60@60 Project

To celebrate my 60th year in 2024 I’d like to initiate at least 60 performances of own works anywhere in the world and anytime within that year. From my output of about 40 years of composing I have compiled a selection of works that I consider most successful and meaningful. Scores and performance material of these compositions are available to anyone interested in performing them and thereby participating in the 60@60 project.

Brief descriptions of the selected works are provided below – complete with links to perusal scores and recordings. Happy browsing! Should you discover a piece that speaks to you and would like to try it out, please follow the ‘download pdf’ links for scores and performance material in digital format free of charge. (Please note that this offer only holds for unpublished music; published works must be purchased from the respective publishing houses.)

In return I ask that you schedule performing the chosen work(s) in one (or more) of your concerts during 2024 and/or beyond and kindly inform me about the date, place and venue of your concert(s). You thereby consent that I list you as a 60@60 project participant and advertise your performance(s) on the 60@60 calendar. Should you subsequently be able to provide any recordings of your performance(s), I invite you to share them with project participants and a wider audience via the 60@60 project page.

You are welcome to request programme notes on individual compositions, as well as practical and artistic advice. Note however, that I cannot offer any financial or organisational assistance with regard to individual concerts and performances.

I look forward to hearing from you and hope for many celebratory collaborations!

 

Hans

Solo pieces

Southern Nocturnal (2003)

for solo guitar
single movement
ca. 10’

recording
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A nod from the global South, acknowledging Benjamin Britten’s landmark contribution to the solo guitar repertoire, yet also attempting a post-colonial response to his iconic Nocturnal some forty years later. Paraphrasing the Afrikaans song Op my ou ramkietjie corresponds with Britten’s reverse variations on Dowland’s Come, Heavy Sleep, yet expresses a radically different way of dealing with life’s challenges: Dowland’s evocation of sleep as momentary relief from pain and imperfection is brushed away in characteristically insouciant South African manner. Unabatedly the singer strums away on his one-stringed banjo, regardless of his despair:

Op my ou ramkietjie, met nog net één snaar, speel ek in die maanskyn, deurmekaar.
[On my old banjo, with only one remaining string, I’m playing in the moonlight, bemused.]

Responsorium (1992)

for solo violin (with recorded birdcalls
single movement
ca. 6’
recording
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playful composition inviting the violinist to engage musically with the calls of a number of common South African birds: an indigenous cuckoo species, two types of doves and an owl; part of Huyssen’s category of ecological compositions – works that deliberately reference, involve or incorporate certain aspects of their originating environments and contexts

Technical note: Performances of this work require a precisely synchronized playback of the birdcall recordings (supplied as mp3 files), following the cues in the score.

Ugubhu (1996)

for solo cello
single movement
ca. 5’

view & listen
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short and energetic character piece alluding to the Ugubhu gourd-bow as it is employed in indigenous isiZulu music; homage to the musical bow as arguably the most ancient ancestors of all string instruments; starts off with col legno imitations of idiomatic Ugubhu playing but subsequently exploits the full range of the cello as a representative of the present-day descendants of the musical bow; stays clear of conventional cello lyricisms and instead requires articulate and rhythmically precise playing, as motivic figures and groupings of elementary pulses keep on changing quickly throughout the piece

Zeitverlust (1992)

for solo cello
three movements
ca. 14’

recording: I. II. III.
view score
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review (in German)

technically demanding European counterpart of the African solo cello piece Ugubhu; reflects images and metaphors from Hans Günter Saul’s poem Zeitverlust; keywords from each of the three verses find their corresponding musical expressions in the three movements respectively: Wind, Leere, Sterne (wind, emptiness, stars); a further association of the last verse with dawn and inception inspired the paraphrase of the chorale melody Brich an, du schönes Morgenlicht (of Christmas Oratorio fame), which permeates the last movement

8 Choral Preludes (1982-2019)

for organ

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chorale preludes on selected Lutheran hymns; occasional compositions intended for functional use in church services

Instrumental Ensemble

Nonet (2018)

for period instruments of the Classical period:
traverso, basset horn, horn, bassoon, forte-piano,
violin, viola, cello, violone
two movements, ca. 18′

recording view score
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nonet in the spirit of Mozart, specifically written with the colours of period instruments in mind; can also be performed on modern instruments

EisTauTrio (2011)

for vn/va, sax (A/T/B), vc
six movements
ca. 30′

recording: I. II. III. IV. V. VI.
view score
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incidental music for Ilija Trojanow’s novel EisTau

The cattle have gone astray (1999)

trio for flute, cello & piano
single movement
ca. 10′

recording
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intercultural piece based on a 50 year old filed recording of a Sena Tonga herding song, played on a Mujanji flute

Love Song Quartets (1995)

for string quartet
three movements
ca. 12′

recording: I. II. III.
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three movements for string quartet, each one based on a traditional German folk song:

