfare ‘Sint Caecilia’, from the Dutch town Puth, to commemorate one of its members, the recently deceased young euphonium player Jeffrey Lindelauf.  As coincidence would have it, Jeffrey’s parents asked me to express the viewpoint that life goes on after death in the composition, and they proposed that Vita Aeterna (Eternal Life) would be an appropriate title. They also sent me sheet music of the pieces that Jeffrey was fond of playing, and in my composition there are lots of hints to these pieces.

When I was asked to compose the test piece for the EBBC 2012 in Rotterdam, I soon came to the conclusion that I wanted to use the lyrical theme from Vita Aeterna as a theme for a set of variations, and to dedicate the new composition to Jeffrey’s parents. Not only do I use this musical theme from the previous piece, I also wanted to elaborate a bit more on the subject of ongoing life, now combined with what in Hinduism and Buddhism is called Karma.

As a result, the Vita Aeterna Variations have the sort of rudimentary ‘program’ that many composers from the past have wisely kept to themselves. Here it is:

Introduction and Theme. Adagio                             Tentative beginning of Life.
Variation I. Allegro energico                                       Full of vital energy.
Variation II. Tempo di valse in modo subdolo   Evil seeks to seduce and gradually succeeds.
Variation III. Allegro tempestuoso                          Fate strikes.
Variation IV. Largo                                                           Despair.
Variation V. Adagio                                                          Redemption.
Variation VI. Tempo di marcia                                    Gradual return of life power.
Finale: Fugue and Apotheosis. Allegro vivace.   Boisterous, overflowing with vitality and delight in the beauty of life.

There is one more person that put his stamp on the music of this composition. His name is Walter Saler. He was Naturheiler (naturopath), a very special person with an outspoken positive attitude to life, who has helped me on numerous occasions. As a way to thank him, I wrote Musik für Walter for him, a Theme with Variations for cello and organ, which reflects this positive attitude.

Since I wanted the music of the Vita Aeterna Variations to be uplifting for the soul and life asserting, my mind automatically returned to the composition for Walter, too, and then it turned out that elements from Vita Aeterna and Musik für Walter easily blended together. Some examples: the opening bars of the Walter theme can be played in counterpoint with the opening bars of the Vita Aeterna theme—which is exactly what happens towards the end of the composition, of course. The first and the fourth variation of the Vita Aeterna Variations have been derived from variations from the Walter piece, respectively called Super Super Super! and Immer Vorwärts (Onwards and Upwards).

Both men had their influence in shaping the music to what it has become; for which I am very grateful. And I am very happy that the piece has already reached such a wide audience. I hope that this version for symphonic wind orchestra will contribute to making a even wider audience acquainted with both men, their stories and the music they both influenced, each in his own way.

First recording of the version for symphonic wind orchestra of my Vita Aeterna Variations, performed the 11th of November, 2018, in the St. Valentine Church of the Swiss town of Rüthi, by the Sinfonisches Blasorchester Vorarlberg, conducted by Thomas Ludescher:

Please note the following:
– this recording was made with a simple device.
– the acoustics of the church necessitated slower tempi than indicated.
– it was very cold in the church, as a result of which the first oboist had water in the keyholes of his instrument in the fugue.

In spite of this, the performance certainly has its merits, and this recording gives a good overall impression of the composition.

There are also versions for brass band, Op. 62 no. 2 (Youtube: http://www.youtube.com/watch?v=U5_gBREJL3k), for symphony orchestra and for fanfare orchestra (Youtube: https://www.youtube.com/watch?v=tRCVIMSFP0M&t=84s).er

Variations and Fugue on an Original Theme (Vita Aeterna Variations), Op. 62 no. 2. Arr. for Fanfare Orchestra by Stefan de Hoogt

Introduction and Theme. Adagio
Variation I. Allegro energico
Variation II. Tempo di valse in modo subdolo
Variation III. Allegro tempestuoso
Variation IV. Largo
Variation V. Adagio
Variation VI. Tempo di marcia
Finale: Fugue Apotheosis. Allegro vivace

Dedicated to Roger and Madeleine Lindelauf

In 2007, Pim van Lommel’s scientific research on near death experiences Eindeloos Bewustzijn (Consciousness Beyond Life) was published. The book gives strong evidence for the assumption that life doesn’t end with death and human beings indeed do have a soul that lives on eternally, as all religions claim. I was intrigued by the subject and started reading books that attempt to describe life ‘on the other side’, like Life in the World Unseen and A Wanderer in the Spirit World.

