The Death of a Composer: Rosa – A Horse Drama is a 1993-94 opera by Louis Andriessen on a libretto by Peter Greenaway, the sixth libretto in Greenaway's Death of a Composer series that explores the deaths of ten 20th century composers from Anton Webern to John Lennon.

Background[link]

This opera tells the story of Juan Manuel de Rosa, a fictitious Argentine composer who intended to emigrate to the United States to write film scores for Westerns, but was instead murdered in Uruguay. The most memorable aspect of the story is that Rosa falls in love with his horse. The opera is scored for 2 sopranos, tenor, 2 baritones, female speaker, 8 mixed voices, and orchestra. Greenaway made a film version in 1999, though it was not shown in the United States until a 2005 premiere at the Walter Reade Theater in New York City.^[1]

References[link]

This article about an English language opera is a stub. You can help Wikipedia by expanding it. v t e

Look up rosa in Wiktionary, the free dictionary.

The name Rosa, Latin and botanic name of the flowering shrub Rose, could refer to:

People[link]

• Rosa (given name)
• Rosa (surname)

Places[link]

• 223 Rosa, an asteroid
• Rosa, Alabama, USA
• Rosa, Germany, in Thuringia, Germany
• Roşia Nouă village, Petriş Commune, Arad County, Romania
• Rösa, a village and former municipality in Saxony-Anhalt, Germany
• Rosà a town in the province of Vicenza, Veneto, Italy

Entertainment[link]

• "Rosa", a song by Dimitris Mitropanos
• Rosa, the starting planet in the PS2 game Rogue Galaxy
• De Rosa (band), a band from Scotland
• Rosa Filmes, a Portuguese motion picture production and distribution company
• Rosa (1969 film), a Mexican film starring Ernesto Gómez Cruz
• Rosa (1986 film), a Hong Kong film released by Bo Ho Films
• Rosa (1992 film), a short film directed by Peter Greenaway
• Rosa – A Horse Drama, a 1993-94 opera by Louis Andriessen on a libretto by Peter Greenaway

Other uses[link]

• Rosa (barge), a hotel barge
• Mitsubishi Fuso Rosa, a bus built by Mitsubishi Fuso
• ROSA, acronym for RCA Open-Source Application
• ROSA, the Romanian Space Agency
• De Rosa (bicycles), a bicycle manufacturing company
• USS Rosa (SP-757), a United States Navy patrol boat in commission from 1917 to 1918
• Record of School Achievement (RoSA), an Australian education qualification

Technologies[link]

• ROSA - a Linux distribution
• ROSA, a surgical robot

See also[link]

• All pages with titles containing "Rosa"
• List of Rosa species
• Rosawa, a village in Rajasthan, India founded by the Rosa clan of Jat people
• Sub rosa, Latin idiom for "in confidence"

This disambiguation page lists articles associated with the same title. If an internal link led you here, you may wish to change the link to point directly to the intended article.

1854 advertisement for the reenactment of the Battle of the Alma at Astley's Amphitheatre, London

Hippodrama, or horse drama, is a genre of theatrical show blending circus horsemanship display with popular melodrama theatre. Evolving from earlier equestrian circus, pioneered by Philip Astley in the 1760s,^[1], it relied on drama plays written specifically for the genre; trained horses were considered actors along with humans and were even awarded leading roles.^[2] Anthony Hippisley-Coxe described hippodrama as "a bastard entertainment born of a misalliance between the circus and the theatre ... that actually inhibited the development of the circus".^[3]

History[link]

Horses appeared in Western European theater in the second half of the 18th century, both on stage and in aerial stunts (flying Pegasus).^[2] Hippodrama emerged in the turn of 19th century in England, introduced by Philip Astley. At this time, the Licensing Act of 1737 was in effect. This act only allowed three theaters to perform “legitimate theater.” These theaters included Covent Garden, Drury Lane, and the summer theatre in the Haymarket. These theaters had patents on real drama. Other theaters, such as Astley’s Amphitheater and the Royal Circus, only had licenses for “public dancing and music” and “for other public entertainments of the like kind” ^[4]. Astley’s horse acts in his circus were allowed within his license. However, Astley wanted to produce shows more like “legitimate theater.” He soon realized that he could produce real drama as long as the drama was performed on horseback. Thus, hippodrama was born. He adapted common stories and plays in a way where they could be performed on horses. Not only that, but the horses were the main actors. The horses had their own business, or leading actions, to perform that helped carry out the plot ^[5]. Also at this time, gradual closing of country fairs and discharge of cavalrymen and horse grooms after the end of the Continental Wars^[2] provided both experienced staff and public interest to the new show.

The first hippodrama premiered in 1803 in London at Astley's Amphitheatre, Royal Circus and Olympic Pavilion; and in Paris at Cirque Olympique,^[2] where 36 horse riders could perform simultaneously.^[1] Theatres built for hippodramas combined proscenium stage with dirt-floored riding arena separated by orchestra pit; scene and arena were connected by ramps, forming a single performing space.^[1] The Circus of Pepin and Breschard presented Don Quixote de la Mancha "on horseback and on foot, with combats" in New York City on August 12, 1809.^[6] Pepin and Breschard's company presented hippodramas in the newly formed United States from at least 1809 until 1815. Christoph de Bach produced similar entertainment in Vienna.^[2] Astley's 1810 financial success with The Blood Red Knight persuaded the reluctant management of Covent Garden and Drury Lane theatres to join the lucrative business.^[2] Hippodrama plays, tailored for the masses, revolved around colourful Eastern subjects like Timour the Tartar or Mazeppa, or the Wild Horse of Tartary and the European military past (Marlborough's Heroic Deeds).^[2] Mazeppa, first staged in England in 1823, became a hit of Astley's Amphitheater in 1831 and was performed by travelling companies in the United States from 1833; in 1860s it became a trademark show for Adah Isaacs Menken.^[7] Adaptations of William Shakespeare (Richard III) were another common choice.^[1]

