Orchestral Works - Wim Lasoen
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Sounds&Heels


The Music of Wim Lasoen

ORCHESTRAL WORKS

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The 5th Symphony (1995)
The fifth is actually the very first symphony which Wim had written for Fanfare Orchestra. It is a very meditative piece slightly inspired by late New Age music and adagios of Beethoven and Mahler, certainly recognizable in the first and second part. In the more heroic third part, the Influence of minimalism and John Adams' music is unmistakably present.
Fanfare orchestra
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Adagio for Strings (1997)
Started as an exercise in between studying the atonal composing techniques of the beginning of the 20th century and discovering new orchestration strategies for string section. This is a painting of tranquility over an almost exigent complex soundscape. It is a very demanding piece if the orchestra wants to create the right atmosphere.
String orchestra
*****

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Chains (1997)
Minimal music. About being chained to life. Chained to your love, chained to Moods, chained to time. Chained to enemies and friends. At the end let it all be, however chained.

Fanfare orchestra
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Chamber orchestra
(flute, oboe, clarinet in Bb, bassoon, violin I & II, viola, cello and double bass)
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MOODS II (1998)
MOODS was destined to be the third symphony of Wim Lasoen, but the large differences in instrumentation of the separate parts made it not only unpractical, but also musically far-fetched to speak of one symphony. The first part was composed entirely as an electronic landscape and has never been published or performed.
Two other works, Chains and Village 95, like MOODS II originally written for a kind of advanced youth ensemble with woodwinds, guitar, piano and double bass were ment to be parts IV and V but later started leading their own, enhanced and more complex life as orchestral works. MOODS VI combined digital music with symphonic instrumentation but has always remained a draft.
All MOODS have been written in a period which can be described as minimalistic and contains several repetitive sentences and cells. This 2° part represents melancholy mixed with courage.
Fanfare orchestra
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MOODS III (1998)
MOODS was destined to be the third symphony of Wim Lasoen, but the large differences in instrumentation of the separate parts made it not only unpractical, but also musically far-fetched to speak of one symphony. The first part was composed entirely as an electronic landscape and has never been published or performed.
Two other works, Chains and Village 95, like MOODS II originally written for a kind of advanced youth ensemble with woodwinds, guitar, piano and double bass were ment to be parts IV and V but later started leading their own, enhanced and more complex life as orchestral works. MOODS VI combined digital music with symphonic instrumentation but has always remained a draft.
All MOODS have been written in a period which can be described as minimalistic and contains several repetitive sentences and cells. This 3° part was originally composed for fanfare orchestra and describes confusion versus fortitude.
Fanfare orchestra
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FANTASIA (1998)
Wim has written on this fantasy for alto saxophone for four months. There is a leitmotiv showing up in the three consecutive parts, being a mix of folkore, romanticism, minimalism, blues and jazz. The soloist has to prove himself technically and musically as a contemporary classical ànd jazz musician.
Fanfare orchestra
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VILLAGE 95 (1999)
The first house our composer ever bought was a puzzle of old and less old chambers and floors, containing a lot of corners and staircases. These are represented by the musical elements of this fast and furious minimalistic piece which like no other piece of Wim - except maybe for the finale of his fifth symphony - reveals the deep love and appreciation for John Adams' music.
Less is more on the part of musical material, but the reconstruction leads into a complex and lively architecture.
This composition has been adapted and arranged for brassband by Wim himself in 2012.
Fanfare orchestra
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Brassband
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ENCIMA (2008)
This is a romantic tango inspired by Astor Piazzolla, at first sight a bit atypic regarding the usual composing techniques in the more post-style works of Wim Lasoen. Nevertheless in the grand finale, again complex rhythm and polyphony evolves from the intersection of the previously used main themes.
The piece is all about gratitude and acceptance over closed chapters in life (minor); old friends, abandoned favorite pursuits and nice places, but in the end the curiousness for things to come, leaving all possibilities open (major).
Fanfare orchestra
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DAYDREAM (2010)
A symphonic poem in which two main themes declare their love to each other. The lady has a warm and passionate personality, waltzes through life but she's cautious; there's a charming man who's flirting with her, which at first is quite romantic but also confusing.
There's a lot of work to be done by the male conqueror but finally he succeeds. At the end the fresh couple falls asleep after a long and beautiful daydream.
Fanfare orchestra
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LE SACRE DES FRÈRES FÊTANTS
Minimalism, jazz and neo romanticism in this pagan symphonietta, all about freethinkers and atheists nevertheless seeking for their own feasts and rituals.
This work is almost atomic: the big architecture of the piece is represented in the smallest element and is immediately revealed in the first bars, for the good listener.
An extremely colorful work, really demanding for brass, saxophones and percussion and counting on good soloists. As most of the music of Wim Lasoen, this piece - even more then others - shows not even the slightest urge to be a composition fitting in the common and over-consumed 'hafabra' - box.
Fanfare orchestra
*****
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