2025, calendar, chamber, multidisciplinary, music with own poetry, musical works, news, vocal

come sempre (2025) for soprano and coloratura

Come sempre is a new duo for soprano and coloratura soprano by Rozalie Hirs, commissioned by Susan Narucki and dedicated to its first performers, Susan Narucki (soprano) and Kirsten Ashley Wiest (coloratura soprano). The text is taken from the opening poem of Hirs’ eighth collection, ecologica (Uitgeverij Vleugels, 2023), here sung in the Italian translation by Patrizia Filia, to be published in the Italian edition of ecologica (Nous Editrice, Catania, 2026; forthcoming).

At the heart of come sempre lies the joy of singing — and of singing together. Hirs deliberately writes clear, singable melodic lines that move around broadly conceived, flexible tonal centres, which shift gradually to create a transparent, responsive harmonic landscape. The two voices engage in multiple forms of interaction: dialogue and responsorial exchange, completing each other’s melody or text, shaping a single line together, or moving in parallel melody and functional harmony. Vocal roles alternate throughout, without a fixed hierarchy.

2025, chamber, musical works, news

codex lilium (2025)

codex lilium (2025) is a new composition for string trio by Rozalie Hirs. The piece was written for the Prisma Trio (Janneke van Prooijen, violin; Elisabeth Smalt, viola; Michiel Weidner, cello) and is dedicated to the performers.

2024, calendar, chamber, ensemble, musical works, news

charms, symmetries (2024)

22 August 2024. charms, symmetries (2024) by Rozalie Hirs is a new music composition for saxophones (soprano saxophone, 2 alto saxophones, tenor saxophone, baritone saxophone, in various combinations), trombone, vibraphone, piano and electric (bass) guitar. The piece was commissioned by Ensemble Klang. In Memoriam Louis Andriessen (1939-2021).

2023, calendar, chamber, musical works, string quartet

adonis blue (2023)

17 May 2023. adonis blue (2023) is a new string quartet composed by Rozalie Hirs, commissioned by the Ruysdael Quartet. The new work owes its title to the adonis blue, a butterfly species (Latin: Lysandra bellargus; English: Adonis blue; French: le Bel-Argus, l’Azuré bleu céleste, l’Argus bleu céleste, l’Argus bleu […]

2023, calendar, chamber, musical works

bee sage (2023)

contents 1. listen 2. summary 3. programme notes 4. press 5. details 6. performances listen Listen to the recording of bee sage (2023) by Rozalie Hirs, performed by Fie Schouten and Katharina Gross, on the eponymous CD Bee Sage via Bandcamp. The CD also features compositions by Andrikopoulos, Rotaru, Saariaho, […]

2020, calendar, chamber, ensemble, multidisciplinary, music with own poetry, musical works, string quartet, vocal

hand in hand (2020) for string quartet and soprano

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.

2010, calendar, chamber, ensemble, musical works

venus (2010)

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.

2010, calendar, chamber, musical works, string quartet

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)