Matthijs Vermeulen
Encyclopedia
Matthijs Vermeulen (February 8, 1888 – July 26, 1967
), was a Dutch
composer
and music journalist
.
. After primary school he initially wanted to follow in the footsteps of his father, who was a blacksmith. During a serious illness his inclination towards the spiritual gained the upper hand. Inspired by a thoroughly Catholic environment, he decided to become a priest. However, at the seminary, where he learned about the principles of counterpoint of the sixteenth-century polyphonic masters, his true calling – music – came to light. On his eighteenth he abandoned his initial ideas and left school. In the spring of 1907 he moved to Amsterdam, the country's musical capital. There he approached Daniël de Lange, the director of the conservatory, who recognized his talent and gave him free lessons for two years. In 1909 Vermeulen began to write for the Catholic daily newspaper De Tijd, where he soon distinguished himself by a personal, resolute tone which stood out in stark contrast to the usually long-winded music journalism of the day. The quality of his reviews also struck Alphons Diepenbrock
. He warmly recommended Vermeulen with the progressive weekly De Amsterdammer. There Vermeulen revealed himself as an advocate of the music of Claude Debussy
, Gustav Mahler
and Diepenbrock, whom he later used to call his "maître spirituel".
In the years 1912-1914 Vermeulen composed his actual opus 1, the First Symphony, which he called Symphonia carminum. In this work, expressing the joys of summer and youth, he already employed the technique he would remain loyal to for the rest of his life: polymelodicism. The four songs Vermeulen wrote in 1917 display, each in its own special way, the composer's preoccupation with war. In the reviews for 'De Telegraaf', a daily newspaper he worked for since 1915 as head of the Art and Literature department, he also showed just how much in his view politics and culture were inseparable.
Vermeulen's polemic against the unidirectional German orientation of Dutch musical life got him into trouble. After having presented his First Symphony to Willem Mengelberg
, whom he much admired, he was disdainfully rejected after a one-year period of keen anticipation. Consequently, Vermeulen's orchestral work did not stand a chance in Amsterdam. The first performance, given by the Arnhem Orchestral Society in March 1919, took place under abominable circumstances and was a traumatic experience. Yet, Vermeulen started to work on his Second Symphony, Prélude à la nouvelle journée, shortly after that, and a year later he gave up journalism in order to fully dedicate himself to composing, while financially backed by some friends. After a last, fruitless appeal to Mengelberg, Vermeulen moved to France with his family in 1921 in the hope of finding a more favorable climate for his music. There he completed work on his Third Symphony Thrène et Péan, and composed the String Trio and the Violin Sonata.
However, Vermeulen's symphonic works did not find their way into the French concert halls either. From sheer necessity Vermeulen returned to journalism. In 1926 he became the Paris correspondent for the Soerabaiasch Handelsblad, a daily paper in the Dutch East Indies
(now Indonesia
). For fourteen years he wrote two weekly extensive articles on every possible topic. The commission, in 1930, to compose the incidental music to the play De Vliegende Hollander [The flying Dutchman] by Martinus Nijhoff was encouraging. Nine years later he received a new impetus with the first performance of his Third Symphony by the Concertgebouw Orchestra conducted by Eduard van Beinum
. The long-awaited confrontation with the resounding notes confirmed the effectiveness of his concepts. In the years 1940-1944 he composed his Fourth and Fifth Symphonies, bearing the titles of Les victoires and Les lendemains chantants, which symbolize Vermeulen's faith in the good outcome of World War II.
In the fall of 1944 Vermeulen had to take severe blows. In a short space of time he lost his wife and his most cherished son, who was killed while serving in the French liberation army. The diary Het enige hart [The singular heart] gives a deeply moving account of his mourning process. Seeking the meaning of this loss, Vermeulen drew up a philosophical construction, which he further developed in his book Het avontuur van den geest [The adventure of the mind].
In 1946 Vermeulen married Thea Diepenbrock, daughter of his former mentor, and went to work again for the weekly De Groene Amsterdammer, in the Netherlands. His articles on music rank among the most compelling in that area. In 1949 his Fourth and Fifth Symphonies were performed.
Politics and society kept on occupying Vermeulen passionately. He found the stifling atmosphere of the cold war increasingly depressing. Fearing a nuclear confrontation he spoke out against the arms race in several periodicals. During the first large-scale peace demonstration of 1955 he said: "The atomic bomb is an anti-life, anti-God, anti-man weapon."
