Composer Brechtje: 'The musicians are the core of the universe'

'Thanks to a radio presenter, my grandfather found an entrance to classical music. With my new piece, I, in turn, am paving a path to him.' On Thursday, March 30, the Elements by Brechtje (1993) made its world premiere in the fifth episode of An Evening of Today at the Muziekgebouw aan 't IJ. In this series by the Nieuw Ensemble, conservatory students are given free rein. Besides Brechtje, five other up-and-coming talents are also on the programme. I spoke to her about the creation of her piece.

Ripe and green

What makes this project special for you?

The combination of inexperienced composers being allowed to work with an experienced ensemble. The adage was: do whatever you think is the coolest. This is actually adhered to, the sky is the limit. Everything is allowed, both from the ensemble and from the Muziekgebouw and Korzo Theatre in The Hague, where the concert will be repeated. I'm allowed to use all the rooms, right down to the cloakroom, balconies and foyers. And if there have to be three intermissions then that too is allowed. Of course it has to be a bit realistic, but I didn't feel inhibited at all. On the contrary, I felt encouraged.

What does that mean for your new play?

For me, it's a convergence of things I've done over the past few years. For instance, I put the New Ensemble on stage together with my band Jerboah. I have composed completely elaborate parts for the ensemble and lead sheets for my own club, as used in jazz. On it, for example, are instructions for the groove and guidelines for improvisation. It will be a combination of very different musical styles.

Your piece is called 'Elements', whence the title?

One source of inspiration was a conversation with my grandfather two years ago. He could never do much with classical music, finding it too abstract. But he had just heard a broadcast on the radio in which the presenter had spoken evocatively about a particular piece of music. How at the end you could hear a sunset and even hear the birds flying away.

Road to grandpa

Through the words of that radio presenter, my grandfather found an entry into classical music. He said he did want a piece on the origins of the universe, specifically on the evolution of the elements. That eventually led to Elements, which I then use to find a way back to my grandfather.

How did you translate that idea into music?

I wanted to depict the origin of the elements. The universe consists only of elements. Although, that might be expressed a little too enthusiastically, Grandpa wouldn't approve. After all, there is also a lot of vacuum. But in any case, atoms, also called elements, have an essential position in the universe. We all know about hydrogen, helium, carbon, oxygen and nitrogen, but there are many more.

However, it started with even much smaller things, such as quarks and gluons. When the universe was created, it was very small. Moreover, it was incredibly hot and so full that light could not move in it. A new situation gradually emerged, giving larger elements a chance. In this way, space continued to expand, and this is still going on. I tried to illustrate this development musically, not literally translate it. After all, music is music, it remains abstract. I really don't expect people to say: ha, now I hear hydrogen! That's not my intention either.

Was it difficult to write for such an occupation?

Not really. I composed the parts with the specific qualities of the individual musicians in mind. I actually always do that, whatever instrumentation I write for. That makes it very personal; I even included their names in the score.

Artrock

Because I was given a free hand, I thought: I'll pull out all the stops. It was a big step to compose so much grander than I am used to. Elements will last 22 minutes. The combination of my art-rock band Jerboah with the New Ensemble is new to me. We always play amplified, with high energy, and combine written-out material with improvisation. The New Ensemble plays from sheet and acoustic.

Because of their unusual line-up, with harp, guitar and mandolin, I was extra conscious about balance. Especially the drum kit/mandolin combination is a challenge. And it's such a versatile club! Many musicians also play in the Atlas Ensemble and have experience with special, alien instruments They can simply perform anything you think of.

What's also great is that they actively think along. For example, I had come up with a particular figure for the mandolin. After a week, mandolinist Hans Wesseling called: that one little motif, how do you want it? I can perform it with a Chinese chopstick under the string, then it sounds about the way you want it, but softer. I can also play it an octave lower via the hammer-off technique, then it sounds louder. Another week later he called: I have found exactly what you are looking for: I will do it with a nail!

How did he know what sound you had in mind?

I had sent him a recording of how I wanted it to sound. I had made that one on a guitar, but that's a completely different instrument. Guitar, mandolin and harp are difficult anyway because they are chord instruments. They are fairly self-contained and if you don't play them yourself, it's like a maze in which you have to find your way.

A melody instrument is easier. For those plucked instruments, you can quickly come up with consonances that are impossible. Fortunately, that doesn't seem to be the case now; I haven't had to rewrite anything yet.

Starry Sky

I ask a lot from the musicians and have also created a whole lighting plan. This is technically a tough job. There are fifty individual lights, operated by twenty volunteers, lined up around the musicians. Indeed, I imagine a starry sky turned upside down: the musicians are surrounded by the universe.

Or, rather they are the core of it. The audience moves to the balconies and we have to get that whole arrangement done in 15 minutes. That was a bit of a scare for the Muziekgebouw, because there are also five other pieces. But they approved it.

What are you most looking forward to?

Seeing it happen, experiencing how all the parts are going to click together. I can only guess at that right now. During the first rehearsals I haven't had any big surprises, but soon there will be 40 people on stage. I am curious to see if and how that tension curve will work.