Official website of composer and poet Rozalie Hirs (*1965, Gouda, The Netherlands)
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.
The intermedial architectural sound installation Ways of Space (2019) by architect Machiel Spaan and composer Rozalie Hirs was developed in close collaboration during their artist-in-residence at Van Doesburg House, Meudon, France, from September through December 2019. The work is inspired by the concept of the “open floorplan” (Dutch: open plattegrond) Theo Van Doesburg (1883-1931) developed for his architectural work, including his own residence at rue Infroît, Meudon, France. In addition, the colors of Theo Van Doesburg and his De Stijl contemporaries inspired Hirs towards new musical harmonies.
→ Nederlands contents 1. programme notes, review 2. technical details: orchestration, other technical requirements, duration, publisher 3. performances programme notes Rozalie Hirs: lightclouds (2019) lightclouds (2019) is inspired by so-called noctilucent clouds (Deutsch: leuchtende Nachtwolken; Nederlands: lichtende nachtwolken; Français: nuages noctulescents), a metereological phenomenon of high clouds, that seem to […]
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.
contents 1. program notes 2. technical details: orchestration, technical requirements, duration, publisher 3. performances program notes program notes [English; German below] meditations for piano and electronic sounds (2017) was premiered by Philip Thomas at the Dutch contemporary music festivals November Music (Den Bosch) and Sounds of Music (Groningen) in November […]
the honeycomb conjecture for large ensemble and electronic sounds (2015) by Rozalie Hirs is a commission by Philharmonie, Essen, Germany, for Festival NOW! Prismen. The instrumentation consists of 2 flutes, oboe, clarinet, bass clarinet, bassoon, 2 French horns, 2 trumpets, bass trombone, 2 percussionists, keyboard, piano, 2 violins, 2 violas, 2 cellos, double bass.
Curvices Amsterdam (2013, 2015) is an interactive song cycle, a virtual poetry and music installation, for cell phones and mobile devices, that accompanies you on your walk around the concert venue Muziekgebouw aan ‘t IJ, Amsterdam, The Netherlands. By Rozalie Hirs (music, poetry, voice), Cox & Grusenmeyer (design, animation), Yvan vander Sanden (software design, realization), Machiel Spaan (spatial design).
article 8 [infinity] (2014) by Rozalie Hirs is a microtonal composition for flute and electronic sounds. Its highly lyrical melodies are enveloped by electronic glissandi that move along in several large waves. article 8 [infinity] (2014) investigates the overtone realms of the solo works article 7 [ways to climb a mountain] (2012) and article 6 [waves] (2013) for bass clarinet and electric guitar respectively. The three pieces can be played either separately as solo works, or in conjunction, i.e. simultaneously, as the trio infinity stairs (2014).
article 6 [waves] (2013) by Rozalie Hirs is a lyrical, virtuosic composition for electric guitar and relatively simple electronic glissandi, synthesized from pure sine waves, employing binaural beatings and ring modulation only. The instrumental lines are enveloped by, or cut through, the glissandi moving in several large waves. article 6 [waves] (2013) is the sixth episode by Rozalie Hirs in a series of solo compositions with or without electronic sounds. article 6 [waves] (2013) investigates the overtone realm of article 7 [ways to climb a mountain] (2012) for bass clarinet and electronic sounds. In addition it served as the starting point for article 8 [infinity] (2014) for flute and electronic sounds. The three pieces can be played separately as solo works, but were also conceived to be played in conjunction, i.e. simultaneously, as the trio infinity stairs (2014).
Venus (2010) by Rozalie Hirs is a spatialized music composition for six percussionists and six-channel electronic sounds. It consists of three movements [evening star], [invisible], and [morning star]. Venus (2010) was commissioned by Slagwerk Den Haag, with support from the Eduard van Beinum Foundation. It was first performed around the BACH Pavilion, designed by architect Zaha Hadid, at Holland Festival in 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)
Logos interactive website (map: Noëlle von Eugen; design, programming in Flash: Matt Lee; poetry: Rozalie Hirs; 2002) was the first interactive online website of a full length Dutch poetry book. Available online September 2003 – November 2012. Available for download now as a standalone digital application [Mac OsX].
article 1 to 3 for solo piano (2003) by Rozalie Hirs investigates the resonance properties of the grand piano, its body, and strings. It consists of three movements, [the], [aleph], and [a] respectively. The first movement [the] serves as an opening, emerging from the depths of the piano register. The center movement [aleph] is a meditation on the relative positioning of the piano keys, and on weightlessness. The large, virtuoso leaps render a light, transparent character, that offers space for reflection. The third movement [a] serves as an after-thought, exploring the possibilities of fireworks in the higher piano register. [a] employs an impressionistic piano technique and lyricism, that is reminiscent of Feux d’Artifice (Préludes book II) by Claude Debussy.