All my life I've loved the music of Bach and the classics of the Enlightenment
more than anything else in the world. Here, with the St. Matthew Passion,
Don Giovanni, Beethoven VII, Schubert IX we walk amid the Olympians
on the Himalaya of music.
I think it is because of the extraordinary beauty and logic of the deepstructure
of this music: of diatonic tonality, in the freshness of its springtime.
Composers recognized this by adding keys to their titles: Mass
in b-minor, Symphony in A major, etcetera, thus expressing their gratitude
to the system that worked so well for them - it was 'already half the
work done'. Bach wrote in those fertile days some 4000 pieces, which was
by no means a record production: many of his contemporaries wrote twice
or three times as many pieces.
But in 1859 Tristan und Isolde were thrown out of this paradise
and ever since that fateful day composers are looking for something else
to replace that old, profitable production system.
My quest for a new bottom line can be followed from my very first pieces in the nineteen fifties: I often wrote then the skeleton-formulas of the work on the last page of the score. This habit later developed into a comprehensive theory, called the tone clock. It is also the basis of this website.
My compositions exist on paper in three different forms:
1. The particel annex sketches written in pencil;
1. The particel and the corresponding sketches make an
analysis of the manuscript score an interesting adventure for the
lovers of this kind of theoretical work.
Email address NMI
2.The manuscript score, and
Email address Donemus/MGN
Self-analysis over my main works can be found (among much more) in my
essays, published in five books, which you will find among the Artefacts,
in the second Hour.
You will find the essay about Aap (Monkey): ' the development of characters composed', as it appeared on the occasion of the première of the work in 1980 in chapter 5 of The Tone Clock.
When you've studied the principles and the technique of the tone clock
you can analyse in every detail, if you wish, the score of
A complete tone clock analyses of the orchestral variations
Underneath the mirror in my attic there are twenty Newtonian crystals,
reflecting the sunlight and breaking its rays into little spectra that
appear on the opposite wall.
Newton proved that every sunbeam contains all the colors, just as Pythagoras demonstrated with a vibrating string that every tone contains all the overtones, thus creating the basis of harmony.
|The prism, that little piramid of glass, reveals us the beauty that hides in every sunray. It is the beginning of the Enlightenment.||