Variations and Fugue on an Original Theme (Vita Aeterna Variations). Version for Symphony Orchestra, Op. 62 no. 2a 

Introduction and Theme. Adagio
Variation I. Allegro energico
Variation II. Tempo di valse in modo subdolo
Variation III. Allegro tempestuoso
Variation IV. Largo
Variation V. Adagio
Variation VI. Tempo di marcia
Finale: Fugue Apotheosis. Allegro vivace

In 2007, Pim van Lommel’s scientific research on near death experiences Eindeloos Bewustzijn (Consciousness Beyond Life) was published. The book gives strong evidence for the assumption that life doesn’t end with death and human beings indeed do have a soul that lives on eternally, as all religions claim. I was intrigued by the subject and started reading books that attempt to describe life ‘on the other side’, like Life in the World Unseen and A Wanderer in the Spirit World.

In 2010 I was commissioned to write a piece for the Koninklijke Fanfare ‘Sint Caecilia’, from the Dutch town Puth, to commemorate one of its members, the recently deceased young euphonium player Jeffrey Lindelauf.  As coincidence would have it, Jeffrey’s parents asked me to express the viewpoint that life goes on after death in the composition, and they proposed that Vita Aeterna (Eternal Life) would be an appropriate title. They also sent me sheet music of the pieces that Jeffrey was fond of playing, and in my composition there are lots of hints to these pieces.

When I was asked to compose the test piece for the EBBC 2012 in Rotterdam, I soon came to the conclusion that I wanted to use the lyrical theme from Vita Aeterna as a theme for a set of variations, and to dedicate the new composition to Jeffrey’s parents. Not only do I use this musical theme from the previous piece, I also wanted to elaborate a bit more on the subject of ongoing life, now combined with what in Hinduism and Buddhism is called Karma.

As a result, the Vita Aeterna Variations have the sort of rudimentary ‘program’ that many composers from the past have wisely kept to themselves. Here it is:

Introduction and Theme. Adagio                             Tentative beginning of Life.
Variation I. Allegro energico                                       Full of vital energy.
Variation II. Tempo di valse in modo subdolo   Evil seeks to seduce and gradually succeeds.
Variation III. Allegro tempestuoso                          Fate strikes.
Variation IV. Largo                                                           Despair.
Variation V. Adagio                                                          Redemption.
Variation VI. Tempo di marcia                                    Gradual return of life power.
Finale: Fugue and Apotheosis. Allegro vivace.   Boisterous, overflowing with vitality and delight in the beauty of life.

There is one more person that put his stamp on the music of this composition. His name is Walter Saler. He was Naturheiler (naturopath), a very special person with an outspoken positive attitude to life, who has helped me on numerous occasions. As a way to thank him, I wrote Musik für Walter for him, a Theme with Variations for cello and organ, which reflects this positive attitude.

Since I wanted the music of the Vita Aeterna Variations to be uplifting for the soul and life asserting, my mind automatically returned to the composition for Walter, too, and then it turned out that elements from Vita Aeterna and Musik für Walter easily blended together. Some examples: the opening bars of the Walter theme can be played in counterpoint with the opening bars of the Vita Aeterna theme—which is exactly what happens towards the end of the composition, of course. The first and the fourth variation of the Vita Aeterna Variations have been derived from variations from the Walter piece, respectively called Super Super Super! and Immer Vorwärts (Onwards and Upwards).

Both men had their influence in shaping the music to what it has become; for which I am very grateful. And I am very happy that the piece has already reached such a wide audience. I hope that this version for symphonic wind orchestra will contribute to making a even wider audience acquainted with both men, their stories and the music they both influenced, each in his own way.

There are also versions for brass band, Op. 62 no. 2 (Youtube: http://www.youtube.com/watch?v=U5_gBREJL3k), for symphonic wind orchestra, Op. 62 no. 2b. and for fanfare orchestra (Youtube: https://www.youtube.com/watch?v=tRCVIMSFP0M&t=84s).