The new genre spread to the United States after the end of the Napoleonic Wars; the Lafayette Circus in New York, inaugurated in 1825, was the first American theatre building specifically designed for hippodrama, followed by the Philadelphia Amphitheater and the Baltimore Roman Amphitheatre.^[1] Hippodrama shows attracted the lower classes, labourers and seamen,^[8] "ready to riot at the slightest provocations";^[9] "in fact, much of recorded rowdyism of the mid-1820s in New York took place at Lafayette Circus.^[8]

Hippodrama also traveled all the way to Australia. Hippodromes were built in Sydney and Melbourne in the 1850s. “The year 1854 was also the year in which the Crimean War began, so Lewis’s mention of the military value of sport and drama was a pointed one; hippodramas by implication assisted in encouraging men to keep themselves fit and trained in military skills such as horse-riding” (Fotheringham 12). However, hippodrama was not as big in Australia as it was in England. It did leave an impact, though. Hippodrama helped change Australian theater building designs. In order to accommodate the horses, there had to be a way for the horses to get onstage. So, the theaters started to build ramps leading up to the stage. Also, the stages had to be big enough to hold a circus ring. From then on, the stages were built bigger ^[10].

The Equestrian Circus in Saint Petersburg, Russia was built by Alberto Cavos in 1847.

The American Hengler's Circus prospered in the 1850s under the heading of Hengler's Colossal Hippodrama,^[11] but elsewhere popularity of the genre faded by the middle of the century.^[2] It was revived in France under Napoleon III, especially with the 1863 production of the Battle of Marengo and in 1880 Michel Strogoff.^[2] The United States saw a brief revival of the genre in the late 1880s and 1890s, helped by the invention of a treadmill machine for imitating horse races on stage.^[2] Film, introduced at the turn of the 20th century, finally replaced hippodrama as the show for the masses.^[2]

In modern times[link]

In recent times, the Cavalia circus/show/production company has produced a well-received modern hippodrama which tours internationally, using as many as 30 horses per show and playing for up to two thousand people at a time.^[12]

A modern one-of-a-kind hippodrama directed by Franz Abraham, an equestrian reenactment of Ben Hur, took place at the O2 arena, London on September 15, 2009. The show employed one hundred animals (including thirty-two horses) and four hundred people.^{[13][14][15][16]}

References[link]

Sources[link]

• Saxon, Arthur Hartley (1968). Enter foot and horse; a history of hippodrama in England and France. Yale University Press. LCCN 68027764. 
• Saxon, Arthur Hartley (1975). "The Circus as Theatre: Astley's and Its Actors in the Age of Romanticism."". Educational Theatre Journal 27 (3): 299-312. </ref>
• Fotheringham, Richard (1992). Sport in Australian Drama. Cambridge, England: Cambridge UP. </ref>
• Banham, Martin (1995). The Cambridge guide to theatre. Cambridge University Press. ISBN 0521434378, ISBN 978-0-521-43437-9. http://books.google.com/books?id=_MxJbvpz_rwC&pg=PA488&dq=hippodrama&as_brr=3&ei=xHNQSpHNOaa6zgTilJj1Ag&client=firefox-a. 
• Gilje, Paul A. (1987). The road to mobocracy: popular disorder in New York City, 1763-1834. UNC Press. ISBN 0807841986, ISBN 978-0-8078-4198-3. http://books.google.com/books?id=X7u18SbT6VkC&pg=PA251&dq=Lafayette+Circus&as_brr=3&ei=d7dPSoK_LYfkygSZ1rXkAg. 
• McArthur, Benjamin (2007). The man who was Rip van Winkle: Joseph Jefferson and nineteenth-century American theatre. Yale University Press. ISBN 0300122322, ISBN 978-0-300-12232-9. http://books.google.com/books?id=SeeiCyM_5g4C&pg=PA39&dq=Lafayette+Circus&as_brr=3&ei=d7dPSoK_LYfkygSZ1rXkAg. 
• Stoddard, Helen (2000). Rings of desire: circus history and representation. Manchester University Press. ISBN 0719052343, ISBN 978-0-7190-5234-7. http://books.google.com/books?id=84z0GaFanlsC&pg=PA37&dq=hippodrama&as_brr=3&ei=xHNQSpHNOaa6zgTilJj1Ag. 

Louis Andriessen at the Roundhouse, Vancouver.

Louis Andriessen (born 6 June 1939) is a Dutch composer and pianist based in Amsterdam. He teaches composition at the Royal Conservatory of The Hague. He was recipient of the Gaudeamus International Composers Award in 1959.

Life and career[link]

Andriessen was born in Utrecht into a musical family, the son of the composer Hendrik Andriessen (1892–1981), brother of composers Jurriaan Andriessen (1925–1996) and Caecilia Andriessen (1931-), and nephew of Willem Andriessen (1887–1964).

Andriessen originally studied with his father and Kees van Baaren at the Royal Conservatory of The Hague, before embarking upon two years of study with Italian composer Luciano Berio in Milan and Berlin. He later joined the faculty of the Royal Conservatory where his notable students included Michael Zev Gordon, Steve Martland, Richard Ayres, Richard Baker, Jeff Hamburg, Ivana Kiš, Koji Nakano, Damien Ricketson, Patrick Saint-Denis, Juan Sebastian Lach, Michel van der Aa, Víctor Varela, Sinta Wullur and Jasna Veličković.

