Louis Andriessen

Template:Short description Template:Use dmy dates Template:Infobox person Louis Joseph Andriessen (Template:IPA; 6 June 1939 – 1 July 2021) was a Dutch composer, pianist and academic teacher. Considered the most influential Dutch composer of his generation, he was a central proponent of The Hague school of composition.Template:Sfn Although his music was initially dominated by neoclassicism and serialism, his style gradually shifted to a synthesis of American minimalism, big band jazz and the expressionism of Igor Stravinsky.Template:Citation needed

Born in Utrecht into a musical family, Andriessen studied with his father, the composer Hendrik Andriessen as well as composers Kees van Baaren and Luciano Berio. Andriessen taught at the Royal Conservatory of The Hague from 1974 to 2012, influencing notable composers. His opera La Commedia, based on Dante's Divine Comedy, won the 2011 Grawemeyer Award for Music Composition and was selected in 2019 by critics at The Guardian as one of the most outstanding compositions of the 21st century.

Life and career

Andriessen was born in Utrecht on 6 June 1939 to a musical family,<ref name="Huizenga 2021" /> the son of the composer Hendrik Andriessen<ref name="Huizenga 2021" /> and Johanna Justina Anschütz (1898–1975).<ref>Template:Cite book</ref> His father was professor of composition at the Royal Conservatory of The Hague, and later its director. His siblings are composers Jurriaan Andriessen and Caecilia Andriessen (1931–2019), and he is the nephew of Willem Andriessen (1887–1964).<ref name="Huizenga 2021" />

Andriessen originally studied with his father and Kees van Baaren at the Royal Conservatory of The Hague, graduating in 1961 with a first prize,<ref name="Composers21" /><ref name="Trochimczyk 2013 p. 32">Template:Cite book</ref> before embarking upon two years of study with Italian composer Luciano Berio in Milan and Berlin.<ref name="Huizenga 2021" /><ref name="Hamilton">Template:Cite journal</ref> His father introduced him to the works of Francis Poulenc and Eric Satie which he came to love.<ref name="Hamilton" /> From 1961–65, Andriessen wrote for the daily De Volkskrant, and for De Gids magazine from 1966–69.<ref name="KDG">Template:Cite web Template:Subscription required</ref> Andriessen lived in Amsterdam starting in 1965.<ref name="KDG" />

In 1969, he was part of a group of protesters at a concert of the Concertgebouw Orchestra. They disrupted the concert with nutcrackers and bicycle horns, handing out leaflets on the dismal representation of Dutch new music in the orchestra's programming. The next year, he and the other "Nutcrackers" were given one-week prison sentences, and yet their protest sparked something of a social reform in the Dutch music scene.<ref>Template:Cite news</ref>

Andriessen was internationally recognised as a composer with his 1976 De Staat which included texts from Plato's Republic.<ref name="Clements 2021" /> He was one of the founders of the Hague School, an avant-garde and minimalist movement from the second half of the 20th century.<ref name="Netherlands News Live 2021" /> In later decades, he accepted commissions from major orchestras, including the San Francisco Symphony, the Los Angeles Philharmonic, the BBC Symphony Orchestra and the New York Philharmonic.<ref name="Fonseca-Wollheim-2021" /> Andriessen was the focus of festivals in Tanglewood (1994), London (1994; 2002), Tokyo (2000), Brisbane (2001) and New York (2004).<ref name="KDG" /> In 2008, he was elected an honorary member of the International Society for Contemporary Music ISCM.<ref name="ISCM – International Society for Contemporary Music 2020">Template:Cite web</ref> He held the Richard and Barbara Debs Composer's Chair at Carnegie Hall during the 2009–10 season.<ref name="Fonseca-Wollheim-2021" />

Ensembles

File:Louis Andriessen at the Roundhouse.jpg

Andriessen at the Roundhouse in Vancouver (2009)