From: Ex Corpore Hermetico, for Mixed Chorus a Capella 

 

I. Hymnus
II. Mors non est
IV. Ignorantia – Cognitio

So far completed movements from a planned cycle in five parts
Text from the Corpus Hermeticum, ascribed to Hermes Trismegistus, translated into Latin by Marsilio Ficino
Movements II and IV commissioned by the Dutch Fund for Podium Arts, and dedicated to the Dutch Vocaal Ensemble MUSA and their conductor Peter Dijkstra 

Youtube:

Part II:

Part IV:

Dutch Vocaal Ensemble MUSA conducted by Peter Dijkstra

Kansai Rhapsody, Op. 75

Commissioned by the Dutch Fund for the Podium Arts
Based on an idea by Koji Kakutani
Composed for and dedicated to Harmonie St. Petrus en Paulus, Wolder – Maastricht and their conductor Matty Cilissen

Official premiere: March 10, 2019, by the Machikaneyama Wind Orchestra, in Osaka.

Odysee:

https://odysee.com/@EduarddeBoerComposer:e/eduard-de-boer-kansai-rhapsody-premiere:c

The idea to compose a piece based on folk music from the Kansai region in Japan was suggested to me in 2012 by Koji Kakutani, artistic director of the Kinki University Band from Osaka. After the terrible tsunami in 2011 in the Tohoku region, I wrote an Elegy for Tohoku, based on one folk melody each of the three prefectures of this area: the Fukushima, the Miyagi and the Iwate prefectures.[1] After this piece was performed by the Kinki University Band, Mr. Kakutani asked me if I could write a composition for the 50th anniversary of his band, in 2013, and he sent me sheet music and links to audio files of folk melodies from the four prefectures of the Kansai region: the Wakayama, the Nara, the Hyogo and the Osaka prefectures.

Unfortunately, it turned out that I didn’t have the opportunity to compose such a piece for the occasion of the anniversary, but I found the idea to write a Kansai Rhapsody based on folk melodies from each of the four prefectures quite appealing, so the idea never left me.

During the 2013 World Music Contest for wind bands in Kerkrade, Harmonie St. Petrus en Paulus from the neigbourhood Wolder in the Dutch town Maastricht performed the Elegy. Some time after this concert, I suggested the idea of a Kansai Rhapsody to the orchestra’s manager Jo Haesen and conductor Matty Cilissen. Both reacted favourably and eventually this resulted in a commission by the Dutch Fund for the Podium Arts.

The composition consists of a Prelude, followed by four consecutive movements. The sheet music that Mr. Kakutani sent me often differs considerably from the sound files he sent me links to, and I made free use of both types of sources, since I found both of them attractive:

Prelude. Adagio. Loosely based on the sheet music version of Kawachi Ondo, the song that dominates the Finale.
I. Kushimoto Bushi (串本節), a folksong from the Wakayama prefecture. Andante – Allegro. The Andante is based on the sound file version, the Allegro on the sheet music version that I received.
II. Yoshino Kobiki Uta (吉野木挽歌), a folksong from the Nara prefecture. Adagio – Allegro.
III. Dekansho Bushi (デカンショ節), a folksong from the Hyogo prefecture. Adagio.
IV. Finale: Kawachi Ondo (河内音頭), a folksong from the Osaka prefecture. Allegro vivace. Loosely based on sound file versions of the song. Here the themes from the previous movements reappear, often in counterpoint with the Kawachi Ondo melody or with each other.

In this composition, I didn’t try to use the Japanese melodic material in a dogmatically ‘authentic’ way. I rather felt attracted to the idea of letting the beautiful Kansai folk melodies inspire my imagination, while leaving intact the typical ‘Japanese’ atmosphere that they emit; much like my fellow countryman Vincent van Gogh did when he made his famous paintings inspired by Japanese art.

Illustration on cover: Bridge in the Rain, after Hiroshige, by Vincent van Gogh

Uit een Sprookje (From a Fairy Tale). Version for Cello and Piano, Op. 50c

I. Er was eens… (Once upon a time…)
II. Zorgen (Sorrow)
III. Gevecht (Fight)
IV. Happy End
V. En ze leefden nog … (And they lived happily…)

There is also a version of this piece for wind orchestra, Op. 50b (Youtube: http://www.youtube.com/watch?v=fzkDClaRXE4&list=PLFphAvDeWM1RW7PWSX6fIU3A4A5njXCY2), and one for two orchestras, Op. 50a.
The composition has been incorporated in Sprookje (Fairy Tale) for accordion orchestra.
Movements III and IV have also been been arranged for fanfare orchestra and have also been incorporated in Divertissement for multiple pianos.