In 1969 Andriessen co-founded STEIM in Amsterdam. He also helped found the instrumental groups Orkest de Volharding and Hoketus, both of which performed compositions of the same names. He later became closely involved in the ongoing Schonberg and Asko ensembles and inspired the formation of the British ensemble Icebreaker.

Andriessen, a widower, was married to guitarist Jeanette Yanikian (1935–2008). They were a couple for over 40 years and were married in 1996.^[1]

Style and notable works[link]

Andriessen's early works show experimentation with various contemporary trends: post war serialism (Series, 1958), pastiche (Anachronie I, 1966–67), and tape (Il Duce, 1973). His reaction to what he perceived as the conservatism of much of the Dutch contemporary music scene quickly moved him to form a radically alternative musical aesthetic of his own. Since the early 1970s he has refused to write for conventional symphony orchestras and has instead opted to write for his own idiosyncratic instrumental combinations, which often retain some traditional orchestral instruments alongside electric guitars, electric basses, and congas.

Andriessen's mature music combines the influences of jazz, American minimalism, Igor Stravinsky and Claude Vivier.^[2] His harmonic writing eschews the consonant modality of much minimalism, preferring post war European dissonance, often crystallised into large blocks of sound. Large scale pieces such as De Staat ['Republic'] (1972–76), for example, are influenced by the energy of the big band music of Count Basie and Stan Kenton and the repetitive procedures of Steve Reich, both combined with bright, clashing dissonances. Andriessen's music is thus anti-Germanic and anti-Romantic, and marks a departure from post war European serialism and its offshoots. He has also played a role in providing alternatives to traditional performance practice techniques, often specifying forceful, rhythmic articulations, and amplified, non-vibrato, singing.

Other notable works include Workers Union (1975), a melodically indeterminate piece "for any loud sounding group of instruments"; Mausoleum (1979) for 2 baritones and large ensemble; De Tijd ['Time'] (1979–81) for female singers and ensemble; De Snelheid ['Velocity'] (1982-3), for 3 amplified ensembles; De Materie ['Matter'] (1984–88), a large four-part work for voices and ensemble; collaborations with filmmaker and librettist Peter Greenaway on the film M is for Man, Music, Mozart and the operas Rosa: A Horse Drama (1994) and Writing to Vermeer (1998); and the recent La Passione (2000–02) for female voice, violin and ensemble.

Andriessen's music is published by Donemus in the Netherlands and Boosey & Hawkes in the United Kingdom and the United States. His recordings appear on the Nonesuch Records label.

Honors[link]

• The 2011 Grawemeyer Award for Music Composition for the multimedia opera La Commedia (2004–2008).^[3]

Works[link]

^[4]