In 1969, Andriessen co-founded Studio voor Elektro-Instrumentale Muziek STEIM in Amsterdam.<ref name="STEIM 2019">Template:Cite web</ref><ref name="Baumgartner 2021" /> In opposition to the classical orchestra, a structure seen as "hierarchical",<ref name="Hamilton" /> he also helped founding the instrumental groups Orkest de Volharding<ref name="Huizenga 2021" /> and Hoketus, both of which performed compositions of the same names,<ref name="Hamilton" /><ref name="Schott Music">Template:Cite web</ref> formed by classical, jazz and pop musicians.<ref name="Hamilton" /> He later became closely involved with the Schonberg and Asko ensembles and inspired the formation of the British ensemble Icebreaker.<ref name="Gramophone">Template:Cite web</ref>

Teaching

Template:For LMST Andriessen joined the faculty of the Royal Conservatory in 1974.<ref name="Composers21" /> He taught instrumentation from 1974 to 1978 and taught composition there from 1978 to 2012,<ref name="Huizenga 2021" /><ref name="Composers21" /><ref name="Fonseca-Wollheim-2021" /> where he influenced notable students including Michel van der Aa, Richard Ayres and Steve Martland.<ref name="Clements 2021" /> Yale University invited him in 1987 to lecture on theory and composition,<ref name="Fonseca-Wollheim-2021" /> he was also guest lecturer at New York State University, Buffalo (1989) and Princeton (1996).Template:Sfn The arts faculty of the University of Leiden appointed him professor in 2004.<ref name="Fonseca-Wollheim-2021" /> One of his students was Raminta Šerkšnytė, a lithuanian pianist and composer.<ref>Template:Cite book</ref>

Personal life

Andriessen was married to guitarist Jeanette Yanikian (1935–2008). They were a couple for over 40 years, and were married in 1996.<ref name="Guardian" /> La Commedia is dedicated to Yanikian.<ref name="Nonesuch Records Official Website 2021">Template:Cite web</ref> He was married in 2012 a second time to violinist Monica Germino, for whom he wrote several works.<ref name="Fonseca-Wollheim-2021" /><ref name="Baumgartner 2021">Template:Cite web</ref> In December 2020, she announced that Louis was suffering from dementia.<ref>Template:Cite news</ref><ref name="nos.nl">Template:Cite web</ref><ref>Template:Cite web</ref> He died on 1 July 2021 in Weesp at age 82.<ref name="Huizenga 2021">Template:Cite web</ref><ref name="Fonseca-Wollheim-2021">Template:Cite news</ref><ref name="nos.nl"/><ref>Template:Cite news</ref>

Andriessen had one son, Lodewijk Torenbos-Andriessen, with dancer and theatre director Betsy Torenbos.Template:Citation needed

Style and notable works

Andriessen began in the style of an intentionally dry neoclassicism, but then turned into a strict serialist.<ref name="Baumgartner 2021" /> His early works show experimentation with various contemporary trends: post-war serialism (Series, 1958), pastiche (Anachronie I, 1966–67),<ref name="Boosey & Hawkes 2020_2">Template:Cite web</ref> 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. From the early 1970s on he refused to write for conventional symphony orchestras and instead opted to write for his own idiosyncratic instrumental combinations, which often retain some traditional orchestral instruments alongside electric guitars, electric basses, and congas.<ref name="Baumgartner 2021" /> Andriessen repeatedly used his music for political confessions and messages, but he also referred to painting and philosophy.<ref name="Baumgartner 2021" /> His range of inspiration was wide, including the music of Charles Ives in Anachronie I, the art of Piet Mondrian in De Stijl, the visions of Beguine mystic Hadewijch in Hadewijch, and shipbuilding and atomic theory in De Materie Part I.<ref name="Boosey & Hawkes 2020">Template:Cite web</ref>

