Life and career
Andriessen was born in Utrecht into a musical family, the son of the composer Hendrik Andriessen (1892–1981), brother of composers Jurriaan Andriessen (1925–1996) and Caecilia Andriessen (born 1931), and nephew of Willem Andriessen (1887–1964).
Andriessen originally studied with his father and Kees van Baaren at the Royal Conservatory of The Hague, before embarking upon two years of study with Italian composer Luciano Berio in Milan and Berlin. He later joined the faculty of the Royal Conservatory. See: List of music students by teacher: A to B#Louis Andriessen.
In 1969 Andriessen co-founded STEIM in Amsterdam. He also helped found the instrumental groups Orkest de Volharding and Hoketus, both of which performed compositions of the same names. He later became closely involved in the ongoing Schonberg and Asko ensembles and inspired the formation of the British ensemble Icebreaker.
Andriessen, a widower, was married to guitarist Jeanette Yanikian (1935–2008). They were a couple for over 40 years and were married in 1996.
Style and notable works
Andriessen's early works show experimentation with various contemporary trends: post war serialism (Series, 1958), pastiche (Anachronie I, 1966–67), and tape (Il Duce, 1973). His reaction to what he perceived as the conservatism of much of the Dutch contemporary music scene quickly moved him to form a radically alternative musical aesthetic of his own. Since the early 1970s he has refused to write for conventional symphony orchestras and has instead opted to write for his own idiosyncratic instrumental combinations, which often retain some traditional orchestral instruments alongside electric guitars, electric basses, and congas.
Andriessen's mature music combines the influences of jazz, American minimalism, Igor Stravinsky and Claude Vivier. His harmonic writing eschews the consonant modality of much minimalism, preferring post war European dissonance, often crystallised into large blocks of sound. Large scale pieces such as De Staat ['Republic'] (1972–76), for example, are influenced by the energy of the big band music of Count Basie and Stan Kenton and the repetitive procedures of Steve Reich, both combined with bright, clashing dissonances. Andriessen's music is thus anti-Germanic and anti-Romantic, and marks a departure from post war European serialism and its offshoots. He has also played a role in providing alternatives to traditional performance practice techniques, often specifying forceful, rhythmic articulations, and amplified, non-vibrato, singing.
Other notable works include Workers Union (1975), a melodically indeterminate piece "for any loud sounding group of instruments"; Mausoleum (1979) for 2 baritones and large ensemble; De Tijd ['Time'] (1979–81) for female singers and ensemble; De Snelheid ['Velocity'] (1982–83), for 3 amplified ensembles; De Materie ['Matter'] (1984–88), a large four-part work for voices and ensemble; collaborations with filmmaker and librettist Peter Greenaway on the film M is for Man, Music, Mozart and the operas Rosa: A Horse Drama (1994) and Writing to Vermeer (1998); and the recent La Passione (2000–02) for female voice, violin and ensemble.