• Rondo Barbaro (1954) for piano^[5]
• Sonata (1956) for flute and piano (dedicated to Lucas van Regteren Altena)^[6]
• Elegy (1957) for cello and piano^[7]
• Elegy (1957) for double bass and piano (arrangement by Quirijn van Regteren Altena)^[7]
• Nuit d'été (1957) for piano 4 hands
• Quartet in two movements (1957) for string quartet^[6]
• Séries (1958) for 2 pianos
• Nocturnen (1959) (text by the composer) for 2 sopranos, orchestra (dedicated to Jeanette Yanikian)
• Percosse (1959) for flute, trumpet, bassoon and percussion^[6]
• Prospettive e Retrospettive (1959) for piano
• Trois Pièces (1961) for piano left hand
• Aanloop en sprongen (1961) (Rincorsa e salti) for flute, oboe and clarinet in Bb^[6]
• Ittrospezione I (1961) for piano 4 hands
• Joli commentaire (1961) for piano 4 hands
• Paintings (1961) for one flutist (or recorder player) and one pianist^[6]
• Étude pour les timbres (1962) for piano
• Triplum (1962) for guitar (dedicated to Jeanette Yanikian)
• Canzone 3 (Utinam) (1962) for voice and piano^[6]
• Constructions for a Ballet (1962, revision 2009) for orchestra, including Ondine, timbres voor orkest^[8]
• Plain-chant (1963) for flute and harp (dedicated to Eugenie van des Grinten and Veronica Reyns)^[6]
• Ittrospezione II (1963) for large orchestra
• Sweet (1964) for alto (treble) recorder (dedicated to Frans Brüggen)
• Registers (1963) for piano
• A flower song II (1964) for oboe solo^[6]
• A flower song III (1964) for violoncello solo^[6]
• Ittrospezione III (concept I) (1964) for 2 pianos and 3 instrumental groups^[6]
• Double (1965) for clarinet and piano (dedicated to George Pieterson and Tan Crone)^[6]
• Ittrospezione III (Concept II) – Fragment (1965) tenor saxophone ad libitum, 2 pianos (section of Ittrospezione III [Concept II]; may be performed separately)
• Beatles Songs (1966) (satirical arrangements of four Beatles songs) for female voice and piano
• Souvenirs d'enfance (1954–1966) for piano. Including amongst others: Nocturne, Ricercare, Allegro Marcato, As you like it, Blokken, Strawinsky, Rondo opus 1, Étude pour les timbres, dotted quarter note = 70
• Rage, rage against the dying of the light (1966) for 4 trombones^[5]
• Anachronie I (1966–67) for large orchestra
• The Garden of Ryoan-gi (1967) for 3 electronic organs
• Worum es ging und worum es geht (1967) (with Misha Mengelberg) for orchestra^[6]
• Contra tempus (1967–1968) for large ensemble^[6]
• Choralvorspiele (1969) for barrel organ
• Anachronie II (1969) for oboe, small orchestra (4 horns, harp, piano, strings)
• Hoe het is (1969) for 52 strings and live electronics
• Sonate op.2 nr.1 (1969) for piano with interruptions from string quartet (based on Piano Sonata No. 1 by Ludwig van Beethoven)^[8]
• Reconstructie (1969) (with Reinbert de Leeuw, Misha Mengelberg, Peter Schat, Jan van Vlijmen, libretto by Hugo Claus, Harry Mulisch) Morality opera for soloists, 3 mixed choruses (4 voices each), orchestra (11 winds, 7 brass, 2 guitars, 11 keyboards, 10 strings), live electronics
• De negen symfonieën van Beethoven (1970) for ice cream bell, orchestra
• Spektakel (1970) for improvisational ensemble (saxophone [+ bass clarinet], viola, bass guitar, electronic organ [+ piano], percussion [or other instruments]), small orchestra (12 winds, 4 horns, 6 percussion)
• Vergeet mij niet (1970) (Forget me not) for oboe^[6]
• La voile du bonheur (1966–1971) for violin and piano
• een, twee (1971) for organ, 10 instrumentalists and piano^[8]
• In Memoriam (1971) for tape
• Volkslied (1971) for an unlimited amount and kinds of instruments (in all octaves) (based on the Dutch national anthem Wilhelmus van Nassouwe and on The Internationale)^[6]
• De Volharding (1972) (Perseverance) for piano and wind instruments (written for Orkest de Volharding)^[6]
• Dat gebeurt in Vietnam (1972) (That's going on in Vietnam) for wind ensemble^[6]
• Arrangement of Solidaritätslied by Hanns Eisler (1972) for wind ensemble
• Arrangement of Streikslied by Hanns Eisler (1972) for wind ensemble
• Arrangement of In C by Terry Riley (1972) for wind ensemble
• Arrangement of Bereits sprach der Welt by Hanns Eisler (1972) for wind ensemble
• Arrangement of Tango by Igor Stravinsky (1972) for wind ensemble
• Arrangement of La création du monde by Darius Milhaud (1972) for wind ensemble
• Thanh Hoa (1972) (text by Nguyen Thai Mao) for voice and piano^[6]
• Canzone 3.Utinam (1972) (text from the Book of Job) for soprano, piano, 1962; Thanh Hoa (text by Nguyen Thay Mao), voice, piano
• On Jimmy Yancey (1973) for 9 winds, piano and double bass (written for Orkest de Volharding)^[6]
• Voor Sater (1973) for wind ensemble
• Amsterdam Vrij (1973) for wind ensemble
• Il Duce (1973) for tape
• The family (1973) for ensemble (film music)^[6]
• Melodie (1972–1974) for alto recorder (or other flute) and piano^[6]
• Arrangement of Ipanema and Gavea from Saudades do Brasil by Darius Milhaud (1974) for wind ensemble
• Il Principe (1974) (text by Niccolò Machiavelli) for 2 mixed choruses, 8 winds, 3 horns, tuba, bass guitar, piano
• Wals (1974) for piano
• Symfonieën der Nederlanden (1974) for 2 or more symphonic bands (minimum 32 players)
• Nederland, let op uw schoonheyt (1975) for symphonic band
• Workers Union (1975) for any loud-sounding group of instruments
