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Herman Van San (1929 – 1975)
Sextet. Microstructure. Sectionen
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EWR 9902
CD
Herman Van San
Barbara Deleu,
Dimitri Baetman, Peter Merckx, Dirk Noyen, Dries Geeraert, Koen
Kessels, Götz Hartmann, Rosemarie Keller, Dirk Hegemann, Walter
Keller, Wolfram Hertel, Wolfgang Düthorn
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"A few years ago, in the halls of the University of Gent, I stumbled
upon a filing cabinet with the name of Herman van San on it.It
stimulated my curiosity and i was motivated, over the period of years,
to search for information about the works and the person of Herman van
San." (Guy Vandromme)Hermann van San was born March 19, 1929 in
Mechelen (Belgium), where he died October 26, 1975. He studied music
theory and piano with Gabriel Minet in Brussels, Law, Physics and
Philosophy at the Université Libre de Bruxelles.
On the basis of an analytical positivism and formal mathematical
methodology, he aimed at applying the new findings of physics to sound
production and the organisation of sound in a composition. The
instrumental works of 1953 - 1954 belong to the earliest applications -
in a very thorough and strict way - of an analytical-mathematical and
symbolic-logical method.
Herman van San is still largely unknown. Nevertheless, in terms of
music history, he must be considered as being part of a small group of
pioneers. His scores from the period 1951 - 1952 are examples of a
rigorous application of dodecaphony. Indeed, the level of formalisation
is much more rigorous and clearer than any to be found in the works of
Schoenberg or Webern.
Sextet (1951) for
flute, oboe, clarinet, bassoon, horn and piano is a rigorous
dodecaphonic composition, divided into seven sections. The
stratification of the composition and the complex density of
simultaneous time structures immediately attract one`s attention:
different meters (with various numbers of beats, but the same duration)
are superimposed upon one another. This results in a polymetric
progression of segments with varying instrumental coloring.
Microstructure
(1952) for 3 pianos is an extraordinarily short but strong piece of
only 21 seconds, notated on a single page. Polymeter is combined with
the procession of an invariant set changing meters which can be found
in each part. Rhythmus are limited to a few deinite modules. Silences
are a structural element; each tone gets his value, disconnected from
the segmentary development.
Sectionen (1953 -
1954) for 3 violins and 3 celli is one of the last instrumental works
of Herman van San. It is the herald to a new period of composition,
which is based exclusively on mathematical models. In this period van
San studies the new findings in the physics of sound and their possible
applications to music. Various bowing techniques, extensive use of
harmonics, pizzicati played with the finger but also with a plectrum,
the use of the spatial aspect of sound production by separating the 3
violin - violocello pairs: through all this a highly original sound
world is created, distinguishing itself above all through the unfolding
of an unusual spectrum of harmonics and intensities.
Guy Vandromme
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