| Bio en français : |
Peter Adriaansz étudie la composition aux conservatoires de La Haye et de Rotterdam, notamment avec Louis Andriessen, Brian Ferneyhough et Peter-Jan Wagemans. Compositeur indépendant depuis 1993, il reçoit des commandes d’ensembles, de festivals et de solistes de partout au monde. Il est également directeur artistique de l’ensemble de percussion Slagwerk Den Haag. Ses œuvres sont jouées et diffusées sur plusieurs tribunes internationales, tels les festivals Holland et Huddersfield, de Tashkent (Ouzbékistan) à Toronto (Canada). Ses pièces ont été plusieurs fois sélectionnées et primées, notamment par le Dutch Toonzetters en 2009, 2010 et 2011. Son approche musicale peut être qualifiée de systématique, orientée vers la recherche et dont les principaux ingrédients sont le son, la structure et les mathématiques (celles que l’on entend). Ces dernières années, il a développé un intérêt grandissant pour la flexibilité, les formes variables et, surtout, la réflexion microtonale. Cette dernière est à la base de plusieurs œuvres monumentales pour ensembles amplifiés, pour orchestre et voix et pour (électro) acoustiques. |
| Bio en anglais : |
Peter Adriaansz was born in Seattle in 1966 and studied composition at the conservatories of The Hague and Rotterdam, where his teachers included Louis Andriessen, Brian Ferneyhough and Peter-Jan Wagemans. Characterized frequently as ‘one of the most singular composers active in the Netherlands at the moment’ Adriaansz has worked as a free-lance composer since 1993, receiving commissions and performances from ensembles, Festivals and individual musicians from all over the world, as well as writing for ensembles with more unusual instrumentations for special occasions. His works are performed and broadcast regularly worldwide and have featured on many stages, from the Holland Festival to Huddersfield and from Tashkent to Toronto. Adriaansz’ work can be characterized by a systematic, research-oriented approach towards music. An approach in which sound, structure and audible mathematics constitute the main ingredients. In recent years an increasing interest in flexibility, variable forms and — especially — microtonal reflection can also be observed in his work. This latter interest lead, among other works, to several large-scale compositions for amplified ensembles, such as Prana (2007), Music for Sines, Percussion, ebows & variable Ensemble (2008) and Three Vertical Swells (2010), works for orchestra and voices (Anekabahudaravaktranetram, 2007, Verdichtingen, 2009), two extended series, on spatial harmony (Structures I-XVI, 2005) and micro acoustics (Waves 1-13, 2008) and many (electro-) acoustic works for incidental commissions. In the words of Bob Gilmore: ‘If music can be a medium in which to explore the most profound existential questions, as the medieval scholars believed it could, then each generation must rephrase these questions to make them relevant to their own time. Few contemporary composers have delved so fearlessly into this realm as has Peter Adriaansz. His work is abstract music of a high order, reanimating the mediaeval idea of music as applied number: but the questions it asks are defiantly of the twenty-first century, questions about musical perception, about the nature of sound and the passage of time’. Several of his works were nominated for various prizes, such as Chant Ascendant, for the 1994 International Gaudeamus Composers Competition and Waves 5-7, Verdichtingen and Three Studies on Elevation, selected in respectively 2009, 2010 and 2011 for the Dutch Toonzetters Award. Praised alternately as ‘sensational’, ‘brilliant’ and ‘spellbinding’ his solo CD Waves, recorded by Ensemble Klang, was released in 2010 to much national as well as international press acclaim. Adriaansz is also artistic director of Slagwerk Den Haag (Percussion Group The Hague). |