• De Staat (1972–76) (text by Plato) for 2 sopranos, 2 mezzo-sopranos, 4 oboes (3rd, 4th + English horn), 4 horns, 4 trumpets, 3 trombones, bass trombone, 2 harps, 2 electric guitars, 4 violas, bass guitar, 2 pianos (also transcribed for two pianos in 1992 by Cees van Zeeland and Gerard Bouwhuis)
• Mattheus passie (1976) (text by Louis Ferron) Music theatre work for 8 mixed voices, 2 oboes (both + English horn), Hammond organ, string quartet, double bass
• Hoketus (1975–76) for 2 panpipes, 2 alto saxophones ad libitum, 2 bass guitars, 2 pianos, 2 electric pianos, 2 congas
• Orpheus (1977) (text by Lodewijk de Boer) Music theatre work for 8 mixed voices, lyricon, electric guitar, bass guitar, synthesizer, percussion
• Symphonie voor losse snaren (1978) for 12 strings
• Laat toch vrij die straat (1978) (text by Jaap van der Merwe) for voice and piano
• Hymne to the Memory of Darius Milhaud (1978) (version of chamber work)
• Felicitatie (1979) for 3 trumpets
• Toespraak (1979) for speaker who also plays trombone^[6]
• Mausoleum (1979 rev. 1981) (texts by Mikhail Bakunin, Arthur Arnould) for 2 high baritones, orchestra (12 brass, 2 harps, cimbalom, 2 pianos, 2 percussion, minimum 10 strings, bass guitar)
• Music for the film The Alien (1980) (Rudolf van den Berg)
• George Sand (1980) (text by Mia Meyer) Music theatre work for 8 mixed voices, 4 pianos
• Un beau baiser (1980) for mixed chorus
• Messe des pauvres by Erik Satie, arrangement by Louis Andriessen for choir, 15 solo strings, accordion, contrabass clarinet and harp (1980)^[6]
• Ende (1981) for 2 alto recorders (1 player) (dedicated to Frans Brüggen)
• Anfang (1981) for sopranino recorder and piano
• De Tijd (1979–81) (text by St. Augustine of Hippo) for female chorus, percussion ensemble, orchestra (6 flutes, 2 alto flutes, 3 clarinets, contrabass clarinet, 6 trumpets, 2 harps, 2 pianos, Hammond organ, strings, 2 bass guitars)
• Commentaar (1981) (text by Wilhelm Schön) for voice and piano
• La voce (1981) (to a text by Cesare Pavese) for cello and voice
• Disco (1982) for violin and piano
• Overture to Orpheus (1982) for harpsichord
• De Snelheid (1982-83 rev. 1984) for 3 amplified ensembles
• Y después (1983) (text by Federico García Lorca) for voice and piano
• Menuet voor Marianne (1983) for piano
• Trepidus (1983) for piano
• Doctor Nero (1984) Music theatre work
• Berceuse voor Annie van Os (1985) for piano
• De Lijn (1986) for 3 flutes
• Dubbelspoor (1986 rev. 1994) Ballet music for piano, harpsichord, celesta, glockenspiel
• De Materie (1984–88) (texts from the Plakkaat van Verlatinge, Nicolaes Witsen, David Gorlaeus, Hadewijch, M.H.J. Schoenmaekers, Madame van Domselaer-Middelkoop, Willem Kloos, Marie Curie, Françoise Giroud). Music theatre work for soprano, tenor, 2 female speakers, 8 amplified mixed voices, amplified orchestra (15 winds, 13 brass, harp, 2 electric guitars, 2 pianos [one + electric piano], off-stage upright piano, celesta, 2 synthesizers, 6 percussion, minimum 9 strings, bass guitar. Two of its four sections may be performed separately as concert works: [2] Hadewijch, [3] De Stijl
• De Toren (1988, rev. 2000) for carillon
• Nietzsche redet (1989) (text by Friedrich Nietzsche) for speaker, alto flute, English horn, clarinet, bass clarinet, bassoon, 2 violins, viola, 2 celli, double bass, 2 pianos
• Flora Tristan (1990) for mixed choir a cappella (text by Fleur Bourgonje)^[6]
• Facing Death (1990) for amplified string quartet
• Facing Death (1990) for saxophone quartet (arrangement by Aurelia Saxophone Quartet)^[7]
• Dances (1991) (text by Joan Grant, choreography by Bianca van Dillen) For soprano, small orchestra (amplified harp, amplified piano, percussion, strings). May be performed as a concert work.
• M is for Man, Music, Mozart (1991) (texts by the composer, Jeroen van der Linden, Peter Greenaway) for female jazz voice, flute (+ piccolo), soprano saxophone, alto saxophone, tenor saxophone, horn, 3 trumpets, 2 trombones, bass trombone, double bass, piano (TV score; may be performed as a concert work with one additional song)
• Lacrimosa (1991) for 2 bassoons
• Lacrimosa (1991) for 2 flutes (arrangement by Manuel Zurria)
• Hout (1991) for tenor saxophone, electric guitar, piano and marimba (+ woodblocks)
• Romance voor Caecilia (1991) for piano
• Nadir en Zenit (1992) improvisations on poems by Sybren Polet for voice and piano (+ synthesizer)
• ...not being sundered (1992) (text by Rainer Maria Rilke) for soprano, flute, cello
• Song Lines (1992) for 3-6 saxophones
• Deuxième chorale (1992) for music box
• The Memory of Roses (1992) for piano (+ toy piano)
• Chorale (1992) for piano
• M is Muziek, Monoloog en Moord (1993) (text by Lodewijk de Boer) Music theatre work
• Lied (1993) for piano
• Rosa - A Horse Drama: The Death of a Composer (1993–94) (libretto by Peter Greenaway) Opera for 2 sopranos, tenor, 2 baritones, female speaker, 8 mixed voices, orchestra.
• Een lied van de zee (1994) (text by Hélène Swarth) for female voice
• Zilver (1994) for flute, clarinet, violin, cello, piano, vibraphone and marimba
• Base (1994) for piano left hand
• Odysseus' Women (1995) (text by Homer, choreography by Beppie Blankert) for 2 sopranos, 2 altos, sampler