The performance of the Second Symphony (which was awarded a prize at the 1953 Queen Elisabeth Music Competition
in Brussels) during the 1956 Holland Festival
instigated a new period of creativity. Vermeulen moved to rural Laren with his wife and child, where he composed the Sixth Symphony Les minutes heureuses, followed by various songs and the String Quartet. His last work, the Seventh Symphony, carrying the title Dithyrambes pour les temps à venir, reveals unflagging optimism. The composer died after a wasting disease, on 26 July 1967.
and its leader Willem Mengelberg came to a head in November 1918. After a performance of the Seventh Symphony of Cornelis Dopper
, conducted by the composer, Vermeulen stood up and shouted Long live Sousa!
from the stands of the Concertgebouw
. A part of the audience thought that the socialist leader Troelstra
, who had attempted a revolution
days earlier, was meant and therefore interpreted Vermeulen's words as incitement, leading to great turmoil and a flurry of publications. The orchestra considered whether or not they could ban specific journalists from the hall. The incident also highlighted the already lumbering conflict between traditionalists (represented by Cornelis Dopper
and chief conductor Willem Mengelberg
) and avant-garde
figures such as assistant conductor Evert Cornelis.
Even though the Concertgebouw's board would admit Vermeulen again after a while, his relations with the orchestra were tainted forever. As a consequence, Vermeulen's Second Symphony, written 1919–20 and entitled Prelude à la nouvelle journée, had to wait until the 1950s for its premiere; Mengelberg publicly stated that he would not even look at it (though see also this link http://www.webcitation.org/query?url=http://www.geocities.com/Paris/1947/MengSocNews21-30.html&date=2009-10-25+09:21:14). As a result of numerous conflicts, Vermeulen decided to settle and work abroad for many years, particularly in France where he became a Paris
correspondent for a journal in the then Dutch East Indies
(Indonesia
). He died in Laren
.
but also extremely contrapuntal
, involving many musical lines combining simultaneously. In this he resembles Allan Pettersson
in some ways. In his compositional work Vermeulen always focused his attention on melody. In his music a flow of melodies can be heard from beginning to end, quite diverse in form and character. The majority of the material is asymmetrical, based on the principle of 'free declamation', that is to say: the melodic curve and length of two consecutive sentences usually vary. Frequently Vermeulen spins long melismas into ever continuous melodies, in which every memory of period structure is absent. Particularly striking is the free rhythm of flowing lines, which have become disengaged from a fixed classification of metre by antimetric figures and ties. Yet elsewhere we come across short and pithy melodies, with a clear pulsation. A characteristic feature of his music is the sophisticated climactic activity and the alternation of tension and relief, mostly supported by harmony.
In his writings Vermeulen draws a parallel between melody and the individual: "The melody is a frame of mind expressed in tones." Seen in the light of Vermeulen's line of reasoning, a multi-voiced, polymelodic composition takes on the meaning of an aural representation of society. By combining several individual melodies, he reveals the wish he cherishes for society, namely that of every individual being able to freely express and develop himself, without infringing upon other people's freedom to develop their abilities. Although Vermeulen's writings on music give the impression that he was completely consistent in applying his polymelodic concept from the beginning until the end of a piece, most of his compositions contain several passages with only one or two voices, embedded in marvellous harmonies. Open, simple textures alternate with very complex ones, as does quasi-tonality with atonal constellations.
Early on, a spirit of freedom and urge for innovation prompted Vermeulen to abandon tonality and reject the traditional form schemes. In the First Cello Sonata free atonality breaks through in spurts, which from his Second Symphony onwards determines melody and harmony in his oeuvre. As opposed to Arnold Schoenberg
, Vermeulen did not choose to build a new regulatory system, but proceeded purely in terms of thematic information and its logical and psychological development. His symphonies and chamber works consequently differ greatly as far as construction is concerned. But he always succeeded in creating architectonic cohesion. The Third Symphony is in a large A-B-A form, in which A develops linearly and B is reminiscent of a Classical rondo. The Fourth Symphony is built on six themes, three of which return just before the end; the long epilogue is counterbalanced by the hammering prologue, both on the pedal tone C. The large-scale Violin Sonata is based on the major seventh, omnipresent both in melody and harmony.