The 2011 University of Louisville Grawemeyer Award for Music Composition for the multimedia opera La Commedia (2004–2008).Rondo Barbaro (1954) for pianoSonata (1956) for flute and piano (dedicated to Lucas van Regteren Altena)Elegy (1957) for cello and pianoElegy (1957) for double bass and piano (arrangement by Quirijn van Regteren Altena)Nuit d'été (1957) for piano four handsQuartet in two movements (1957) for string quartetSéries (1958) for 2 pianosNocturnen (1959) (text by the composer) for 2 sopranos, orchestra (dedicated to Jeanette Yanikian)Percosse (1959) for flute, trumpet, bassoon and percussionProspettive e Retrospettive (1959) for pianoTrois Pièces (1961) for piano left handAanloop en sprongen (1961) (Rincorsa e salti) for flute, oboe and clarinet in BbIttrospezione I (1961) for piano 4 handsJoli commentaire (1961) for piano 4 handsPaintings (1961) for one flutist (or recorder player) and one pianistÉtude pour les timbres (1962) for pianoTriplum (1962) for guitar (dedicated to Jeanette Yanikian)Canzone 3 (Utinam) (1962) for voice and pianoConstructions for a Ballet (1962, revision 2009) for orchestra, including Ondine, timbres voor orkestPlain-chant (1963) for flute and harp (dedicated to Eugenie van des Grinten and Veronica Reyns)Ittrospezione II (1963) for large orchestraSweet (1964) for alto (treble) recorder (dedicated to Frans Brüggen)Registers (1963) for pianoA flower song II (1964) for oboe soloA flower song III (1964) for violoncello soloIttrospezione III (concept I) (1964) for 2 pianos and 3 instrumental groupsDouble (1965) for clarinet and piano (dedicated to George Pieterson and Tan Crone)Ittrospezione III (Concept II) – Fragment (1965) tenor saxophone ad libitum, 2 pianos (section of Ittrospezione III [Concept II]; may be performed separately)Beatles Songs (1966) (satirical arrangements of four Beatles songs) for female voice and pianoSouvenirs d'enfance (1954–1966) for piano. Including amongst others: Nocturne, Ricercare, Allegro Marcato, As you like it, Blokken, Strawinsky, Rondo opus 1, Étude pour les timbres, dotted quarter note = 70Rage, rage against the dying of the light (1966) for 4 trombonesAnachronie I (1966–67) for large orchestraThe Garden of Ryoan-gi (1967) for 3 electronic organsWorum es ging und worum es geht (1967) (with Misha Mengelberg) for orchestraContra tempus (1967–1968) for large ensembleChoralvorspiele (1969) for barrel organAnachronie II (1969) for oboe, small orchestra (4 horns, harp, piano, strings)Hoe het is (1969) for 52 strings and live electronicsSonate op.2 nr.1 (1969) for piano with interruptions from string quartet (based on Piano Sonata No. 1 by Ludwig van Beethoven)Reconstructie (1969) (with Reinbert de Leeuw, Misha Mengelberg, Peter Schat, Jan van Vlijmen, libretto by Hugo Claus, Harry Mulisch) Morality opera for soloists, 3 mixed choruses (4 voices each), orchestra (11 winds, 7 brass, 2 guitars, 11 keyboards, 10 strings), live electronicsDe negen symfonieën van Beethoven (1970) for ice cream bell, orchestraSpektakel (1970) for improvisational ensemble (saxophone [+ bass clarinet], viola, bass guitar, electronic organ [+ piano], percussion [or other instruments]), small orchestra (12 winds, 4 horns, 6 percussion)Vergeet mij niet (1970) (Forget me not) for oboeLa voile du bonheur (1966–1971) for violin and pianoeen, twee (1971) for organ, 10 instrumentalists and pianoIn Memoriam (1971) for tapeVolkslied (1971) for an unlimited amount and kinds of instruments (in all octaves) (based on the Dutch national anthem Wilhelmus van Nassouwe and on The Internationale)De Volharding (1972) (Perseverance) for piano and wind instruments (written for Orkest de Volharding)Dat gebeurt in Vietnam (1972) (That's going on in Vietnam) for wind ensembleArrangement of Solidaritätslied by Hanns Eisler (1972) for wind ensembleArrangement of Streikslied by Hanns Eisler (1972) for wind ensembleArrangement of In C by Terry Riley (1972) for wind ensembleArrangement of Bereits sprach der Welt by Hanns Eisler (1972) for wind ensembleArrangement of Tango by Igor Stravinsky (1972) for wind ensembleArrangement of La création du monde by Darius Milhaud (1972) for wind ensembleThanh Hoa (1972) (text by Nguyen Thai Mao) for voice and pianoCanzone 3.Utinam (1972) (text from the