New Recording: The Loss of Small Objects


On her new album Debora's Canary, piccoloist Debora Rosti recorded The Loss of Small Objects, together with other works by Italian composers.

You can listen to the piece on Spotify, or you can order a hard copy of the CD at Da Vinci Publishing.

People lose things all the time, often small objects of great value. I was thinking about this when I was composing this work for piccolo—the smallest instrument in the family of flutes.

The piccolo too often plays a limited role: in orchestral music it is the superlative of the highest register; in chamber music, it is almost non-existent. It almost seems like the piccolo got lost underway among the larger instruments.

In The Loss of Small Objects I wanted to hear the piccolo in its lower, archaic register. Not screamingly loud but rather soft; not on roller coaster speed but oddly flowing and lyrical.

Redshift Video Clip

I don't know much about astronomy. Perhaps that is due to the fact that I reside in a city – where the night is filled with the light we produce on the ground. I live under a dome of light, which denies me the view of that blanket of light.

But when I am on vacation, I like to look up at night and I am always impressed by the unchangeable and timeless beauty. It seems like it takes its power from our gaze.

That immutability is, of course, an illusion. Time expires differently for people, mountains or stars. For a slowly living celestial body our life must look like a small flash of light.

While to us their slow existence and movement seems endless.

Tom Sanderman, soprano saxophone on the album Whoever You Are Come Forth on Alaska Records.

Tamashii with Wubkje Kuindersma

I recently made music for the dance production Tamashii, by choreographer Wubkje Kuindersma—to be performed in several times in november in Korzo, The Hague. The violoncello plays an important role in the music. I was happy to record it with Diederik Smulders.

Wubkje and I worked simultaneously. I basically composed in the dance studio, while Wubkje was creating her choreography for the dancers Aya Misaki and Christie Partelow. That was a wonderful experience.

Kuindersma about the choreography: "Tamashii is Japanese for soul or spirit. Inspiration for this choreography is the idea of fragmented identity, with the soul as unifying element.

For the choreography I played with the thought of the soul as activity of the body. I like the idea that the soul speaks through dance, possibly as a guide, a guardian angel, or simply a thought or a whisper—thus connecting the two dancers together.

Anthony Fiumara made a completely new score for Tamashii. We created simultaneously in the studio. While I was choreographing, he composed the music.

Anthony understands exactly what kind of universe I want to create for the choreography. He knows how to transform music into a magical composition that resonates with the choreography.

As choreographer it is beautiful to speak through dancers and to see how dancers give a body and soul to the music and the choreography. In turn, Fiumara's music gives a universe of sound, the audible soul of the choreography.

Peter Lemmens added magical light-design to the choreography, communicating the atmosphere of the piece beautifully."

Each Time We Fall a City Rises

In Each Time We Fall, A City Rises, Panama Pictures shows a world about to be thrown off balance. Stumbling, falling and flying, the performers look for something to hold on to, if even for a moment. In several tableaux, the performance unravels our desire to create a sense of security as a buffer against all things we are unable to control.

The rhythmic language of acclaimed poet Maria Barnas inspired choreographer Pia Meuthen’s new creation. In a striking setting – sloping surfaces combined with shelters high in the air – the performers succumb to a world that seems utterly unsettled. As they become unbalanced, new perspectives open up.

For Each Time We Fall, A City Rises composer Anthony Fiumara and duo Strijbos & Van Rijswijk enter into a special collaboration: they compose music as in a dialogue. Fiumara’s music which is related to minimal music encounters the electro-acoustic compositions of Strijbos & Van Rijswijk.

The human voice, in all its facets and expressiveness, is central to the joint composition performed live by singer Els Mondelaers. Her vocals provide support, disruption, threat and comfort.