In 2010 I was commissioned to write a piece for the Koninklijke Fanfare ‘Sint Caecilia’, from the Dutch town Puth, to commemorate one of its members, the recently deceased young euphonium player Jeffrey Lindelauf.  As coincidence would have it, Jeffrey’s parents asked me to express the viewpoint that life goes on after death in the composition, and they proposed that Vita Aeterna (Eternal Life) would be an appropriate title. They also sent me sheet music of the pieces that Jeffrey was fond of playing, and in my composition there are lots of hints to these pieces.

When I was asked to compose the test piece for the EBBC 2012 in Rotterdam, I soon came to the conclusion that I wanted to use the lyrical theme from Vita Aeterna as a theme for a set of variations, and to dedicate the new composition to Jeffrey’s parents. Not only do I use this musical theme from the previous piece, I also wanted to elaborate a bit more on the subject of ongoing life, now combined with what in Hinduism and Buddhism is called Karma.

As a result, the Vita Aeterna Variations have the sort of rudimentary ‘program’ that many composers from the past have wisely kept to themselves. Here it is:

Introduction and Theme. Adagio                             Tentative beginning of Life.
Variation I. Allegro energico                                       Full of vital energy.
Variation II. Tempo di valse in modo subdolo   Evil seeks to seduce and gradually succeeds.
Variation III. Allegro tempestuoso                          Fate strikes.
Variation IV. Largo                                                           Despair.
Variation V. Adagio                                                          Redemption.
Variation VI. Tempo di marcia                                    Gradual return of life power.
Finale: Fugue and Apotheosis. Allegro vivace.   Boisterous, overflowing with vitality and delight in the beauty of life.

There is one more person that put his stamp on the music of this composition. His name is Walter Saler. He was Naturheiler (naturopath), a very special person with an outspoken positive attitude to life, who has helped me on numerous occasions. As a way to thank him, I wrote Musik für Walter for him, a Theme with Variations for cello and organ, which reflects this positive attitude.

Since I wanted the music of the Vita Aeterna Variations to be uplifting for the soul and life asserting, my mind automatically returned to the composition for Walter, too, and then it turned out that elements from Vita Aeterna and Musik für Walter easily blended together. Some examples: the opening bars of the Walter theme can be played in counterpoint with the opening bars of the Vita Aeterna theme—which is exactly what happens towards the end of the composition, of course. The first and the fourth variation of the Vita Aeterna Variations have been derived from variations from the Walter piece, respectively called Super Super Super! and Immer Vorwärts (Onwards and Upwards).

Both men had their influence in shaping the music to what it has become; for which I am very grateful. And I am very happy that the piece has already reached such a wide audience. I hope that this version for symphonic wind orchestra will contribute to making a even wider audience acquainted with both men, their stories and the music they both influenced, each in his own way.

Youtube:

Dutch National Youth Fanfare Orchestra NJFO conducted by Danny Oosterman

There are also versions for brass band, Op. 62 no. 2 (Youtube: http://www.youtube.com/watch?v=U5_gBREJL3k), for symphony orchestra and for symphonic wind orchestra, Op. 62 no. 2b.

Vita Aeterna, Op. 62 no. 1

Commissioned by Roger & Madeleine Lindelauf and Koninklijke Fanfare St. Caecilia, Puth
Written for Koninklijke Fanfare St. Caecilia, Puth and their conductor Chris Derikx
Dedicated to the memory of Jeffrey Lindelauf

Youtube:

same performers

Variations and Fugue on an Original Theme (Vita Aeterna Variations). Version for Brass Band, Op. 62 no. 2

Please note: a few years ago, I transcribed the original brass band version of this composition for symphonic wind band. During the process, I found some mistakes in the brass band version (in addition to the mistakes I discovered when I transcribed the composition for symphony orchestra in 2014). Here is a list of the new errata, whereby the errata marked in yellow are the important ones. And here are the pages from the score where I discovered and corrected something that was wrong.

