POW Ensemble improvises compositions

By: René van Peer | 28 October 2010 | 17:00
Translation: Carol Stennes/Muse Translations

Some parts are indeed pretty much fixed, such as a song about a swatting and killing a fly. While reminiscent of the country song Ring of Fire, an echo of Baroque music resounds in the accompaniment. In the four parts of BoX of BriX Houtkamp shamelessly inserts ornamentation and chords that are inseparable from the Baroque period – undoubtedly inspired by the fact that harpsichordist Goska Isphording is a member of the ensemble. But it also says something about how he deals with styles: “Baroque tunes are extremely rewarding to work with. They are recognisable immediately and they fit in easily. The Baroque period was one of much improvisation, and blocks like these proved very useful.”

Again in Uiterste Staat [Utmost State], the second piece on Continuum, Houtkamp makes use of principles from the Baroque. The piece, written for guitar, is played by Wiek Hijmans and two computers operated by Houtkamp and Guy Harries. “Its structure is that of a Baroque concerto”, says Houtkamp. “A solo instrument contrasted with an orchestra, in this case consisting of the computers. It has three movements and a cadenza in which the soloist can do his thing. Guy and I deal with the guitar differently in each movement. In the first movement we act as effect boxes and chiefly tinker with the sound of the guitar. In the second movement we put the computer's sound possibilities to work. In the third movement we make brief live samples of the guitar and insert them in different keys later. Wiek has to be very precise to ensure that the samples and his own part keep the same time.”

Hijmans really rips out on his guitar, linking the characteristic rock sound to an old form. Here too, two genres, seemingly diametrically opposed, merge in an artistic and a stylistic sense. Houtkamp light-heartedly tosses sectarianism in music overboard.