contents
1. listen
2. abstract
3. program notes
4. in the press
5. technical details
6. performances
listen
abstract
dreams of airs (2017-18) is a cycle of poetry and music by Rozalie Hirs. Its sound world is created by eight musicians, a singer who speaks, and electronic sounds. Visual artists Boris Tellegen and Geert Jan Mulder designed a live video installation to accompany the performance. The performance has a duration of approximately 60 minutes.
Rozalie Hirs – music (score, electronic sounds), poetry
Boris Tellegen, Geert Jan Mulder – moving image
program notes
Rozalie Hirs’ dreams of airs (2018) is an evening-length cycle for voice, ensemble, and electronics, intertwining her poetry with her instrumental and electronic music. At Hirs’ request, visual artists Boris Tellegen and Geert-Jan Mulder created a video projection for the work, which they perform live during the concert.
The cycle consists of seven parts, three of which are for the full ensemble, while the other parts feature smaller instrumental groupings or solo voice with electronics. The opening section, spinning languages, evokes dawn with nature recordings, including birdsong, alongside solos for flute and spoken voice. The second movement, golden vielleicht, frames the spoken voice with several instruments. The third movement, who put on my shoes, for full ensemble, can be considered a hyper-lyrical journey through nature, an encounter with death, and an ode to life and imagination. at present longing, for solo voice with electronic sounds, addresses the urgent drive of longing. The fifth movement, infinity stairs, is a trio for flute, bass clarinet, and electric guitar, inspired by the optical illusions of M.C. Escher. This section plays with auditory illusions, with binaural beats and glissandi enhancing the effect. It is the only section without voice, providing a moment of semantic rest in an otherwise text-driven cycle. The next section, waves, evokes the image of a dolphin swimming through shimmering layers of sound. In the final movement, here and nowness, all the instruments and spoken voice culminate in a spectral minimalist reflection on love.
The piece draws inspiration from binaural beating, a psychoacoustic phenomenon that occurs when two slightly different frequencies are presented separately to the ears. The brain interprets the interference between these tones as a third, pulsing sound that corresponds to the frequency difference. This phenomenon can influence brain waves and evoke various mental states, such as relaxation, focus, or meditation. In dreams of airs, Hirs uses these effects to create dynamic soundscapes that guide the listener through different emotional and mental states.
The title dreams of airs refers to the dual meaning of the Old English word “aire,” which can mean both breath and melody. This choice underscores the connection between breathing, speech, and melody. The cycle represents Hirs’ first large-scale cycle that brings together poetry and music, drawing on her extensive experience with readings of her own poetry. Notably, dreams of airs uses spoken language exclusively, without any sung passages. This choice is intended to present the poetry in its original form. By utilizing the spoken voice, the text remains clear and accessible, allowing for various interpretations by the listener, and it aligns closely with the written format as the reader envisions it. While sung poetry transforms into vocal music, where the composer’s melodic and rhythmic choices reflect their interpretation of the text, spoken language allows for a broader range of individual listening experiences and associations. In this way, Hirs indicates that her work is not just a musical setting of the text, but an exploration of the relationship and dialogue between poetry and music, highlighting the essence and potential of the words. The listener is invited to engage with both the language and music in their own way.
Over the years, Hirs has developed a particular speech melody and rhythm, which she notates in the score using specially designed notation. This approach allows singers and voice artists to reproduce her phrasing and intonation. Although the spoken voice part is crafted to sound organic in timing and tone, it is carefully tuned to the spectral and evolving harmonies of the ensemble. The “dreaming” aspect of the work reflects both the meditative quality of the poems and their associative, fleeting nature, which is mirrored in the harmonic transformations of the music.
In essence, dreams of airs is a humanistic and idealistic manifesto for communication and connection between different languages. The multilingual libretto features three languages: English, German, and Dutch (or the primary language of the country where the cycle is performed). The work celebrates the freedom of imagination and the act of speaking as the first step toward mutual understanding. Ultimately, dreams of airs is also a meditation on language, music, and imagination — a dreamlike exploration of how words, harmonies, and melodies come into being.
biography
Rozalie Hirs is both a composer and poet. She began her academic career with a Master of Science in chemical engineering at the University of Twente (1991) before studying composition at the Royal Conservatoire in The Hague under Diderik Wagenaar and Louis Andriessen (Uitvoerend Musicus/ Master of Music, 1998). Her studies with Tristan Murail at Columbia University resulted in a dissertation on spectral composition techniques (Doctor of Musical Arts, 2007). Hirs combines lyricism with musical innovation, often merging traditional instruments with electronic sounds.
in the press
“And also here Nora Fischer takes the audience by the hand along the colourful words drawn out by Rozalie Hirs, reinforced with binaural beatings. With these beatings Rozalie Hirs seeks to evoke brain waves that bring us into a meditative state. She must be doing a pretty good job, because I have rarely encountered such a breathlessly listening audience.”