• De komst van Willibrord (1995) for carillon
• To Pauline O (1995) for oboe
• Machmes Wos (1996) for voice, piano
• Trilogie van de Laatste Dag (1996–97) (each of its three sections may be performed separately: (i) The Last Day (texts by Lucebert, folksong A Woman and Her Lass) for boy soprano, 4 male voices, orchestra; (ii) TAO (texts by Laozi, Kotaro Takamura) for 4 female voices, piano [+ voice, koto], small orchestra [5 winds, 2 horns, harp, piano (+ celesta), 2 percussion, minimum 14 strings]; (iii) Dancing on the Bones (text by the composer) for children's chorus, orchestra, 1997)
• De herauten (1997) for 3 horns, 3 trumpets, 3 trombones, tuba, timpani
• Not an Anfang (1997) for piano
• De eerste minnaar (1998) (text by Ton Tellegen) for boy soprano, organ, 1998 (section of music theatre work Oldenbarneveldt; may be performed as a concert work)
• Tuin van Zink (1998) for viola and live electronics
• Writing to Vermeer (1997–99) (libretto by Peter Greenaway) Opera for 2 children's voices, 2 sopranos, mezzo-soprano, female chorus, orchestra (7 winds, 2 horns, 2 trumpets [2nd + bass trumpet], 2 harps, 2 electric guitars, cimbalom, 2 pianos, on-stage harpsichord, 2 percussion, minimum 22 strings), CD (music by Michel van der Aa)
• Woodpecker (1999) for percussion
• Image de Moreau (1999) for piano
• Dirck Sweelinck Missed the Prince (1999) for harpsichord
• Passeggiata in tram in America e ritorno (1999) (text by Dino Campana) for female Italian voice, violin and piano
• What Shall I Buy You, Son? (2000) for voice, piano
• Boodschappenlijstje van een gifmengster (2000) (text by the composer) for vocalist (also writes), voice (may be performed as Shopping List of a Poisoner [translated by Nicoline Gatehouse]
• Inanna's Descent (2000) for mezzo-soprano, piccolo, oboe, violin, piano, 2 percussion ensembles (4-12 total players)
• The New Math(s) (2000) (text by Hal Hartley) for soprano, transverse flute, violin, marimba, CD (music by Michel van der Aa), 2000 (film score; may be performed as a concert work)
• Feli-citazione (2000) for piano
• Passeggiata in tram in America e ritorno (2001) (text by Dino Campana) for female Italian voice, 3 trumpets, 3 trombones, electric guitar, electric violin, double bass, piano, percussion, 1998 (also version for voice, flute, horn, 3 trumpets, 3 trombones, amplified violin, double bass, piano
• De vleugels van de herinnering (2001) (text by Larissa Tiginachvili [Dutch translation]) for voice, piano
• Fanfare om te beginnen (2001) for 6 groups of horns
• La Passione (2000–02) (text by Dino Campana) for female jazz voice, violin, small orchestra (7 winds, 7 brass, electric guitar, cimbalom, 2 pianos, synthesizer, 2 percussion, 3 violins, bass guitar)
• Very Sharp Trumpet Sonata (2002) for trumpet
• Tuin van Eros (Garden of Eros) (2002) for string quartet
• Klokken voor Haarlem (Bells for Haarlem) (2002) for piano, celesta, synthesizer, vibraphone (+ glockenspiel)
• Pupazzetti by Alfredo Casella, arranged by Louis Andriessen for ensemble in 2002-2003^[7]
• Inanna (2003) texts by Hal Hartley, Theo J.H. Krispijn) for 4 voices, 3 actors, mixed chorus, contrabass clarinet, 4 saxophones, violin, film (by Hal Hartley)
• Letter from Cathy (2003) (text from a letter by Cathy Berberian to the composer) for female jazz voice, harp, violin, double bass, piano, percussion
• Tuin van Eros (2003) for violin and piano
• RUTTMANN Opus II, III, IV (2003) for flute, 3 saxophones, horn, 3 trumpets, 3 trombones, double bass, piano (film music for a film of Walter Ruttman, written for the Filmmuseum Biennale 2003)^[6]
• Haags Hakkûh (The Hague Hacking) (2003) for 2 pianos. Renamed to Haags Hakkûh Stukje (The Hague Hacking Scrap) in 2008.
• Racconto dall'inferno (2004) (text by Dante Alighieri) for female jazz voice, small orchestra (8 winds, 6 brass, guitar, cimbalom, 2 pianos, 2 percussion, minimum 8 strings, bass guitar). Part II of La Commedia (2004–08).
• De Opening (2005) for ensemble (combined Orkest De Volharding, ASKO Ensemble, Schoenberg Ensemble)^[7]
• Vermeer Pictures (2005) concert suite for orchestra from Writing to Vermeer (arrangement by Clark Rundell)^[7]
• XENIA (2005) for violin
• Hymne to the memory of Darius Milhaud for ensemble (1974/2006)^[6]
• Hellende Fanfare (Inclined fanfare; Fanfara inclinata) (2006) for voice and ensemble (Text by Dino Campana)^[7]
• Raadsels (Riddle) (2006) for solo violin^[7]
• Johann Sebastian Bach's Prelude in b minor from the Well-Tempered Clavier BWV 866, arranged for string quartet with the first six bars augmented with a viola part by Igor Stravinsky, completed by Louis Andriessen (2006) ^[5]
• ..miserere... (2006–07) for string quartet^[7]
• The City of Dis or: The Ship of Fools (2007) for voices and ensemble. Part I of La Commedia (2004–08).^[7]
• La Commedia (2004–08). Film opera in five parts (texts by Dante and Vondel and from the Old Testament)^[7]
• Haags Hakkûh (The Hague Hacking) (2008) for two pianos and large ensemble^[7]
• Christiaan Andriessens uitzicht op de Amstel (Christiaan Andriessen's view on the river Amstel) (2009) for ensemble^[7]
• Life (2009) for ensemble, with film by Marijke van Warmerdam^[7]
• Anaïs Nin (2009/10) for singer, ensemble and film^[7]
• La Girò (2011), for violin solo & ensemble^[9]

