{"id":548,"date":"2024-06-15T11:25:37","date_gmt":"2024-06-15T09:25:37","guid":{"rendered":"https:\/\/nieuw.lowelldykstra.com\/?page_id=548"},"modified":"2026-04-02T09:14:22","modified_gmt":"2026-04-02T07:14:22","slug":"solo","status":"publish","type":"page","link":"https:\/\/lowelldykstra.com\/?page_id=548","title":{"rendered":"Solo"},"content":{"rendered":"\t\t
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Serenata mattutina<\/strong> – delle colline – for English horn (2024)
\u00a0– duration: 2′
\u00a0– not published<\/p>

Pyramus and Thisbe<\/strong> – 5 scenes from a myth – for solo guitar (2024)
\"\"The myth tells about a pair of ill-fated lovers. It was a forbidden love. Pyramus and Thisbe proved to be faithful lovers to each other until the very end when they took their life so that they could be together.\u00a0
written for Izhar Elias
the five parts are:
a lovers’ dance –\u00a0 <\/em>Pyramus’ death –\u00a0 <\/em>the veil – \u00a0<\/em> Thisbe’s flight –\u00a0<\/em> Thisbe’s death<\/em>
\u00a0– duration: ca. 7\u2032
\u00a0– published by Donemus preview<\/a><\/p>

Nocturnal brook<\/strong> for piano (2022)
Nocturnal brook<\/em> is a more or less continuation of my little cantate, The wanderer<\/em>. In other words, whereas the wanderer strolls through the world, the brook meanders through the countryside. Rather than the often use of sparkling arpeggios, this meandering has been musically worked out by means of swiftly shifting tonal suggestions of minor third intervals which I found much more interesting to explore. Nocturnal brook<\/em> captures two images: that of a mysterious night and a brook.
\u00a0– duration: ca 4\u201930\u201d
\u00a0– published by Donemus preview<\/a><\/p>

Tunes for a lizard <\/strong>for oboe\/flute (2021)\u00a0
It used to be Maurice Ravel\u2019s habit to whistle tunes for lizards in his garden. Actually, these were no clearly defined tunes but randomly picked notes. I wrote these \u2018loose ends\u2019 that could possibly have sounded like these \u2018 tunes \u2018.
Who knows, some of these musical hunchess might even have found their way into some of his compositions, so I therefore put in motives, referring to some.
If the piece is played on a flute, a headjoint may serve very well.
\u00a0– duration: ca 3\u201940\u201d
\u00a0– published by Donemus preview<\/a><\/p>

Ballade \u2013 non sum qualis eram<\/strong> \u2013<\/strong> for guitar (2021)
\u00a0– duration: ca. 4 \u2018
\u00a0– not published yet<\/p>

The straw man <\/strong>for violin (2021)
\"\"This painting by Goya is one of the cartoons for the tapestries in Carlos IV\u00b4s office at El Escorial. The blanket-tossing of a doll is used here by Goya as a clear allegory of women\u00b4s domination of men. Instead of translating \u2018El Pelele\u2019 with \u2018The straw manikin\u2019, I chose for Robert Hughe\u2019s \u2018The straw man\u2019. To me, the painting is suggesting a lot of movement and caprice. The last thirteen bars depict a scene which is not in the painting, namely my idea that after the game, the women had left the doll somewhere on the ground or they had just tossed it away, leaving it in a sad and forlorn state.
\u00a0– duration: 3\u201930\u201d
\u00a0– published by Donemus preview<\/a><\/p>

El alma dormida<\/strong> \u2013 In Memoriam of Guido Topper \u2013 for guitar (2013)
\u00a0– duration: ca. 2\u201950\u201d
\u00a0– not published yet<\/p>

Sing me a song of Consolation <\/strong>for cello (2012)
\u00a0– premi\u00e8re by Ren\u00e9 Berman in \u201cKasteel Ammersoyen\u201d, 13 May, 2012
\u00a0–\u00a0 duration: ca. 4\u2032
\u00a0– published by Donemus preview<\/a>
\u00a0– listen here<\/a> on Youtube<\/p>

From Tower to Thoor <\/strong>for carillon (2004)
\u00a0– commissioned by and dedicated to Frans Hagen with financial support from the \u2018Fonds voor de Scheppende Toonkunst\u2019
\"\"
I was in Ireland in 2002 to visit William Butler Yeats\u2019 country.
To me it was a sort of pilgrimage. As was the case with his tower, which he had bought and lived in for a number of years. He called it Thoor Ballylee.
This short composition is an ode to this impressive tower. What better way, I thought, then to do this from another tower.
Written at the request of Frans Haagen, carillonneur of the Tower in Kampen. (The Netherlands)
(the score is now on display in the adjacent visitors\u2019 room)
\u00a0– premi\u00e8re by Frans Haagen in Kampen, 9 July 2002
\u00a0– duration: ca. 3\u2032
\u00a0– published by Donemus preview<\/a><\/p>

A thin place- Rann Romh Urnuigh<\/strong> \u2013 for cello solo and the player\u2019s voice (2001)
The text comes from a collection of prayers which Alexander Carmichael in 1832 was given permission for by local people living in remote areas in Scotland, to write down. There is a Celtic saying that heaven and earth are only three feet apart, but in the thin places that distance is even smaller. A thin place is where the veil, that separates heaven and earth, is lifted and one is able to receive a glimpse of something devine.
\u00a0– duration: ca. 5\u201930\u201d
\u00a0– published by Donemus preview<\/a><\/p>

Willowy<\/strong> for harpsichord (1990)
Dedicated to Annelie de Man
commissioned by the \u2018Fonds voor de Scheppende Toonkunst\u2019
\u00a0– duration ca. 7\u2032
\u00a0– published by Donemus preview<\/a><\/p>

Five moods <\/strong>for guitar (1985)
\u00a0– dedicated to Guido Topper
\u00a0– duration: ca. 6\u2032
\u00a0– published by Broekmans & van Poppel \u2013 Amsterdam 1985 order<\/a><\/p>

Sonata<\/strong> for guitar (1982)
\u00a0– duration: ca. 14\u2032
\u00a0– published by Ediciones Eudora \u2013 Madrid (not available anymore)<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

Solo Serenata mattutina – delle colline – for English horn (2024)\u00a0– duration: 2′\u00a0– not published Pyramus and Thisbe – 5 scenes from a myth – for solo guitar (2024)The myth tells about a pair of ill-fated lovers. It was a forbidden love. Pyramus and Thisbe proved to be faithful lovers to each other until the […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-548","page","type-page","status-publish","hentry"],"blocksy_meta":[],"_links":{"self":[{"href":"https:\/\/lowelldykstra.com\/index.php?rest_route=\/wp\/v2\/pages\/548","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/lowelldykstra.com\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/lowelldykstra.com\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/lowelldykstra.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/lowelldykstra.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=548"}],"version-history":[{"count":139,"href":"https:\/\/lowelldykstra.com\/index.php?rest_route=\/wp\/v2\/pages\/548\/revisions"}],"predecessor-version":[{"id":3027,"href":"https:\/\/lowelldykstra.com\/index.php?rest_route=\/wp\/v2\/pages\/548\/revisions\/3027"}],"wp:attachment":[{"href":"https:\/\/lowelldykstra.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=548"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}