Andriessen's later style is a unique blend of American sounds and European forms.<ref name="Fonseca-Wollheim-2021" /> His mature music combines the influences of jazz, American minimalism,<ref name="Huizenga 2021" /> and the music of Igor Stravinsky and Claude Vivier,<ref name="Dürmeier 2019">Template:Cite web</ref><ref>Pay, David (2009) Template:Cite web musiconmain.ca</ref> containing minimalist-influenced polyrhythms, lyrical melodic fragments, and predominantly consonant harmonies disrupted by concentrated dissonance.<ref name="Leonard 2021">Template:Cite web</ref> Andriessen's music thus departs from post-war European serialism and its offshoots. By the 21st century he was widely regarded as Europe's most important minimalist composer.<ref name="Schell 2017">Template:Cite web</ref>

His notable works include Workers Union (1975), a melodically indeterminate piece "for any loud sounding group of instruments" whose score specifies rhythm and contour but not exact pitch; Mausoleum (1979) for two baritones and large ensemble; De Tijd (Time, 1979–81) for female singers and ensemble; De Snelheid (Velocity, 1982–83), for three 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);<ref name="Fonseca-Wollheim-2021" /> and La Passione (2000–02) for female voice, violin and ensemble. His 2008 opera La Commedia, based on Dante's Divine Comedy, won the 2011 Grawemeyer Award for Music Composition and was selected by critics at The Guardian as one of the most outstanding classical compositions of the 21st century in 2019.<ref>Template:Cite news</ref>

Awards and honours

1959 Gaudeamus International Composers Award<ref name="Gaudeamus Muziekweek">Template:Cite web</ref>
1977 Matthijs Vermeulen Award for De Staat<ref name="Guardian">Template:Cite news</ref>
1977 UNESCO International Rostrum of Composers in Paris<ref name="Guardian" />
1992 Matthijs Vermeulen Award for M. is for Man, Music and Mozart; Facing Death, Dances, Hout en Lacrimosa<ref name="Guardian" />
1993 Edison Award<ref name="Guardian" />
2010 Honorary doctorate from the Birmingham City University<ref name="KDG" />
2011 Grawemeyer Award for Music Composition for the multimedia opera La Commedia (2004–2008).<ref>Dante-inspired opera wins Grawemeyer Award Retrieved 29 November 2010.</ref>
2016 Marie-Josée Kravis Prize for New Music<ref>Template:Cite news</ref>
2019 Honorary doctorate from the University of Amsterdam<ref name="Netherlands News Live 2021">Template:Cite web</ref>

Works

Andriessen's primary publishers are Boosey & Hawkes and Donemus.

Complete list of works:<ref name="Composers21">The Living Composers Project. Composers21.com. Retrieved on 26 October 2013.</ref> Template:Div col