Notable students[link]

• Allison Cameron
• Graham Fitkin
• Michael Zev Gordon
• Graeme Koehne
• Steve Martland
• Ye Xiaogang
• John Korsrud
• Paul Steenhuisen
• Jay Alan Yim
• Rodney Sharman
• Julia Wolfe
• Nathan Michel
• Daniel Matej
• Yannis Kyriakides
• Matthew Wright

References[link]

• Adlington, Robert: De Staat. Hants. (UK): Ashgate (2004). ISBN 0-7546-0925-1
• Andriessen, Louis and Elmer Schonberger (trans. Jeff Hamburg): The Apollonian Clockwork: On Stravinsky Amsterdam: Amsterdam UP (reprint, 2006). ISBN 90-5356-856-5
• Trochimczyk, Maja (ed.): The Music of Louis Andriessen. London: Routledge (2002). ISBN 0-8153-3789-2
• Zegers, Mirjam (ed.): Trans. Clare Yates. The Art of Stealing Time. Arc Publications. ISBN 1-900072-88-2.

External links[link]

• Louis Andriessen's Boosey & Hawkes Snapshot Page
• The London Sinfonietta's Andriessen biography page
• Louis Andriessen in conversation with Robert Davidson

Peter Greenaway, CBE
Peter Greenaway, August 2007
Born	(1942-04-05) 5 April 1942 (age 70) Newport, Wales, UK
Occupation	Film director, writer, painter

Peter Greenaway, CBE (born 5 April 1942) is a British film director. His films are noted for the distinct influence of Renaissance and Baroque painting, and Flemish painting in particular. The scenic composition and illumination and the contrasts of costume and nudity, nature and architecture, furniture and people, sexual pleasure and painful death are common traits in his films.

Early life[link]

Greenaway was born in Newport, Monmouthshire, Wales,^[1] to a teacher mother and a builder's merchant father.^[2] Greenaway's family left South Wales when he was three years old (they had moved there originally to avoid the Blitz) and settled in Essex, England. He attended Forest School in North-East London. At an early age Greenaway decided on becoming a painter. He became interested in European cinema, focusing first on the films of Ingmar Bergman, and then on the French nouvelle vague filmmakers such as Jean-Luc Godard and, most especially, Alain Resnais.

Career[link]

1962-1999[link]

In 1962, Greenaway began studies at Walthamstow College of Art, where a fellow student was musician Ian Dury (later cast in The Cook, the Thief, His Wife & Her Lover). Greenaway trained as a muralist for three years; he made his first film, Death of Sentiment, a churchyard furniture essay filmed in four large London cemeteries. In 1965, he joined the Central Office of Information (COI), working there fifteen years as a film editor and director. In that time he created a filmography of experimental films, starting with Train (1966), footage of the last steam trains at Waterloo station, (situated behind the COI), edited to a musique concrète composition. Tree (1966), is a homage to the embattled tree growing in concrete outside the Royal Festival Hall on the South Bank in London. By the 1970s he was confident and ambitious and made Vertical Features Remake and A Walk Through H. The former is an examination of various arithmetical editing structures, and the latter is a journey through the maps of a fictitious country.

In 1980, Greenaway delivered The Falls (his first feature-length film) – a mammoth, fantastical, absurdist encyclopedia of flight-associated material all relating to ninety-two victims of what is referred to as the Violent Unknown Event (VUE). In the 1980s, Greenaway's cinema flowered in his best-known films, The Draughtsman's Contract (1982), A Zed & Two Noughts (1985), The Belly of an Architect (1987), Drowning by Numbers (1988), and his most successful (and controversial) film, The Cook, the Thief, His Wife & Her Lover (1989). Greenaway's most familiar musical collaborator during this period is composer Michael Nyman, who has scored several films.

In 1989, he collaborated with artist Tom Phillips on a television serial A TV Dante, dramatising the first few cantos of Dante's Inferno. In the 1990s, he presented the visually spectacular Prospero's Books (1991), the controversial The Baby of Mâcon (1993), The Pillow Book (1996), and 8½ Women (1999).

In the early 1990s, Greenaway wrote ten opera libretti known as the Death of a Composer series, dealing with the commonalities of the deaths of ten composers from Anton Webern to John Lennon, however, the other composers are fictitious, and one is a character from The Falls. In 1995, Louis Andriessen completed the sixth libretto, Rosa – A Horse Drama. He is currently professor of cinema studies at the European Graduate School in Saas-Fee, Switzerland.

2000 - present[link]

Greenaway completed the artistically ambitious, The Tulse Luper Suitcases, a multimedia project with innovative film techniques that resulted in three films. Later there were releases of two shorter features which rework the material of the first three films.

He also contributed to Visions of Europe, a short film collection by different European Union directors; his British entry is The European Showerbath. Nightwatching and Rembrandt's J'Accuse two films on Rembrandt which were released in 2007 and 2008 respectively. Nightwatching is the first feature in the series "Dutch Masters", with the next project titled as "Goltzius and the Pelican Company".^[3]

On 17 June 2005, Greenaway appeared for his first VJ performance during an art club evening in Amsterdam, Netherlands, with music by DJ Serge Dodwell (aka Radar), as a backdrop, ‘VJ’ Greenaway used for his set a special system consisting of a large plasma screen with laser controlled touchscreen to project the ninety-two Tulse Luper stories on the twelve screens of "Club 11", mixing the images live. This was later reprised at the Optronica festival, London.

On 12 October 2007, he created the multimedia installation Peopling the Palaces at Venaria Reale at the Royal Palace of Venaria that will remain open for three years and that animate the Palace with 100 videoprojectors.^[4]

'Nine Classical Paintings Revisited'[link]

In 2006, Greenaway began an ambitious series of digital video installations, Nine Classical Paintings Revisited, with his exploration of Rembrandt's Night Watch in the Rijksmuseum in Amsterdam. On 30 June 2008, after much negotiation, Greenaway staged a one-night performance 'remixing' da Vinci's The Last Supper in the refectory of Santa Maria delle Grazie^[5] in Milan to a select audience of dignitaries. The performance consisted of superimposing digital imagery and projections onto the painting with music from the composer Marco Robino.