Ronald Rijken: Rozalie Hirs’ klankwereld van de binaural beats, Klankgat online, 12 november 2018.
“dreams of airs is a complex piece of art, and very beautifully performed. In addition, it is also highly effective, for me any case. I feel clear and very energized.”
Ronald Rijken: Rozalie Hirs’ klankwereld van de binaural beats, Klankgat online, 12 november 2018.
technical details
commission
dreams of airs (2017-18) by Rozalie Hirs was commissioned by the Iris or Hazel Foundation, with partial financial support from the Netherlands Performing Arts Fund. The visual art by Boris Tellegen and Geert Jan Mulder was also commissioned by the Iris or Hazel Foundation, with funding from the Netherlands Stimuleringsfonds Creatieve Industrie. A new version of dreams of airs (2017-18, 2021 rev.) incorporating hyper-organ was commissioned by Orgelpark, Amsterdam. The concerts have been made possible with support from the Netherlands Performing Arts Fund.
instrumentation
voice
flute
Bb clarinet & bass clarinet
percussion
electric guitar
piano
violin
viola
cello
a MIDI pedal for triggering the electronic sounds, to be played by one of the musicians, and laptop
duration
60-70′ ca.
publisher
Rozalie Hirs’s music scores are published by Deuss Music. The score of dreams of airs (2017-18) can be purchased through this link.
further technical requirements
1.) QLAB software, to be installed on the above mentioned laptop
2.) The ‘dreams of airs’ QLAB sampler, to be obtained through Deuss Music.
3.) Microphone and stand for the voice
4.) Amplifier and mixer in the concert hall
5.) Stereo loudspeakers, to be placed within the ensemble
6.) Optional amplification of the ensemble (i.e. microphones, cables)
7.) Beamer, projection screen
thank you
The composer-poet expresses her gratitude to MacDowell, Yaddo, and Maison Dora Maar for their generous and invaluable residencies and fellowships, without which this cycle would not have come to fruition. She also extends her heartfelt thanks to Johan Reyniers for his dramaturgical advice, Martín Mayo for his assistance as amanuensis, and Greet Swinnen for her production work with Spectra Ensemble.
performances
21 October 2023, Rozalie Hirs: dreams of airs, Dag in de Branding Festival, Korzo Theater, The Hague, The Netherlands – Michaela Riener (voice), Ensemble Klang XL, Hardy Li (conductor)
15 September 2023, Rozalie Hirs: dreams of airs, Muze van Zuid Festival, Vondelkerk, Amsterdam, The Netherlands – Michaela Riener (voice), Ensemble Klang XL, Hardy Li (conductor)
4 December 2022, 14:15 CET, Rozalie Hirs (portrait concert): dreams of airs, Orgelpark, Amsterdam, The Netherlands – Lore Binon (voice), Spectra Ensemble, Filip Rathé (conductor) – world premiere of new version with hyper-organ
7 November 2021, 17:00 CET, Rozalie Hirs (portrait concert): dreams of airs, Copenhagen, Danmark – Signe Asmussen (voice), Athelas Sinfonietta, Signe Asmussen (voice), James Sherlock (conductor) – Danish premiere
31 October 2021, 14:15 CET, Rozalie Hirs (portrait concert): dreams of airs, Orgelpark, Amsterdam, The Netherlands – Lore Binon (voice), Spectra Ensemble, Filip Rathé (conductor) – world premiere of new version with hyper-organ **POSTPONED DUE COVID-19**
6 January 2019, 20:00 CET, Rozalie Hirs (portrait concert): dreams of airs, Avontuurlijke Muziek Series, Tivoli|Vredenburg/ Hertz Hall, Utrecht, The Netherlands – Nora Fischer (voice), Spectra Ensemble, Filip Rathé (conductor)
10 November 2018, 19:00 CET, Rozalie Hirs (portrait concert): dreams of airs, November Music, Willem Twee Concertzaal FKA De Toonzaal, Prins Bernhardstraat 4-6, 5211 HE Den Bosch, The Netherlands – Nora Fischer (voice), Spectra Ensemble, Filip Rathé (conductor) – world premiere