Rondo Barbaro (1954) for piano
Sonata (1956) for flute and piano (dedicated to Lucas van Regteren Altena)<ref name="Donemus catalogue">Donemus catalogue Template:Webarchive</ref>
Elegy (1957) for cello and piano
Elegy (1957) for double bass and piano (arrangement by Quirijn van Regteren Altena)
Nuit d'été (1957) for piano four hands
Quartet in two movements (1957) for string quartet<ref name="Donemus catalogue"/>
Séries (1958) for 2 pianos
Nocturnen (1959) (text by the composer) for 2 sopranos, orchestra (dedicated to Jeanette Yanikian)
Percosse (1959) for flute, trumpet, bassoon and percussion<ref name="Donemus catalogue"/>
Prospettive e Retrospettive (1959) for piano
Trois Pièces (1961) for piano left hand
Aanloop en sprongen (1961) (Rincorsa e salti) for flute, oboe and clarinet in Bb<ref name="Donemus catalogue"/>
Ittrospezione I (1961) for piano 4 hands
Joli commentaire (1961) for piano 4 hands
Paintings (1961) for one flutist (or recorder player) and one pianist<ref name="Donemus catalogue"/>
Étude pour les timbres (1962) for piano
Triplum (1962) for guitar (dedicated to Jeanette Yanikian)
Canzone 3 (Utinam) (1962) for voice and piano<ref name="Donemus catalogue"/>
Constructions for a Ballet (1962, revision 2009) for orchestra, including Ondine, timbres voor orkest<ref name="Dag in de Branding edition 12 - 4546">Festival Dag in de Branding (edition 12). Dagindebranding.nl.</ref>
Plein-chant (1963) for flute and harp (dedicated to Eugenie van des Grinten and Veronica Reyns)<ref name="Donemus catalogue"/>
Ittrospezione II (1963) for large orchestra
Sweet (1964) for alto (treble) recorder (dedicated to Frans Brüggen)
Registers (1963) for piano
A flower song II (1964) for oboe solo<ref name="Donemus catalogue"/>
A flower song III (1964) for violoncello solo<ref name="Donemus catalogue"/>
Ittrospezione III (Concept I) (1964) for 2 pianos and 3 instrumental groups<ref name="Donemus catalogue"/>
Double (1965) for clarinet and piano (dedicated to George Pieterson and Tan Crone)<ref name="Donemus catalogue"/>
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 piano
Souvenirs 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 = 70
Rage, rage against the dying of the light (1966) for 4 trombones
Anachronie I (1966–67) for large orchestra
The Garden of Ryoan-gi (1967) for 3 electronic organs
Worum es ging und worum es geht (1967) (with Misha Mengelberg) for orchestra<ref name="Donemus catalogue"/>
Contra tempus (1967–1968) for large ensemble<ref name="Donemus catalogue"/>
Choralvorspiele (1969) for barrel organ
Anachronie II (1969) for oboe, small orchestra (4 horns, harp, piano, strings)
Hoe het is (1969) for 52 strings and live electronics
Sonate op. 2 nr. 1 (1969) for piano with interruptions from string quartet (based on Piano Sonata No. 1 by Ludwig van Beethoven)<ref name="Dag in de Branding edition 12 - 4540">Festival Dag in de Branding (edition 12). Dagindebranding.nl.</ref>
Template:Ill (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 electronics
De negen symfonieën van Beethoven (1970) for ice cream bell, orchestra
Spektakel (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 oboe<ref name="Donemus catalogue"/>
Le voile du bonheur (1966–1971) for violin and piano
een, twee (1971) for organ, 10 instrumentalists and piano<ref name="Dag in de Branding edition 12 - 4540"/>
In Memoriam (1971) for tape
Volkslied (1971) for an unlimited number and kinds of instruments (in all octaves) (based on the Dutch national anthem Wilhelmus van Nassouwe and on The Internationale)<ref name="Donemus catalogue"/>
De Volharding (1972) (Perseverance) for piano and wind instruments (written for Orkest de Volharding)<ref name="Donemus catalogue"/><ref name="Adlington 2004 pp. 381–417">Template:Cite journal</ref>
Dat gebeurt in Vietnam (1972) (That's going on in Vietnam) for wind ensemble<ref name="Donemus catalogue"/>
Arrangement of Solidaritätslied by Hanns Eisler (1972) for wind ensemble
Arrangement of Streikslied by Hanns Eisler (1972) for wind ensemble
Arrangement of In C by Terry Riley (1972) for wind ensemble
Arrangement of Bereits sprach der Welt by Hanns Eisler (1972) for wind ensemble