Vermeulen's compositions share a unique combination of energy, power, lyricism, and tenderness. The vitality of his works is the result of the aim he had in mind: to compose as an ode to the beauty of the earth and in astonishment about life, creating music which appeals to the spirituality of man, bestowing feelings of happiness on him and making him acquainted with the source of life, the Creative Spirit. These ambitions, put into words in the book titled Princiepen der Europese muziek (Principles of European music) and numerous articles, were at right angles to the mainstream movements. Consequently, Vermeulen did not have followers or disciples.
Apart from the aesthetic-ethical 'message', which is also the subject of most of his songs, Vermeulen's symphonies and chamber music offer an ingenious interplay of melodies, a colorful (orchestral) sound with many felicitous instrumental ideas, fascinating sound fields, innovating parallel harmony and a captivating canon technique.
Vermeulen's work has been quoted as seminal by influential Dutch composers such as Louis Andriessen
, but his direct influence is much more difficult to trace - his style, after all, is eclectic and highly personal. Moreover, his actual collaboration with other composers remained very limited. Almost all of his recognition took place well after his death.
His works also include lied
er with piano (one of these he orchestrated), chamber music including two cello sonata
s, a string trio
(1923) and a string quartet
, and incidental music for The Flying Dutchman.
), was a Dutch
Netherlands
The Netherlands is a constituent country of the Kingdom of the Netherlands, located mainly in North-West Europe and with several islands in the Caribbean. Mainland Netherlands borders the North Sea to the north and west, Belgium to the south, and Germany to the east, and shares maritime borders...
composer
Composer
A composer is a person who creates music, either by musical notation or oral tradition, for interpretation and performance, or through direct manipulation of sonic material through electronic media...
and music journalist
Music journalism
Music journalism is criticism and reportage about music. It began in the eighteenth century as comment on what is now thought of as 'classical music'. This aspect of music journalism, today often referred to as music criticism , comprises the study, discussion, evaluation, and interpretation of...
.
Early life
Matthijs Vermeulen was born in HelmondHelmond
Helmond is a municipality and a city in the province of North Brabant in the southern Netherlands.- Quarters and Neighbourhoods :*Quarter 11 Inner City**Neighbourhood 0 Centrum**Neighbourhood 2 Leonardus**Neighbourhood 3 Heipoort...
. After primary school he initially wanted to follow in the footsteps of his father, who was a blacksmith. During a serious illness his inclination towards the spiritual gained the upper hand. Inspired by a thoroughly Catholic environment, he decided to become a priest. However, at the seminary, where he learned about the principles of counterpoint of the sixteenth-century polyphonic masters, his true calling – music – came to light. On his eighteenth he abandoned his initial ideas and left school. In the spring of 1907 he moved to Amsterdam, the country's musical capital. There he approached Daniël de Lange, the director of the conservatory, who recognized his talent and gave him free lessons for two years. In 1909 Vermeulen began to write for the Catholic daily newspaper De Tijd, where he soon distinguished himself by a personal, resolute tone which stood out in stark contrast to the usually long-winded music journalism of the day. The quality of his reviews also struck Alphons Diepenbrock
Alphons Diepenbrock
Alphonsus Johannes Maria Diepenbrock was a Dutch composer, essayist and classicist.-Life and work:...
. He warmly recommended Vermeulen with the progressive weekly De Amsterdammer. There Vermeulen revealed himself as an advocate of the music of Claude Debussy
Claude Debussy
Claude-Achille Debussy was a French composer. Along with Maurice Ravel, he was one of the most prominent figures working within the field of impressionist music, though he himself intensely disliked the term when applied to his compositions...
, Gustav Mahler
Gustav Mahler
Gustav Mahler was a late-Romantic Austrian composer and one of the leading conductors of his generation. He was born in the village of Kalischt, Bohemia, in what was then Austria-Hungary, now Kaliště in the Czech Republic...
and Diepenbrock, whom he later used to call his "maître spirituel".
In the years 1912-1914 Vermeulen composed his actual opus 1, the First Symphony, which he called Symphonia carminum. In this work, expressing the joys of summer and youth, he already employed the technique he would remain loyal to for the rest of his life: polymelodicism. The four songs Vermeulen wrote in 1917 display, each in its own special way, the composer's preoccupation with war. In the reviews for 'De Telegraaf', a daily newspaper he worked for since 1915 as head of the Art and Literature department, he also showed just how much in his view politics and culture were inseparable.
