2020, music composition, news, works

hand in hand (2020)

Rozalie Hirs composed hand in hand (2020) for soprano and string quartet, based on her own poetry. This commission from Kulturkreis für Neue Musik Heilbronn is inspired on the life and ideas of the German poet Hölderlin. The world premiere takes place on his two-hundred-and-fiftieth birthday, a day later followed by a performance next to his birthhouse in Lauffen am Neckar, Baden-Württemberg, Germany.

music composition, news, works

dreams of airs (2017-18)

Dreams of Airs (2017-18) is a cycle of poetry and music by Rozalie Hirs. Its sound world features eight musicians, a singer who speaks, and electronic sounds. The new full-length composition by the Netherlands-based composer/ poet Rozalie Hirs offers a unique listening experience. The listener is guided through mesmerizing accelerandos and rallentandos in a lounge-like environment. The combination of spoken word, music, and visuals serves to stimulate various senses at once. The visual artists Boris Tellegen and Geert Jan Mulder designed a live video installation for the performance. The duration of the performance is around 60 minutes.

music composition, works

Roseherte (2007-08; 2014)

Roseherte (2008) is a composition for symphony orchestra (ninety players) and electronic sounds, commissioned by Nederlandse Muziekdagen with financial support of Netherlands Performing Arts Fund.

music composition

Nadir (2014)

Music composition for string quartet and electronic sounds. World premiere by Bozzini Quartet and Arne Bock (sound projection in the hall)
November Music, Muziekcentrum De Toonzaal, Den Bosch, The Netherlands, 8 November 2014, 19:00 CET.

music composition, works

zenit (2010)

“At the other end of history came the world premiere of Rozalie Hirs’ engrossing string quartet, Zenit, played by the superb new L.A.-based Formalist Quartet. Everything I might say about Hirs’ unsettled music I could also say the opposite. It is also quite settled. It forges ahead with tentative sounds and silences. It stops and starts yet flows. It has a hint of hard-hitting Dutch Minimalism, yet it offers a feast of radiant string harmonics, pulsating outside of rhythm.” (Mark Swed, Los Angeles Times)