I. Feinsliebchen, du sollst mir nicht barfuß geh’n
II. Dort nied’n in jenem Grunde
III. Ei du feiner Reiter

Love Song Trios (1993)

for string trio
three movements
ca. 10′

recording: I. II. III.
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three movements for string trio, each one based on a traditional German folk song:

I. Ich freue mich auf die Blumen rot
II. O du schöner Rosengarten
III. Wie schön blüht uns der Maien

Little Portrait of the World (1993)

for woodwind quintet
five movements
ca. 20′

recording: I. II. III. IV. V.
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allegorical woodwind quintet with each instrument featuring as soloist in one of the movements to evoke the historical period of its origination:
I. Umtshingo – flute with Bugandan nursery rhyme
II. Aulos – oboe with ancient Greek poetry
III. Hêrhorn – horn with a medieval German ballad
IV. Basson continue – bassoon with La Rochefoucault Maximes
V. more like a sax – clarinet with Oscar Wilde aphorisms

6 Pieces for a Pianist and a Child (1991)

for single piano, three & four hands
six movements
ca. 13′

recording: I. II. III. IV. V. VI.
view score

character pieces for the potential use of a piano teacher-learner duo, introducing learners with even only elementary playing skills to dialogical, dramatic and expressive music making;

I. Ouverture, II. Spazierstück, III. Zankstück,
IV.Trauerstück, V. Spaßstück, VI. Märchenstück

Ensemble with voice

Floral Miniatures (2020)

song cycle for soprano & cello (or guitar)
ca. 8′

listen & view score
download pdf

setting of 5 plant Haikus by Antoinette Huyssen

1. Strelitzia
2. Everlasting
3. Disa uniflora
4. Vygie
5. King Protea

Autumn #28 (2020)

for baritine & piano
single song, ca. 4′

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setting of a poem by Leonidas Sapkidis

was brauchst du? (2015)

solo voices (SSATB) & vc
single movement
ca. 6′

recording
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multilingual setting of Friederike Mayröcker’s poem was brauchst du? in its original German version, as well as French, Afrikaans, isiXhosa and English translations – all sung simultaneously

Brunnenränderlieder (1984/2003)

for soprano & string quartet
four movements
ca. 10′

recording: I. II. III. IV.
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song cycle based on (German) poetry by Georg Trakl, Josef Weinheber and Hilde Domin

I. Verfall
II. Melancholie des Abends
III. Dissonanz
IV. Schöner

Silence where a song would ring (2000)

for baritone, violin & percussion
four movements and two intermezzi
ca. 10′


listen & view score
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song cycle based on English translations of /Xam texts

I. The string is broken
II. What the stars say
III. //Kabbo’s song on the loss of his tobacco pouch
IV. Jantjie Toorn’s asking for thread

Die Stimmen (1992)

for baritone & guitar
seven movements
ca. 14′

recording: 1. 2. 3. 4. 5. 6. 7.
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song cycle consisting of an introduction and settings of six poems from
Rainer Maria Rilkes cycle Die Stimmen (from: Das Buch der Bilder, part 2)

1. Titelblatt
2. Das Lied des Bettlers
3. Das Lied des Trinkers
4. Das Lied des Blinden
5. Das Lied des Idioten
6. Das Lied der Waise
7. Das Lied des Aussätzigen

Andreas Gryphius Karfreitags-Sonett (1992)

for counter tenor, oboe d’amore & viola
single movement
ca. 5′

score & recording

lent lamentation based on a text
by Andreas Gryphius (1616 – 1664):

Auff das Fest des Todes JEsu Christi /
oder auff den guten Freytag

Choir a cappella

Kwarantyn Kwatryne (2023)

for six part mixed choir (SSATTB) a cappella
four songs
ca. 12′

view score
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settings of poetry
by Ina Rousseau (1926-2005)

I. Ons soek mekaar
II. Spelend in tuine
III. Die nar is hier
IV. Op hierdie kleed

Geistliche Chormusik (1982-2022)

3-6 part mixed choir a cappella
collection of 12 independant motets
ca. 30′

recordings:
3. 4. 5. 6. 7. 9. 10. 11. 12.

program note (German)

Note:
Since the volume has been published by Strube, performance material cannot be made available here but should be purchased from the publisher

compilation of occasional sacred choral pieces, written over a period of 40 years;

1. Spruchweisheit
2. Ein geängstetes Herz
3. Fülle uns früh mit deiner Gnade
4. Gebt, so wird euch gegeben
5. Ich bin gewiss
6. Dein Wort sei meines Fußes Leuchte
7. Kommt her zu mir, alle
8. Ein Weiser rühme sich nicht
9. Bittet, so wird euch gegeben
10. Menschen der Stille
11. Fürwahr, er trug unsere Krankheit
12. Weise mir, Herr, deinen Weg

Weggewerp (2019)

for 4 to 11-part mixed choir a cappella
four movements
ca. 12′

program note
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song cycle of Afrikaans poetry by W.E.G. Louw, C.L. Leipold and an old translation of Psalm 102;