Arrangement of Tango by Igor Stravinsky (1972) for wind ensemble
Arrangement of La création du monde by Darius Milhaud (1972) for wind ensemble
Thanh Hoa (1972) (text by Nguyen Thai Mao) for voice and piano<ref name="Donemus catalogue"/>
Canzone 3: Utinam (1972) (text from the Book of Job) for soprano, piano, 1962; Thanh Hoa (text by Nguyen Thay Mao), voice, piano
On Jimmy Yancey (1973) for 9 winds, piano and double bass (written for Orkest de Volharding)<ref name="Donemus catalogue"/>
Voor Sater (1973) for wind ensemble
Amsterdam Vrij (1973) for wind ensemble
Il Duce (1973) for tape
The family (1973) for ensemble (film music)<ref name="Donemus catalogue"/>
Melodie (1972–1974) for alto recorder (or other flute) and piano<ref name="Donemus catalogue"/>
Arrangement of Ipanema and Gavea from Saudades do Brasil by Darius Milhaud (1974) for wind ensemble
Il Principe (1974) (text by Niccolò Machiavelli) for 2 mixed choruses, 8 winds, 3 horns, tuba, bass guitar, piano
Wals (1974) for piano
Symfonieën der Nederlanden (1974) for 2 or more symphonic bands (minimum 32 players)
Nederland, let op uw schoonheyt (1975) for symphonic band
Workers Union (1975) for any loud-sounding group of instruments
De 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<ref name="Clements 2021">Template:Cite news</ref> (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 bass
Hoketus (1975–76) for 2 panpipes, 2 alto saxophones ad libitum, 2 bass guitars, 2 pianos, 2 electric pianos, 2 congas
Orpheus (1977) (text by Lodewijk de Boer) Music theatre work for 8 mixed voices, lyricon, electric guitar, bass guitar, synthesizer, percussion
Symphonie voor losse snaren (1978) for 12 strings
Laat toch vrij die straat (1978) (text by Jaap van der Merwe) for voice and piano
Hymn to the Memory of Darius Milhaud (1978) (version of chamber work)
Felicitatie (1979) for 3 trumpets
Toespraak (1979) for speaker who also plays trombone<ref name="Donemus catalogue"/>
Mausoleum (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 pianos
Un beau baiser (1980) for mixed chorus
Messe des pauvres by Erik Satie, arrangement by Louis Andriessen for choir, 15 solo strings, accordion, contrabass clarinet and harp (1980)<ref name="Donemus catalogue"/>
Ende (1981) for 2 alto recorders (1 player) (dedicated to Frans Brüggen)
Anfang (1981) for sopranino recorder and piano
De 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 piano
La voce (1981) (to a text by Cesare Pavese) for cello and voice
Disco (1982) for violin and piano
Overture to Orpheus (1982) for harpsichord
De Snelheid (1982–83 rev. 1984) for 3 amplified ensembles
Y después (1983) (text by Federico García Lorca) for voice and piano
Menuet voor Marianne (1983) for piano
Trepidus (1983) for piano
Doctor Nero (1984) Music theatre work
Berceuse voor Annie van Os (1985) for piano
De Lijn (1986) for 3 flutes
Dubbelspoor (1986 rev. 1994) Ballet music for piano, harpsichord, celesta, glockenspiel
De 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.<ref name="Clements 2021" /> Two of its four sections may be performed separately as concert works: [2] Hadewijch, [3] De Stijl
De Toren (1988, rev. 2000) for carillon
Nietzsche redet (1989) (text by Friedrich Nietzsche) for speaker, alto flute, English horn, clarinet, bass clarinet, bassoon, 2 violins, viola, 2 celli, double bass, 2 pianos
Flora Tristan (1990) for mixed choir a cappella (text by Fleur Bourgonje)<ref name="Donemus catalogue"/>
Facing Death (1990) for amplified string quartet
Facing 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 bassoons
Lacrimosa (1991) for 2 flutes (arrangement by Manuel Zurria)
Hout (1991) for tenor saxophone, electric guitar, piano and marimba (+ woodblocks)
Romance voor Caecilia (1991) for piano
Nadir 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, cello
Song Lines (1992) for 3–6 saxophones
Deuxième chorale (1992) for music box
The Memory of Roses (1992) for piano (+ toy piano)
Chorale (1992) for piano
M is Muziek, Monoloog en Moord (1993) (text by Lodewijk de Boer) Music theatre work
Lied (1993) for piano
Rosa – 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 voice
Zilver (1994) for flute, clarinet, violin, cello, piano, vibraphone and marimba