Vermeulen's polemic against the unidirectional German orientation of Dutch musical life got him into trouble. After having presented his First Symphony to Willem Mengelberg
Willem Mengelberg
Joseph Willem Mengelberg was a Dutch conductor, famous for his performances of Mahler and Strauss with the Concertgebouw Orchestra.- Biography :...
, whom he much admired, he was disdainfully rejected after a one-year period of keen anticipation. Consequently, Vermeulen's orchestral work did not stand a chance in Amsterdam. The first performance, given by the Arnhem Orchestral Society in March 1919, took place under abominable circumstances and was a traumatic experience. Yet, Vermeulen started to work on his Second Symphony, Prélude à la nouvelle journée, shortly after that, and a year later he gave up journalism in order to fully dedicate himself to composing, while financially backed by some friends. After a last, fruitless appeal to Mengelberg, Vermeulen moved to France with his family in 1921 in the hope of finding a more favorable climate for his music. There he completed work on his Third Symphony Thrène et Péan, and composed the String Trio and the Violin Sonata.
However, Vermeulen's symphonic works did not find their way into the French concert halls either. From sheer necessity Vermeulen returned to journalism. In 1926 he became the Paris correspondent for the Soerabaiasch Handelsblad, a daily paper in the Dutch East Indies
Dutch East Indies
The Dutch East Indies was a Dutch colony that became modern Indonesia following World War II. It was formed from the nationalised colonies of the Dutch East India Company, which came under the administration of the Netherlands government in 1800....
(now Indonesia
Indonesia
Indonesia , officially the Republic of Indonesia , is a country in Southeast Asia and Oceania. Indonesia is an archipelago comprising approximately 13,000 islands. It has 33 provinces with over 238 million people, and is the world's fourth most populous country. Indonesia is a republic, with an...
). For fourteen years he wrote two weekly extensive articles on every possible topic. The commission, in 1930, to compose the incidental music to the play De Vliegende Hollander [The flying Dutchman] by Martinus Nijhoff was encouraging. Nine years later he received a new impetus with the first performance of his Third Symphony by the Concertgebouw Orchestra conducted by Eduard van Beinum
Eduard van Beinum
Eduard van Beinum was a Dutch conductor.-Biography:Beinum was born in Arnhem, Netherlands, where he received his first violin and piano lessons at an early age. He joined the Arnhem Orchestra as a violinist in 1918. His grandfather was conductor of a military band...
. The long-awaited confrontation with the resounding notes confirmed the effectiveness of his concepts. In the years 1940-1944 he composed his Fourth and Fifth Symphonies, bearing the titles of Les victoires and Les lendemains chantants, which symbolize Vermeulen's faith in the good outcome of World War II.
In the fall of 1944 Vermeulen had to take severe blows. In a short space of time he lost his wife and his most cherished son, who was killed while serving in the French liberation army. The diary Het enige hart [The singular heart] gives a deeply moving account of his mourning process. Seeking the meaning of this loss, Vermeulen drew up a philosophical construction, which he further developed in his book Het avontuur van den geest [The adventure of the mind].
In 1946 Vermeulen married Thea Diepenbrock, daughter of his former mentor, and went to work again for the weekly De Groene Amsterdammer, in the Netherlands. His articles on music rank among the most compelling in that area. In 1949 his Fourth and Fifth Symphonies were performed.
Politics and society kept on occupying Vermeulen passionately. He found the stifling atmosphere of the cold war increasingly depressing. Fearing a nuclear confrontation he spoke out against the arms race in several periodicals. During the first large-scale peace demonstration of 1955 he said: "The atomic bomb is an anti-life, anti-God, anti-man weapon."