Book of Job) for soprano, piano, 1962; Thanh Hoa (text by Nguyen Thay Mao), voice, pianoOn Jimmy Yancey (1973) for 9 winds, piano and double bass (written for Orkest de Volharding)Voor Sater (1973) for wind ensembleAmsterdam Vrij (1973) for wind ensembleIl Duce (1973) for tapeThe family (1973) for ensemble (film music)Melodie (1972–1974) for alto recorder (or other flute) and pianoArrangement of Ipanema and Gavea from Saudades do Brasil by Darius Milhaud (1974) for wind ensembleIl Principe (1974) (text by Niccolò Machiavelli) for 2 mixed choruses, 8 winds, 3 horns, tuba, bass guitar, pianoWals (1974) for pianoSymfonieën der Nederlanden (1974) for 2 or more symphonic bands (minimum 32 players)Nederland, let op uw schoonheyt (1975) for symphonic bandWorkers Union (1975) for any loud-sounding group of instrumentsDe Staat (1972–76) (text by Plato) for 2 sopranos, 2 mezzo-sopranos, 4 oboes (3rd, 4th + English horn), 4 horns, 4 trumpets, 3 trombones, bass trombone, 2 harps, 2 electric guitars, 4 violas, bass guitar, 2 pianos (also transcribed for two pianos in 1992 by Cees van Zeeland and Gerard Bouwhuis)Mattheus passie (1976) (text by Louis Ferron) Music theatre work for 8 mixed voices, 2 oboes (both + English horn), Hammond organ, string quartet, double bassHoketus (1975–76) for 2 panpipes, 2 alto saxophones ad libitum, 2 bass guitars, 2 pianos, 2 electric pianos, 2 congasOrpheus (1977) (text by Lodewijk de Boer) Music theatre work for 8 mixed voices, lyricon, electric guitar, bass guitar, synthesizer, percussionSymphonie voor losse snaren (1978) for 12 stringsLaat toch vrij die straat (1978) (text by Jaap van der Merwe) for voice and pianoHymne to the Memory of Darius Milhaud (1978) (version of chamber work)Felicitatie (1979) for 3 trumpetsToespraak (1979) for speaker who also plays tromboneMausoleum (1979 rev. 1981) (texts by Mikhail Bakunin, Arthur Arnould) for 2 high baritones, orchestra (12 brass, 2 harps, cimbalom, 2 pianos, 2 percussion, minimum 10 strings, bass guitar)Music for the film The Alien (1980) (Rudolf van den Berg)George Sand (1980) (text by Mia Meyer) Music theatre work for 8 mixed voices, 4 pianosUn beau baiser (1980) for mixed chorusMesse des pauvres by Erik Satie, arrangement by Louis Andriessen for choir, 15 solo strings, accordion, contrabass clarinet and harp (1980)Ende (1981) for 2 alto recorders (1 player) (dedicated to Frans Brüggen)Anfang (1981) for sopranino recorder and pianoDe Tijd (1979–81) (text by St. Augustine of Hippo) for female chorus, percussion ensemble, orchestra (6 flutes, 2 alto flutes, 3 clarinets, contrabass clarinet, 6 trumpets, 2 harps, 2 pianos, Hammond organ, strings, 2 bass guitars)Commentaar (1981) (text by Wilhelm Schön) for voice and pianoLa voce (1981) (to a text by Cesare Pavese) for cello and voiceDisco (1982) for violin and pianoOverture to Orpheus (1982) for harpsichordDe Snelheid (1982–83 rev. 1984) for 3 amplified ensemblesY después (1983) (text by Federico García Lorca) for voice and pianoMenuet voor Marianne (1983) for pianoTrepidus (1983) for pianoDoctor Nero (1984) Music theatre workBerceuse voor Annie van Os (1985) for pianoDe Lijn (1986) for 3 flutesDubbelspoor (1986 rev. 1994) Ballet music for piano, harpsichord, celesta, glockenspielDe Materie (1984–88) (texts from the Plakkaat van Verlatinge, Nicolaes Witsen, David Gorlaeus, Hadewijch, M.H.J. Schoenmaekers, Madame van Domselaer-Middelkoop, Willem Kloos, Marie Curie, Françoise Giroud). Music theatre work for soprano, tenor, 2 female speakers, 8 amplified mixed voices, amplified orchestra (15 winds, 13 brass, harp, 2 electric guitars, 2 pianos [one + electric piano], off-stage upright piano, celesta, 2 synthesizers, 6 percussion, minimum 9 strings, bass