Introduction and Theme.
Variation I. Adagio
Variation II. Allegro energico
Variation III. Tempo di valse in modo subdolo
Variation IV. Largo
Variation V. Adagio
Variation VI. Tempo di marcia
Finale: Fugue and Apotheosis. Allegro vivace

Commissioned by the European Brass Band Association, to serve as a test piece during the
European Brass Band Championships EBBC 2012, from May 1 to 6, in De Doelen in Rotterdam

Dedicated to Roger and Madeleine Lindelauf

In 2007, Pim van Lommel’s scientific research on near death experiences Eindeloos Bewustzijn (Consciousness Beyond Life) was published. The book gives strong evidence for the assumption that life doesn’t end with death and human beings indeed do have a soul that lives on eternally, as all religions claim. I was intrigued by the subject and started reading books that attempt to describe life ‘on the other side’, like Life in the World Unseen and A Wanderer in the Spirit World.

In 2010 I was commissioned to write a piece for the Koninklijke Fanfare ‘Sint Caecilia’, from the Dutch town Puth, to commemorate one of its members, the recently deceased young euphonium player Jeffrey Lindelauf.  As coincidence would have it, Jeffrey’s parents asked me to express the viewpoint that life goes on after death in the composition, and they proposed that Vita Aeterna (Eternal Life) would be an appropriate title. They also sent me sheet music of the pieces that Jeffrey was fond of playing, and in my composition there are lots of hints to these pieces.

When I was asked to compose the test piece for the EBBC 2012 in Rotterdam, I soon came to the conclusion that I wanted to use the lyrical theme from Vita Aeterna as a theme for a set of variations, and to dedicate the new composition to Jeffrey’s parents. Not only do I use this musical theme from the previous piece, I also wanted to elaborate a bit more on the subject of ongoing life, now combined with what in Hinduism and Buddhism is called Karma.

As a result, the Vita Aeterna Variations have the sort of rudimentary ‘program’ that many composers from the past have wisely kept to themselves. Here it is:

Introduction and Theme. Adagio                             Tentative beginning of Life.
Variation I. Allegro energico                                       Full of vital energy.
Variation II. Tempo di valse in modo subdolo   Evil seeks to seduce and gradually succeeds.
Variation III. Allegro tempestuoso                          Fate strikes.
Variation IV. Largo                                                           Despair.
Variation V. Adagio                                                          Redemption.
Variation VI. Tempo di marcia                                    Gradual return of life power.
Finale: Fugue and Apotheosis. Allegro vivace.   Boisterous, overflowing with vitality and delight in the beauty of life.

There is one more person that put his stamp on the music of this composition. His name is Walter Saler. He was Naturheiler (naturopath), a very special person with an outspoken positive attitude to life, who has helped me on numerous occasions. As a way to thank him, I wrote Musik für Walter for him, a Theme with Variations for cello and organ, which reflects this positive attitude.

Since I wanted the music of the Vita Aeterna Variations to be uplifting for the soul and life asserting, my mind automatically returned to the composition for Walter, too, and then it turned out that elements from Vita Aeterna and Musik für Walter easily blended together. Some examples: the opening bars of the Walter theme can be played in counterpoint with the opening bars of the Vita Aeterna theme—which is exactly what happens towards the end of the composition, of course. The first and the fourth variation of the Vita Aeterna Variations have been derived from variations from the Walter piece, respectively called Super Super Super! and Immer Vorwärts (Onwards and Upwards).

Both men had their influence in shaping the music to what it has become; for which I am very grateful. And I am very happy that the piece has already reached such a wide audience. I hope that this version for symphonic wind orchestra will contribute to making a even wider audience acquainted with both men, their stories and the music they both influenced, each in his own way.

Youtube:

Black Dyke conducted by Nicholas Childs

There are also versions for symphony orchestra and for symphonic wind orchestra, Op. 62 no. 2b, and for fanfare orchestra (Youtube: https://www.youtube.com/watch?v=tRCVIMSFP0M&t=84s).