Base (1994) for piano left hand
Odysseus' Women (1995) (text by Homer, choreography by Beppie Blankert) for 2 sopranos, 2 altos, sampler
De komst van Willibrord (1995) for carillon
To Pauline O (1995) for oboe
Machmes Wos (1996) for voice, piano
Trilogie 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, timpani
Not an Anfang (1997) for piano
De eerste minnaar (1998) (text by Toon 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 electronics
Writing 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),<ref name="Clements 2021" /> CD (music by Michel van der Aa)
Woodpecker (1999) for percussion
Image de Moreau (1999) for piano
Dirck Sweelinck Missed the Prince (1999) for harpsichord
Passeggiata in tram in America e ritorno (1999) (text by Dino Campana) for female Italian voice, violin and piano
What Shall I Buy You, Son? (2000) for voice, piano
Boodschappenlijstje 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 piano
Passeggiata 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, piano
De vleugels van de herinnering (2001) (text by Larissa Tiginachvili [Dutch translation]) for voice, piano
Fanfare om te beginnen (2001) for 6 groups of horns
La 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 trumpet
Tuin van Eros (Garden of Eros) (2002) for string quartet
Klokken voor Haarlem (Bells for Haarlem) (2002) for piano, celesta, synthesizer, vibraphone (+ glockenspiel)
Pupazzetti by Alfredo Casella, arranged by Louis Andriessen for ensemble in 2002–2003
Inanna (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, percussion
Tuin van Eros (2003) for violin and piano
RUTTMANN 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)<ref name="Donemus catalogue"/>
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 violin
Hymn to the memory of Darius Milhaud for ensemble (1974/2006)<ref name="Donemus catalogue"/>
Hellende Fanfare (Inclined fanfare; Fanfara inclinata) (2006) for voice and ensemble (Text by Dino Campana)
Raadsels (Riddle) (2006) for solo violin
Johann 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 quartet
The City of Dis or: The Ship of Fools (2007) for voices and ensemble. Part I of La Commedia (2004–08).
La Commedia (2004–08).<ref name="Clements 2021" /> 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 ensemble
Christiaan Andriessens uitzicht op de Amstel (Christiaan Andriessen's view on the river Amstel) (2009) for ensemble
Life (2009) for ensemble, with film by Marijke van Warmerdam
Anaïs Nin (2009/10) for singer, ensemble and film
La Girò (2011), for violin solo and ensemble<ref>La Girò for violin and ensemble (U.S. premiere) Template:Webarchive. LA Phil (14 May 2012). Retrieved on 26 October 2013.</ref>
Mysteriën (2013), for orchestra<ref>Template:Cite web</ref><ref name="Clements 2021" />
Tapdance (2013), concerto for percussion and large ensemble
Two way ticket (2014), for piano
Theatre of the World (2013–15), a 'grotesque stagework' in nine scenes (Libretto by Helmut Krausser)<ref>Template:Cite web</ref>
Mach's mit mir, Gott (Do unto me, God) (2016), for organ
Signs and Symbols (2016), for wind ensemble and percussion
Ahania Weeping (2016), for mixed chorus
De goddelijke routine (The divine routine) (2017), for organ
Rimsky or La Monte Young (2017), for piano
Agamemnon (2017), for speaker and large orchestra
Searching for unison (étude) (2018), for piano
The Only One (2018), song cycle for female jazz singer and large ensemble, dedicated to Nora Fischer, who premiered the work at The Proms 2019<ref name="Clements 2021" /><ref>Template:Cite web</ref>
May (2019), for choir and orchestra

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References

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Sources

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External links

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Louis Andriessen / 1939 – 2021 ( biography, works list, recordings and performance search) Boosey and Hawkes 2021
- Andriessen on Andriessen (documentary)
Louis Andriessen Nonesuch Records
Robert Davidson: Louis Andriessen interview topologymusic.com 2001
Composer's entry on IRCAM's database

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