The performance of the Second Symphony (which was awarded a prize at the 1953 Queen Elisabeth Music Competition
Queen Elisabeth Music Competition
The Queen Elisabeth Music Competition, a founding member of the World Federation of International Music Competitions has been, since its foundation, considered the world over to be one of the most prestigious and most difficult. It is devoted to violin , piano , to composition and to singing...
in Brussels) during the 1956 Holland Festival
Holland Festival
The Holland Festival is The Netherlands' oldest and largest performing arts festival, and takes place every June in Amsterdam. It comprises theater, music, opera and modern dance. In recent years, multimedia, visual arts, film and architecture were added to the festival roster...
instigated a new period of creativity. Vermeulen moved to rural Laren with his wife and child, where he composed the Sixth Symphony Les minutes heureuses, followed by various songs and the String Quartet. His last work, the Seventh Symphony, carrying the title Dithyrambes pour les temps à venir, reveals unflagging optimism. The composer died after a wasting disease, on 26 July 1967.
The 'Vermeulen Incident'
Vermeulen's dissatisfaction with the artistic policies of the Royal Concertgebouw OrchestraRoyal Concertgebouw Orchestra
The Royal Concertgebouw Orchestra is a symphony orchestra of the Netherlands, based at the Concertgebouw in Amsterdam. In 1988, Queen Beatrix of the Netherlands conferred the "Royal" title upon the orchestra...
and its leader Willem Mengelberg came to a head in November 1918. After a performance of the Seventh Symphony of Cornelis Dopper
Cornelis Dopper
Cornelis 'Kees' Dopper was a Dutch composer, conductor and teacher.-Reputation:Dopper's reputation as a composer has suffered from the accusation of being 'too German' for much of his career, and still haunts him to this day...
, conducted by the composer, Vermeulen stood up and shouted Long live Sousa!
John Philip Sousa
John Philip Sousa was an American composer and conductor of the late Romantic era, known particularly for American military and patriotic marches. Because of his mastery of march composition, he is known as "The March King" or the "American March King" due to his British counterpart Kenneth J....
from the stands of the Concertgebouw
Concertgebouw
The Concertgebouw is a concert hall in Amsterdam, Netherlands. The Dutch term "concertgebouw" literally translates into English as "concert building"...
. A part of the audience thought that the socialist leader Troelstra
Pieter Jelles Troelstra
Pieter Jelles Troelstra was a Dutch politician active in the socialist workers' movement. He is most remembered for his fight for universal suffrage and his failed call for revolution at the end of World War I...
, who had attempted a revolution
Revolution
A revolution is a fundamental change in power or organizational structures that takes place in a relatively short period of time.Aristotle described two types of political revolution:...
days earlier, was meant and therefore interpreted Vermeulen's words as incitement, leading to great turmoil and a flurry of publications. The orchestra considered whether or not they could ban specific journalists from the hall. The incident also highlighted the already lumbering conflict between traditionalists (represented by Cornelis Dopper
Cornelis Dopper
Cornelis 'Kees' Dopper was a Dutch composer, conductor and teacher.-Reputation:Dopper's reputation as a composer has suffered from the accusation of being 'too German' for much of his career, and still haunts him to this day...
and chief conductor Willem Mengelberg
Willem Mengelberg
Joseph Willem Mengelberg was a Dutch conductor, famous for his performances of Mahler and Strauss with the Concertgebouw Orchestra.- Biography :...
) and avant-garde
Avant-garde
Avant-garde means "advance guard" or "vanguard". The adjective form is used in English to refer to people or works that are experimental or innovative, particularly with respect to art, culture, and politics....
figures such as assistant conductor Evert Cornelis.
Even though the Concertgebouw's board would admit Vermeulen again after a while, his relations with the orchestra were tainted forever. As a consequence, Vermeulen's Second Symphony, written 1919–20 and entitled Prelude à la nouvelle journée, had to wait until the 1950s for its premiere; Mengelberg publicly stated that he would not even look at it (though see also this link http://www.webcitation.org/query?url=http://www.geocities.com/Paris/1947/MengSocNews21-30.html&date=2009-10-25+09:21:14). As a result of numerous conflicts, Vermeulen decided to settle and work abroad for many years, particularly in France where he became a Paris
Paris
Paris is the capital and largest city in France, situated on the river Seine, in northern France, at the heart of the Île-de-France region...
correspondent for a journal in the then Dutch East Indies
Dutch East Indies
The Dutch East Indies was a Dutch colony that became modern Indonesia following World War II. It was formed from the nationalised colonies of the Dutch East India Company, which came under the administration of the Netherlands government in 1800....
