Compositions by Paul Termos

Preis / Price : 15.08 €
Bestell-Nr. / Purchase Order No. : X-OR 010
1991 (1991) 17:14
for tenor saxophone,
piano & percussion
Ensemble LOOS
Peter van Bergen tenor saxophone
Gerard Bouwhuis piano
Johan Faber percussion
Vocalise X (1993)
for soprano & piano
Margo Rens soprano
Marieken Zandvliet piano
Vuoto Ossesso (1989)
(bezeten leegte)
for soprano-recorder
Walter van Hauwe recorder
Blues for Marcel W. (1997)
for piano
Pauline Post piano
Fortuna (1986)
for chamber choir and 4 instruments
Ernestine Stoop harp
Carla Meijers flute
Mary O`Reilly violin
Jaap Blonk cello
Omroep Kamer Kor  

Conducted by Robin Gritton
Total time:  69:48

Dedicated to LOOS
Recorded by Max Bolleman on September 21, 1999 @ Studio 44
Editing: Dick Lucas, Paul Termos

Dedicated to Margo Rens
Recorded by NCRV Radio on February 10, 1993
Recording engineer: Wim van den Berg
Supervision: Hugh de Oude, Paul Termos
Production: Gert van Drimmelen

Dedicated to Walter van Hauwe
Recorded by Dick Lucas on April 25, 1993 in Amsterdam
Editing: Dick Lucas, Paul Termos

Recorded by Dick Lucas on May 10, 1999 @ Vredenburg, Utrecht
Editing: Dick Lucas, Pauline Post

Recorded live by NPS Radio on November 6, 1987 @ Vredenburg, Utrecht
Recording engineer: Gerard Westerdaal, Peter Wentzel
Produced by Robbert Jan de Neeve

CD produced by Luc Houtkamp & Paul Termos
Coverdesign: Henry van Kleff
Liner Notes: Peter Adriaansz
Booklet: English

First release date: 1999

The first piece on the CD, 1991, - written in the same year for the Dutch ensemble LOOS and inspired by the early forms of Abstract Art as practised by Malevitch, the Italian Futurists and the earliest forms of electronic music - is probably the most unreservedly ´Art-oriented´ piece on this CD. The piece deals with primary figures. Little blocks, rectangles, horizontals, verticals and diagonals of different volume and portent - each transformed into their most direct musical equivalents - find themselves marching over an imaginary screen, popping up again in different guises (changes in instrumentation), being stopped abruptly in their tracks by suddenly appearing ´boulders´(the woodblock), or being egged-on by vehemently underlined ´horizontals´ in the sax-multiphonics. (…) In its overall discontinuity, concreteness and in the ultimate grotesque flick of its tail, where the figures have definitely attained an unexpected but inevitable ´maturity´, 1991 is a typical Paul Termos-piece.

Vocalise X (…) was written in 1993 for Paul´s partner, the soprano Margo Rens, and deals with acoustic space. (…) Being basically a responsorial structure between unisons and contrapuntually oscillating piano-intermezzos, Vocalise-X plays with gradually expanding and diminishing unison-phrases on one hand and with ornamental development on the other.

Vuoto Ossesso (…) was conceived both as an exercise in two-dimensionality - confronting excruciatingly high notes with simple triadic permutations - as well as an exercise in the power of force. (…)

Blues for Marcel W. (…) consists basically of four pieces of material: broken triads in the right hand, a chromatic bass-line, a ´quasi-Fats Domino´ quote and a meandering discant version of the bass-line in minor thirds. (…)

Fortuna (…) seems to be the natural predecessor to 1991. Scored for chamber choir and four instrumentalists the piece is based upon a poem from the 13th century anthology Carmina Burana, dealing with the capriciousness of fate. (…) Like all the pieces on this CD Fortuna is a typical Paul Termos-piece: severity and humour go hand in hand, control and excess embrace each other fondly and statement and treatment are united in a music which seems forever young.

Peter Adriaansz

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