5 Compositions by Guus Janssen

Preis / Price : 16.35 €
Bestell-Nr. / Purchase Order No. : DONEMUS CV 81
Netherland Wind Ensemble
(on Dans van de malic matrijzen)
Marieke Schneemann, Janneke Speckmann flute
Bart Schneemann, Remco de Vries oboe
Harmen de Boer, Els Vreugdenhil clarinet
Harry Sparnaay bass clarinet
Ronald Karten, Hans Wisse bassoon
Arno Bornkamp saxophone
Frits Damrow, Ad Welleman, Andre Heuvelmans trumpet
Michel Tilkin, Cyril Scheepmaker trombone
Ebony Band (on Passevite)  
Paul Verhey flute
Jan Spronk oboe
Jacques Meertens clarinet
Hens Otter bass clarinet
Noëlle Probst bassoon
Noëlle Probst bassoon
Wim Timmermans French horn
Marleen Asberg, Anna de Vey Mestdagh violin
Roland Krämer viola
Daniël Esser violoncello
Rudolf Senn double bass
Hans van der Meer percussion
Asko Ensemble (on Bruuks)
Eleonore Pameijer flute
Arjan Kapperas clarinet
Harry Sparnaay bass clarinet
Peter Barkema saxophone
Ad Welleman trumpet
Toon van Ulsen trombone
René Eckhardt piano
Peppie Wiersma percussion
Jan-Erik van Regteren Altena violin
Michiel Weidner violoncello
Harke Wiersma double bass
LOOS (on Verstelwerk)
Peter van Bergen tenor saxophone
Gerard Bouwhuis piano
Johan Faber percussion
Keer (1988) for orchestra
Koninklijk Concertgebouwworkest/
Royal Concertgebouw Orchestra
Conducted by Riccardo Chailly
Dans van de malic matrijzen (1976-78)
for piano and wind instruments
Gerard Bouwhuis, piano
& The Netherlands Wind Ensemble
Conducted by David Porcelijn
for ensemble
Ebony Band
Conducted by Werner Herbers
for small ensemble
Asko Ensemble
Conducted by David Porcelijn
Verstelwerk 18:16
for tenor saxophone, piano, percussion
and orchestra
LOOS & Radio Chamber Orchestra
Conducted by Peter Eötvös
Total time:  70:21

Keer (1988) was composed upon commission for the 100th anniversary of the
Royal Concertgebouw Orchestra
Recorded live by NPS Radio on May 20, 1990, Concertgebouw, Amsterdam
Producer: Robert Nasveld
Recording engineer: R. Heerschop

Dans van de malic matrijzen (1976-78)
Comissioned by the Johan Wagenaar Foundation
Recorded live on December 16, 1990
Recording producer: Jean-Marie Geijsen
Editing producer: Dick Lucas

Passevite (1994)
Dedicated to the Schönberg Ensemble
Commissioned by Westdeutscher Rundfunk
Recorded on May 17, 1997 @ the Muziekcentrum Vredenburg by Data Studio
Recording producer: Ron Ford
Recording engineer: Dick Lucas

Bruuks (1985)
Dedicated to the Asko Ensemble
Composed with financial support of the Fund for the Creation of Music
Recorded live in March 1987 @ Paradiso Amsterdam
Recording producer: J.M. geijsen
Editing producer: Dick Lucas

Verstelwerk (1996)
Dedicated to Peter van Bergen, Gerard Bouwhuis and Paul Koek
Commissioned by Südwestfunk for the Donaueschinger Musiktage 1996
Recorded live by NPS Radio on December 13, 1997 @ Muziekcentrum Vredenburg
Producer: Marjolein de Moor
Recording producer : Simon Schouten
Recording engineer: Gert Altena


The Further Adventures of Guus Janssen
What could be more Dutch than the name Guus Janssen? Guus, that´s from the comic-strip characters Guus Gelug (lucky nephew of Donald Duck) and Guus Slim; and Janssen, that is half of the double-barrelled team of detectives Janssen & Jansen (in the English-speaking world known as Thomson & Thompson) from ´The Adventures of Tintin´.
´The Adventures of Guus Janssen´ would have been a perfect title for (…) this CD (…) with Inspector Janssen reporting from chamber music-land, documenting his vicissitudes in the realm of mid-sized ensembles and orchestras. There are enough stylistic reasons to justify a comparison between the work of Guus Janssen and serious cartoon art. In graphic precision and transparency, his music is akin to the so-called ´clear line´ of the Hergé school, while the behaviour of the lead character, that is to say the man who explores sounds and puts them into motion, shows a striking similarity to Tom Puss, Kwik & Flupke, Adhemar and, of course, Tintin himself. Janssen also combines an open mind with an investigative spirit. (…) The fact that he is the least professional amongst the academically-trained composers, yet in the world of improvised music is referred to as ´the professor´, can be explained. Janssen the pianist improvised with the constructive self-consciousness of a composer, while he composed with the ad hoc strategies of an improviser. He is a composer of ´in-between´ music. (…) In principle everything can become musical material and thus a subject for compositional consideration, whether it is a genre, a historic jazz pianist or a musical scale. It is the nature of that consideration that Janssen shows who he is and where he stands.

Elmer Schönberger
Translation: Jonathan Reeder

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