guitar. Two of its four sections may be performed separately as concert works: [2] Hadewijch, [3] De StijlDe Toren (1988, rev. 2000) for carillonNietzsche redet (1989) (text by Friedrich Nietzsche) for speaker, alto flute, English horn, clarinet, bass clarinet, bassoon, 2 violins, viola, 2 celli, double bass, 2 pianosFlora Tristan (1990) for mixed choir a cappella (text by Fleur Bourgonje)Facing Death (1990) for amplified string quartetFacing Death (1990) for saxophone quartet (arrangement by Aurelia Saxophone Quartet)Dances (1991) (text by Joan Grant, choreography by Bianca van Dillen) For soprano, small orchestra (amplified harp, amplified piano, percussion, strings). May be performed as a concert work.M is for Man, Music, Mozart (1991) (texts by the composer, Jeroen van der Linden, Peter Greenaway) for female jazz voice, flute (+ piccolo), soprano saxophone, alto saxophone, tenor saxophone, horn, 3 trumpets, 2 trombones, bass trombone, double bass, piano (TV score; may be performed as a concert work with one additional song)Lacrimosa (1991) for 2 bassoonsLacrimosa (1991) for 2 flutes (arrangement by Manuel Zurria)Hout (1991) for tenor saxophone, electric guitar, piano and marimba (+ woodblocks)Romance voor Caecilia (1991) for pianoNadir en Zenit (1992) improvisations on poems by Sybren Polet for voice and piano (+ synthesizer)...not being sundered (1992) (text by Rainer Maria Rilke) for soprano, flute, celloSong Lines (1992) for 3–6 saxophonesDeuxième chorale (1992) for music boxThe Memory of Roses (1992) for piano (+ toy piano)Chorale (1992) for pianoM is Muziek, Monoloog en Moord (1993) (text by Lodewijk de Boer) Music theatre workLied (1993) for pianoRosa - A Horse Drama: The Death of a Composer (1993–94) (libretto by Peter Greenaway) Opera for 2 sopranos, tenor, 2 baritones, female speaker, 8 mixed voices, orchestra.Een lied van de zee (1994) (text by Hélène Swarth) for female voiceZilver (1994) for flute, clarinet, violin, cello, piano, vibraphone and marimbaBase (1994) for piano left handOdysseus' Women (1995) (text by Homer, choreography by Beppie Blankert) for 2 sopranos, 2 altos, samplerDe komst van Willibrord (1995) for carillonTo Pauline O (1995) for oboeMachmes Wos (1996) for voice, pianoTrilogie van de Laatste Dag (1996–97) (each of its three sections may be performed separately: (i) The Last Day (texts by Lucebert, folksong A Woman and Her Lass) for boy soprano, 4 male voices, orchestra; (ii) TAO (texts by Laozi, Kotaro Takamura) for 4 female voices, piano [+ voice, koto], small orchestra [5 winds, 2 horns, harp, piano (+ celesta), 2 percussion, minimum 14 strings]; (iii) Dancing on the Bones (text by the composer) for children's chorus, orchestra, 1997)De herauten (1997) for 3 horns, 3 trumpets, 3 trombones, tuba, timpaniNot an Anfang (1997) for pianoDe eerste minnaar (1998) (text by Ton Tellegen) for boy soprano, organ, 1998 (section of music theatre work Oldenbarneveldt; may be performed as a concert work)Tuin van Zink (1998) for viola and live electronicsWriting to Vermeer (1997–99) (libretto by Peter Greenaway) Opera for 2 children's voices, 2 sopranos, mezzo-soprano, female chorus, orchestra (7 winds, 2 horns, 2 trumpets [2nd + bass trumpet], 2 harps, 2 electric guitars, cimbalom, 2 pianos, on-stage harpsichord, 2 percussion, minimum 22 strings), CD (music by Michel van der Aa)Woodpecker (1999) for percussionImage de Moreau (1999) for pianoDirck Sweelinck Missed the Prince (1999) for harpsichordPasseggiata in tram in America e ritorno (1999) (text by Dino Campana) for female Italian voice, violin and pianoWhat Shall I Buy You, Son? (2000) for voice, pianoBoodschappenlijstje van een gifmengster (2000) (text by the composer) for vocalist (also writes), voice (may be performed as Shopping List of a Poisoner [translated by Nicoline Gatehouse]Inanna's Descent (2000) for mezzo-soprano, piccolo, oboe, violin, piano, 2 percussion ensembles (4–12 total players)The New Math(s) (2000) (text by Hal Hartley) for soprano, transverse flute, violin, marimba, CD (music by Michel van der Aa), 2000 (film score; may be performed as a concert work)Feli-citazione (2000) for pianoPasseggiata in tram in America e ritorno (2001) (text by Dino Campana) for female Italian voice, 3 trumpets, 3 trombones, electric guitar, electric violin, double bass, piano, percussion, 1998 (also version for voice, flute, horn, 3 trumpets, 3 trombones, amplified violin, double bass, pianoDe vleugels van de herinnering (2001) (text by Larissa Tiginachvili [Dutch translation]) for voice, pianoFanfare om te beginnen (2001) for 6 groups of hornsLa Passione (2000–02) (text by Dino Campana) for female jazz voice, violin, small orchestra (7 winds, 7 brass, electric guitar, cimbalom, 2 pianos, synthesizer, 2 percussion, 3 violins, bass guitar)Very Sharp Trumpet Sonata (2002) for trumpetTuin van Eros (Garden of Eros) (2002) for string quartetKlokken voor Haarlem (Bells for Haarlem) (2002) for piano, celesta, synthesizer, vibraphone (+ glockenspiel)Pupazzetti by Alfredo Casella, arranged by Louis Andriessen for ensemble in 2002–2003Inanna (2003) texts by Hal Hartley, Theo J.H. Krispijn) for 4 voices, 3 actors, mixed chorus, contrabass clarinet, 4 saxophones, violin, film (by Hal Hartley)Letter from Cathy (2003) (text from a letter by Cathy Berberian to the composer) for female jazz voice, harp, violin, double bass, piano, percussionTuin van Eros (2003) for violin and pianoRUTTMANN Opus II, III, IV (2003) for flute, 3 saxophones, horn, 3 trumpets, 3 trombones, double bass, piano (film music for a film of Walter Ruttman, written for the Filmmuseum Biennale 2003)Haags Hakkûh (The Hague Hacking) (2003) for 2 pianos. Renamed to Haags Hakkûh Stukje (The Hague Hacking Scrap) in 2008.Racconto dall'inferno (2004) (text by Dante Alighieri) for female jazz voice, small orchestra (8 winds, 6 brass, guitar, cimbalom, 2 pianos, 2 percussion, minimum 8 strings, bass guitar). Part II of La Commedia (2004–08).De Opening (2005) for ensemble (combined Orkest De Volharding, ASKO Ensemble, Schoenberg Ensemble)Vermeer Pictures (2005) concert suite for orchestra from Writing to Vermeer (arrangement by Clark Rundell)XENIA (2005) for violinHymne to the memory of Darius Milhaud for ensemble (1974/2006)Hellende Fanfare (Inclined fanfare; Fanfara inclinata) (2006) for voice and ensemble (Text by Dino Campana)Raadsels (Riddle) (2006) for solo violinJohann Sebastian Bach's Prelude in b minor from the Well-Tempered Clavier BWV 866, arranged for string quartet with the first six bars augmented with a viola part by Igor Stravinsky, completed by Louis Andriessen (2006)..miserere... (2006–07) for string quartetThe City of Dis or: The Ship of Fools (2007) for voices and ensemble. Part I of La Commedia (2004–08).La Commedia (2004–08). Film opera in five parts (texts by Dante and Vondel and from the Old Testament)Haags Hakkûh (The Hague Hacking) (2008) for two pianos and large ensembleChristiaan Andriessens uitzicht op de Amstel (Christiaan Andriessen's view on the river Amstel) (2009) for ensembleLife (2009) for ensemble, with film by Marijke van WarmerdamAnaïs Nin (2009/10) for singer, ensemble and filmLa Girò (2011), for violin solo and ensembleMysteriën (2013), for orchestraTapdance (2013), concerto for percussion and large ensembleTwo way ticket (2014), for pianoTheatre of the World (2013–15), a 'grotesque stagework' in nine scenes (Libretto by Helmut Krausser) Signs and Symbols (2016), for wind ensemble