(Indonesia
Indonesia
Indonesia , officially the Republic of Indonesia , is a country in Southeast Asia and Oceania. Indonesia is an archipelago comprising approximately 13,000 islands. It has 33 provinces with over 238 million people, and is the world's fourth most populous country. Indonesia is a republic, with an...
). He died in Laren
Laren
is a municipality and a town in the Netherlands, in the province of North Holland. Located in the region called 't Gooi, it is the oldest town in that area. It is one of the richest towns in the Netherlands, along with its neighbour Blaricum...
.
Works
His symphonies, especially the last six of his seven, are atonalTonality
Tonality is a system of music in which specific hierarchical pitch relationships are based on a key "center", or tonic. The term tonalité originated with Alexandre-Étienne Choron and was borrowed by François-Joseph Fétis in 1840...
but also extremely contrapuntal
Counterpoint
In music, counterpoint is the relationship between two or more voices that are independent in contour and rhythm and are harmonically interdependent . It has been most commonly identified in classical music, developing strongly during the Renaissance and in much of the common practice period,...
, involving many musical lines combining simultaneously. In this he resembles Allan Pettersson
Allan Pettersson
Gustav Allan Pettersson was a Swedish composer. Today he is considered one of the most important Swedish composers of the 20th century...
in some ways. In his compositional work Vermeulen always focused his attention on melody. In his music a flow of melodies can be heard from beginning to end, quite diverse in form and character. The majority of the material is asymmetrical, based on the principle of 'free declamation', that is to say: the melodic curve and length of two consecutive sentences usually vary. Frequently Vermeulen spins long melismas into ever continuous melodies, in which every memory of period structure is absent. Particularly striking is the free rhythm of flowing lines, which have become disengaged from a fixed classification of metre by antimetric figures and ties. Yet elsewhere we come across short and pithy melodies, with a clear pulsation. A characteristic feature of his music is the sophisticated climactic activity and the alternation of tension and relief, mostly supported by harmony.
In his writings Vermeulen draws a parallel between melody and the individual: "The melody is a frame of mind expressed in tones." Seen in the light of Vermeulen's line of reasoning, a multi-voiced, polymelodic composition takes on the meaning of an aural representation of society. By combining several individual melodies, he reveals the wish he cherishes for society, namely that of every individual being able to freely express and develop himself, without infringing upon other people's freedom to develop their abilities. Although Vermeulen's writings on music give the impression that he was completely consistent in applying his polymelodic concept from the beginning until the end of a piece, most of his compositions contain several passages with only one or two voices, embedded in marvellous harmonies. Open, simple textures alternate with very complex ones, as does quasi-tonality with atonal constellations.
Early on, a spirit of freedom and urge for innovation prompted Vermeulen to abandon tonality and reject the traditional form schemes. In the First Cello Sonata free atonality breaks through in spurts, which from his Second Symphony onwards determines melody and harmony in his oeuvre. As opposed to Arnold Schoenberg
Arnold Schoenberg
Arnold Schoenberg was an Austrian composer, associated with the expressionist movement in German poetry and art, and leader of the Second Viennese School...
, Vermeulen did not choose to build a new regulatory system, but proceeded purely in terms of thematic information and its logical and psychological development. His symphonies and chamber works consequently differ greatly as far as construction is concerned. But he always succeeded in creating architectonic cohesion. The Third Symphony is in a large A-B-A form, in which A develops linearly and B is reminiscent of a Classical rondo. The Fourth Symphony is built on six themes, three of which return just before the end; the long epilogue is counterbalanced by the hammering prologue, both on the pedal tone C. The large-scale Violin Sonata is based on the major seventh, omnipresent both in melody and harmony.
Vermeulen's compositions share a unique combination of energy, power, lyricism, and tenderness. The vitality of his works is the result of the aim he had in mind: to compose as an ode to the beauty of the earth and in astonishment about life, creating music which appeals to the spirituality of man, bestowing feelings of happiness on him and making him acquainted with the source of life, the Creative Spirit. These ambitions, put into words in the book titled Princiepen der Europese muziek (Principles of European music) and numerous articles, were at right angles to the mainstream movements. Consequently, Vermeulen did not have followers or disciples.
Apart from the aesthetic-ethical 'message', which is also the subject of most of his songs, Vermeulen's symphonies and chamber music offer an ingenious interplay of melodies, a colorful (orchestral) sound with many felicitous instrumental ideas, fascinating sound fields, innovating parallel harmony and a captivating canon technique.
