9/17/2015

TristanKeurisLongBiographyMusicSalesClassical

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Composers
Tristan Keuris
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Tristan Keuris
Born: 1946
Died: 1996
Nationality: Dutch
Publisher: Novello & Co
Photo Friso Keuris
TristanKeuris(Amersfoort,3Oct1946Amsterdam,15Dec1996)wasoneofthe
leadingDutchcomposersofhisgeneration.HestudiedattheUtrechtConservatory
withTondeLeeuw(196269),andtaughtmusicaltheoryandcompositionin
Groningen(197477),Hilversum(19771984),Utrecht(19841996)andAmsterdam
(198996).HealsogavemasterclassesinChristiansand(1984),Houston(1987)
andManchester(1988).
In1976KeurisgainedwidepublicacclaimwhenhewontheprestigiousMatthijs
VermeulenPrizeforhisSinfoniaforOrchestra(1974).Eveninthisearlyworkwere
tracesofthehedonisticandDionysianqualitiesthatKeurispermitshimselfinhis
musicfromtimetotimequalitieswhichweretoappearlaterinthebreathtaking
virtuosityandbrilliantorchestrationoftheConcertoforSaxophoneQuartetand
Orchestra(1986).In1982,KeurisreceivedtheCulturalAwardofHilversumforhis
PianoConcerto(1980)andtheMovementsforOrchestra(1981),whichwere
performedbyBernardHaitinkandtheRoyalConcertgebouwOrchestraontheir1982
UStour.
KeuriscomposedtheexpressiveClarinetQuintetforthecentenaryoftheAmsterdam
Concertgebouwin1988and,forthecentenaryoftheRoyalConcertgebouw
Orchestrainthesameyear,wascommissionedtowriteCatenaforWindOrchestra
andPercussion.OthermajorcommissionsincludeSymphonicTransformations
(1987)fortheHoustonSymphonyOrchestra,ThreeMichelangeloSongs(1990)for
JardvanNes,theConcertoforTwoCellos(1992),thesongcycleLaudi(1993)for
NetherlandsRadio,theorchestralThreePreludes(1994)fortheKondrashinCompetition,andArcadeforOrchestra(1995)for
theopeningofthenewstudiooftheRadioPhilhamonicOrchestrainHilversum,TheNetherlands.
MostofKeurisworksareinfluencedbyamixtureofexpansiveRomanticgesturesandStravinskianaloofness,combinedwith
amusicallanguageconsistingofexplodedfragmentedmelodies,dramaticharmonicshiftsandtightlyknitchords,all
dramaticallyjuxtaposedwithmomentsofstillnessorharmonicinertia.Keurismanyorchestralscoresrevealhimtobea
brilliantorchestrator,whoenjoyedexploringeveryimaginablecombinationofsoundsandcolours,withoutindulgingin
technicalsuperficialities.Fromthelate1980s,KeurisvocalscoressuchasToBrooklynBridge(1988),ThreeMichelangelo
Songs(1990),LInfinito(1990)andLaudi(1993)provedinfluentialinthedevelopmentofaricherharmoniclanguagewith
broadermelodiclines.Inthe1990shisstyleevolvedtoamoreovertlyromanticexpressiveness,albeitstillembeddedin
masterlyandbrilliantorchestrations,asinThreePreludesfororchestra(1994),SymphonyinD(1995),ViolinConcertoNo2
(1995)andArcadefororchestra(1995).
LeoSamama

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