Boudewijn Tarenskeen


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Blauwe Appel /Bacchanten

Barely recovered from the intense responses to his quasi serial, unpolished, political opera Blauwe Appel, his abstract work thundered through the Carré theatre during the performance of his musical theatre piece Bacchanten, a national event. His name was established, as a composer of musical theatre and theatrical music.
He had found his place.

Blauwe Appel, 1984. Opera for singers and ensemble. De Lyrische Komedie.
Bacchanten, 1985. Musical theatre for actors, dancers and ensemble. Dutch National Ballet.


The End
For almost 20 minutes, they played 100 final chords, concluded 100 pieces that hadn't been heard, concluded what had been missing. And this is exactly how he had intended it, this was the way forward, he knew it, in the half-empty hall, including some detractors.

The End/ Das Ende/ Fin. 1992. For violin and piano, Isabelle van Keulen, Ronald Brautigam.


Other works
His study is home to towering stack of works, ordered but rejected by surprised conductors, stunned ensembles, associate directors and weeping singers.
Solid Ashes, for baritone and orchestra; Valparaiso, for soprano and ensemble; Aida! For tenor, choir and orchestra; Weil sie keinen Stoff hat, for soprano and ensemble; Stabat Mater, for 2 sopranos, ensemble and orchestra; Missa, for a choir and 8 cellos;


2 Films
During the editing of his score, the music was found to take the film in a different direction than the director and producer had anticipated. The weight of the "art" that was perhaps missing in that towering pile was now making itself felt on the product and on the budget.
Zoeken naar Eileen ("Looking for Eileen"), Rudolf van den Berg;
De Grens ("Frontières"), Leon de Winter.


St. Matthew Passion
It was to be an evening when everything would come together.
He would stride into his arena, the concert hall, with a theatrical concept. The drama deliberative rather than exploitative, the ecstasy optional rather than insurmountable, making itself vulnerable, but not overly individualistically, he sought his audience. It was to be an evening when he would come together.

St. Matthew Passion, 2008. For 19 voices.