I. Wie sing?
II. Te snel die vlug
III. Ek is slapeloos
IV. Gebed

Wir sind Verlassene in der Zeit (2001)

for 4-part mixed choir (SATB) a cappella
two movements
ca. 10′

recording
score
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setting of a compilation of texts
by Simone Weil (1909-1943) in a German translation
by Friedhelm Kemp (1914-2011)

Wunderhorn Lieder (1992)

for S, A, B soloists & mixed choir a cappella
three movements
ca. 10′

view score
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song cycle consisting of three settings of poems from
Des Knaben Wunderhorn

I. Wunderhorn
II. Gretlein
III. Geht dir’s wohl, so freut es mich

Orchestra

Concerto for an African Cellist (2012)

for solo cello, mbira, marimba & orchestra
four movements
ca. 29′

recording: I. II. III. IV.
view score
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I. Partida
II. Passacamino
III. Mahororo
IV. Mapfachapfacha

Proteus Variations (2006)

for orchestra
eight movements
ca. 22′

recording: I. II. III. IV. V. VI. VII. VIII.
view score
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musical portrayal of eight plant families of the PROTEACEAE found in the Cape Floristic Kingdom; no ‘theme’ – variations only!

I. AULAX – Call and Response
II. DIASTELLA – Chase and Cavalcade
III. MIMETES – Chorale
IV. LEUCADENDRON – Continuum
V. SERRURIA – Cavatina
VI. LEUCADENDRON – Coils and Curls
VII. OROTHAMNUS – Canzona
VIII. PROTEA – Cape Chaconne

Audite Africam! (1997)

for string orchestra
five movements
ca. 25′

recording: I. II. III. IV. V.
view score
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African Suite for strings

4 Britting Songs (1995)

for baritone & orchestra
four movements
ca. 9′

recording: I. II. III. IV.
view score
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song cycle on poetry by Georg Britting

I. Der Morgen
II. Frühlingslandschaft
III. Feuerwoge jeder Hügel
IV. Von einem Hügel aus

Lassus Fantasie (1994)

for large orchestra
single movement
ca. 11′

recording
view score

orchestral elaboration of one of Orlando di Lasso’s two part fantasies

Cantata

Mein guten Werk, die galten nicht (2017)

for SATB soloists, mixed choir,

brass, strings & bc
nine movements
ca. 30′


recording: I. II. III. IV.&V. VI. VII. VIII. IX.
view score
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Commemoration cantata for the 500th centenary of the Protestant Reformation
on texts by Martin Luther, Simone Weil and from the bible

I. Chorale-Fanfare
II. Nun freut euch
III. Nun folgen wir dir
IV. Mein guten Werk, die galten nicht
V. Da jammert Gott
VI. Er sprach zu seinem lieben Sohn
VII. Das erste und höchste Werk
VIII. Gen Himmel
IX. Nun folgen wir dir

Unerlässliches Leid (1997)

for SATB soloists, mixed choir & Baroque orchestra
six sections
ca. 40′

recording: I. II. III. IV.
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Lent cantata on texts by Simone Weil in German translations by Friedhelm Kemp

I. Choral: Christus, der uns selig macht
II. Schöpfung, Notwendigkeit, Gottes Abwesenheit
III. Verhaftung, Ablösung, Leere, Erfüllung
IV. Leiden
V. Choral: O hilf Christe
VI. Freude und Schmerz

Instrumental Arrangements

12 Pieces for String Ensemble (2021)

arrangements for 2 – 7 violin parts & cello
12 independant pieces
ca. 30′

view score
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written for the first generation of Muzukidz learners, as part of their ensemble training during the Covid lockdown of 2020

I. Santema
II. Meguru
III. Uthando
IV. Ibambeni
V. Siyahamba
VI. Bele Mama
VII. Jikele Maweni
VIII. Memories of a Canon
IX. Nkosi Sikelel
X. Suo Gân
XI. The Down Up
XII. Fun-Faronade

Orchestral arrangements

Shalom chaverim (2022)

for mixed choir (SATB) & orchestra
single movement
ca. 5′

view score
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arrangement of the well-known Jewish round:

Shalom chaverim le hitraot, shalom.

Meguru (2022)

for mixed choir (SATB) & orchestra
single movement
ca. 5′

view score
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arrangement of a well-loved Rukwangali hymn:

Tatu tungu mambo getu kapi tu nakura ra ro.

Joe Clark's Boogie (2022)

for mixed choir (SATB) & orchestra
single movement
ca. 3′

view score
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arrangement of a piano Boogie by Denes Agay (alias Gerald Martin) for school- or community orchestra

Lachend (2020)

for mixed choir (SATB) & orchestra
single movement
ca. 3′

view score
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arrangement of a song by Cesar Bresgen for school or community orchestra and childrens’ choir

Lachend, lachend kommt der Sommer über das Feld…