Editing Louis Andriessen (section)

==Style and notable works<!--linked from 'Cultural influence of Plato's Republic'-->==
Andriessen began in the style of an intentionally dry [[neoclassicism]], but then turned into a strict [[serialism|serialist]].<ref name="Baumgartner 2021" /> His early works show experimentation with various [[Contemporary classical music|contemporary trends]]: post-war serialism (''Series'', 1958), [[pastiche]] (''Anachronie I'', 1966–67),<ref name="Boosey & Hawkes 2020_2">{{cite web | title=Louis Andriessen – Anachronie I | website=Boosey & Hawkes | date=3 November 2020 | url=https://www.boosey.com/cr/music/Louis-Andriessen-Anachronie-I/5163 | access-date=1 July 2021}}</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 [[idiosyncrasy|idiosyncratic]] instrumental combinations, which often retain some traditional orchestral instruments alongside electric guitars, electric basses, and [[conga]]s.<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 [[Beguines and Beghards|Beguine]] mystic [[Hadewijch]] in ''Hadewijch'', and shipbuilding and atomic theory in ''[[De Materie]]'' Part I.<ref name="Boosey & Hawkes 2020">{{cite web | title=Leading Dutch composer Louis Andriessen dies aged 82 | website=Boosey & Hawkes | date=3 November 2020 | url=https://www.boosey.com/cr/news/Leading-Dutch-composer-Louis-Andriessen-dies-aged-82/101766 | access-date=2 July 2021}}</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 [[Minimal music|minimalism]],<ref name="Huizenga 2021" /> and the music of [[Igor Stravinsky]] and [[Claude Vivier]],<ref name="Dürmeier 2019">{{cite web | last=Dürmeier | first=Franziska | title=Präzise, aber radikal | website=Süddeutsche.de | date=11 June 2019 | url=https://www.sueddeutsche.de/kultur/moderne-musik-praezise-aber-radikal-1.4482363 | language=de | access-date=1 July 2021}}</ref><ref>Pay, David (2009) {{cite web|url=http://www.musiconmain.ca/uploads/Andriessen_Essay_&_Interview.pdf |title=Don't Get Too Comfortable |access-date=13 April 2010 |url-status=dead |archive-url=https://web.archive.org/web/20110706185917/http://www.musiconmain.ca/uploads/Andriessen_Essay_%26_Interview.pdf |archive-date=6 July 2011 }} musiconmain.ca</ref> containing minimalist-influenced [[polyrhythms]], lyrical melodic fragments, and predominantly consonant harmonies disrupted by concentrated [[Consonance and dissonance|dissonance]].<ref name="Leonard 2021">{{cite web | last=Leonard | first=James | title=Those naked dancers are doing what? | website=Ann Arbor Observer | date=February 2006 | url=https://annarborobserver.com/articles/the_music_of_louis_andriessen_full_article.html | access-date=2 July 2021}}</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">{{cite web | last=Schell | first=Michael | title=Louis Andriessen: Theater of the World | website=SecondInversion.org | date=22 November 2017 | url=https://www.secondinversion.org/2017/11/22/louis-andriessen-theater-of-the-world/ | access-date=8 July 2021}}</ref>

His notable works include ''[[Workers Union (Andriessen)|Workers Union]]'' (1975), a melodically [[Indeterminacy (music)|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 [[libretto|librettist]] [[Peter Greenaway]] on the film ''M is for Man, Music, Mozart'' and the operas ''[[Rosa – A Horse Drama|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>{{Cite news |last1=Clements |first1=Andrew |last2=Maddocks |first2=Fiona |last3=Lewis |first3=John |last4=Molleson |first4=Kate |last5=Service |first5=Tom |last6=Jeal |first6=Erica |last7=Ashley |first7=Tim |date=12 September 2019 |title=The best classical music works of the 21st century |work=[[The Guardian]] |url=https://www.theguardian.com/music/2019/sep/12/best-classical-music-works-of-the-21st-century |access-date=31 May 2021 |issn=0261-3077}}</ref>