Vermeulen's work has been quoted as seminal by influential Dutch composers such as Louis Andriessen
Louis Andriessen
Louis Andriessen is a Dutch composer and pianist based in Amsterdam. He teaches composition at the Royal Conservatory of The Hague...
, but his direct influence is much more difficult to trace - his style, after all, is eclectic and highly personal. Moreover, his actual collaboration with other composers remained very limited. Almost all of his recognition took place well after his death.
His works also include lied
Lied
is a German word literally meaning "song", usually used to describe romantic songs setting German poems of reasonably high literary aspirations, especially during the nineteenth century, beginning with Carl Loewe, Heinrich Marschner, and Franz Schubert and culminating with Hugo Wolf...
er with piano (one of these he orchestrated), chamber music including two cello sonata
Cello sonata
A cello sonata is usually a sonata written for cello and piano, though other instrumentations are used, such as solo cello. The most famous Romantic-era cellos sonatas are those written by Johannes Brahms and Ludwig van Beethoven...
s, a string trio
String trio
A string trio is a group of three string instruments or a piece written for such a group. The term is generally used with reference to works of chamber music from the Classical period to the present.-History:...
(1923) and a string quartet
String quartet
A string quartet is a musical ensemble of four string players – usually two violin players, a violist and a cellist – or a piece written to be performed by such a group...
, and incidental music for The Flying Dutchman.
Symphonies
- Symphony Nr. 1, Symphonia Carminum (1912–1914)
- Symphony Nr. 2, Prélude à la nouvelle journée (1920)
- Symphony Nr. 3, Thrène et Péan (1921)
- Symphony Nr. 4, Les Victoires (1941)
- Symphony Nr. 5, Les lendemains chantants (1945)
- Symphony Nr. 6, Les minutes heureuses (1958)
- Symphony Nr. 7, Dithyrambes pour les temps à venir (1965)
Other works
- On ne passe pas, for tenorTenorThe tenor is a type of male singing voice and is the highest male voice within the modal register. The typical tenor voice lies between C3, the C one octave below middle C, to the A above middle C in choral music, and up to high C in solo work. The low extreme for tenors is roughly B2...
and pianoPianoThe piano is a musical instrument played by means of a keyboard. It is one of the most popular instruments in the world. Widely used in classical and jazz music for solo performances, ensemble use, chamber music and accompaniment, the piano is also very popular as an aid to composing and rehearsal...
(1917) - Les filles du roi d'Espagne, for mezzo-sopranoMezzo-sopranoA mezzo-soprano is a type of classical female singing voice whose range lies between the soprano and the contralto singing voices, usually extending from the A below middle C to the A two octaves above...
and piano (1917) - The soldier, for baritoneBaritoneBaritone is a type of male singing voice that lies between the bass and tenor voices. It is the most common male voice. Originally from the Greek , meaning deep sounding, music for this voice is typically written in the range from the second F below middle C to the F above middle C Baritone (or...
and piano (1917) - La veille, for mezzo-soprano and piano (1932: version with orchestra) (1917)
- Sonate pour violoncelleCelloThe cello is a bowed string instrument with four strings tuned in perfect fifths. It is a member of the violin family of musical instruments, which also includes the violin, viola, and double bass. Old forms of the instrument in the Baroque era are baryton and viol .A person who plays a cello is...
et piano (1918) - Trio à cordes (string trioString trioA string trio is a group of three string instruments or a piece written for such a group. The term is generally used with reference to works of chamber music from the Classical period to the present.-History:...
) (1923) - Sonate pour piano et violon (1925)
- De Vliegende Hollander, for declamation, choir and orchestra (1930; 1950: for orchestra only)
- Deuxième sonate pour piano et violoncelle (1938)
- Trois salutations à notre dame, for mezzo-soprano and piano (1941)
- Le balcon, for mezzosoprano or tenor and piano (1944)
- Préludes des origines, for bariton and piano (1959)
- Quatuor : pour 2 violons, alto et violoncelle (string quartetString quartetA string quartet is a musical ensemble of four string players – usually two violin players, a violist and a cellist – or a piece written to be performed by such a group...
) (1961) - Trois chants d'amour 1962 pour voix moyenne et piano (for mezzo-soprano and piano)