• 

  NightWatch by Rembrandt

• 

  The Wedding at Cana by Paolo Veronese (mid-16th century)

Greenaway exhibited his digital exploration of The Wedding at Cana by Paolo Veronese as part of the 2009 Venice Biennial. An arts writer for the New York Times called it "possibly the best unmanned art history lecture you'll ever experience," while acknowledging that some viewers might respond to it as "mediocre art, Disneyfied kitsch or a flamboyant denigration of site-specific video installation." The 50-minute presentation, set to a soundtrack, incorporates closeup images of faces from the painting along with animated diagrams revealing compositional relations among the figures. These images are projected onto and around the replica of the painting that now stands at the original site, within the Palladian architecture of the Benedictine refectory on San Giorgio Maggiore. The soundtrack features music and imagined dialogue scripted by Greenaway for the 126 "wedding guests, servants, onlookers and wedding crashers" depicted in the painting, consisting of small talk and banal chatter that culminates in reaction to the miraculous transformation of water to wine, according to the Gospels the first miracle performed by Jesus. Picasso's Guernica, Seurat's Grande Jatte, works by Jackson Pollock and Claude Monet, Velázquez's Las Meninas and Michelangelo's The Last Judgment are possible series subjects.^[6]

Films[link]

• The Falls (1980, 185 min)
• The Draughtsman's Contract (1982, 103 min)
• A Zed & Two Noughts (1985, 115 min)
• The Belly of an Architect (1987, 120 min)
• Drowning by Numbers (1988, 118 min)
• The Cook, the Thief, His Wife & Her Lover (1989, 124 min)
• Prospero's Books (1991, 129 min)
• The Baby of Mâcon (1993, 122 min)
• The Pillow Book (1996, 126 min)
• 8½ Women (1999, 118 min)
• The Tulse Luper Suitcases, Part 1: The Moab Story (2003, 127 min)
• The Tulse Luper Suitcases, Part 2: Vaux to the Sea (2003, 108 min)
• The Tulse Luper Suitcases, Part 3: From Sark to the Finish (2003, 120 min)
• Nightwatching (2007, 134 min)
• Goltzius and the Pelican Company (2011) (Post-production)
• Eisenstein in Guanajuato (2012) (Pre-production)

Shorts[link]

• Death of Sentiment (1962, 8 min)
• Tree (1966, 16 min)
• Train (1966, 5 min)
• Revolution (1967, 8 min)
• 5 Postcards From Capital Cities (1967, 35 min)
• Intervals (1969, 7 min)
• Erosion (1971, 27 min)
• H Is for House (1973, 10 min)
• Windows (1975, 4 min)
• Water Wrackets (1975, 12 min)
• Water (1975, 5 min)
• Goole by Numbers (1976, 40 min)
• Dear Phone (1978, 17 min)
• Vertical Features Remake (1978, 45 min)
• A Walk Through H: The Reincarnation of an Ornithologist (1978, 41 min)
• 1-100 (1978, 4 min)
• Making a Splash (1984, 25 min)
• Inside Rooms: 26 Bathrooms, London & Oxfordshire (1985, 26 min)
• Hubert Bals Handshake (1989, 5 min)
• Rosa (1992, 15 min)
• Lumière et compagnie (fragment "Peter Greenaway", 1996, 55 sec)
• The Bridge (1997, 12 min)
• The Man in the Bath (2001, 7 min)
• Visions of Europe (fragment "European Showerbath", 2004, 5 min)
• Castle Amerongen (2011, 37 min)

Documentaries and mockumentaries[link]

• Eddie Kid (1978, 5 min)
• Cut Above the Rest (1978, 5 min)
• Zandra Rhodes (1979, 13 min)
• Women Artists (1979, 5 min)
• Leeds Castle (1979, 5 min)
• Lacock Village (1980, 5 min)
• Country Diary (1980, 5 min)
• Terence Conran (1981, 15 min)
• Four American Composers (1983, 220 min)
• The Coastline (1983, 26 min)
• Fear of Drowning (1988)
• Rembrandt's J'Accuse (2008, 86min)

Television[link]

• Act of God (1980)
• Death in the Seine (French TV, 1988)
• A TV Dante (mini-series, 1989)
• M Is for Man, Music, Mozart (1991)
• A Walk Through Prospero's Library (1992)
• Darwin (French TV, 1993)
• The Death of a Composer: Rosa, a Horse Drama (1999, 90 mins)

Exhibitions[link]

• 1991 The Physical Self, museum Boymans van Beuningen, Rotterdam
• 100 Objects to represent the World (1992) at the Academy of Fine Arts Vienna and the Hofburg Imperial Palace Vienna.
• Stairs 1 Geneva (1995)
• Flyga över vatten/Flying over water, Malmö Konsthall (16/9 2000 - 14/1 2001)
• Peopling the Palaces at Venaria Reale, Palace of Venaria (2007)
• Heavy Water, Chelouche Gallery, Tel Aviv (2011)

References[link]

External links[link]

Wikiquote has a collection of quotations related to: Peter Greenaway

• Official website
• Peter Greenaway. Faculty website at European Graduate School (Biography, filmography, articles and photos)
• British Film Institute. Early Films
• Peter Greenaway biography and credits at the British Film Institute's Screenonline
• InFrame.tv Interview on Leonardo's Last Supper
• Peter Greenaway at the Internet Movie Database
• Manu Luksch. Interview - The Medium is the Message. Telepolis. 13 February 1997
• Dana Linssen. Video interview May 2006. 39min.
• Peter Greenaway at the National Portrait Gallery, London