- 1. Verdronken Meisje (06:05)
- 2. Morns Like These (07:08)
- 3. Tratti Per Arpa (07:12)
- 4. Righe Per Corde (09:01)
- 5. Spennellate (04:29)
- 6. Palazzina In Bianco E Nero (06:46)
- 7. Bugigattolo (06:13)
Compositions and improvisations played by
Henneman String Quartet
Oene van Geel - violin, viola
Ig Henneman - viola
Alex Waterman - cello
Wilbert de Joode- contrabass
Godelieve Schrama - harp
Strepen is a series of works by Ig Henneman for the Henneman String Quartet with guest harpist Godelieve Schrama ranging from guided improvisations to fully notated compositions.
This recording has only been available in CD form as part of the box set Ig Henneman Collected.
“Strepen … shows us how in [Henneman’s] first drummer-less project, improvisation (or "Instant composing" as she calls it) has grown into a completely unique language, in which various influences have been fused into a quirky whole. It is a multi-layered album with an impressive color palette, which is more focused on exploring textures and contrasts than the technically virtuosic execution of ideas.”
Guy Peters, Enola
"On Strepen – Stripes – one can clearly hear how Henneman brings together the different disciplines. The unusual make-up of this string quartet aside, the composed passages retain a marked looseness, which immediately lends the music a totally different feel. While the composed sections are more playful than one might expect, a strict restraint can be heard in the improvisations. This is not the kind of dogmatism into which some ‘Free Jazz’ has degenerated, nor does it leave the listener with the sense that the musicians are doing whatever they want. The music is bristling with ideas but maintains a clear direction; the abandon is somehow kept in check. A fine example is ‘Verdronken Meisje’ – ‘Drowned Girl’ – a composition that is distantly related to Schubert’s famous string quartet, Der Tod und das Mädchen. After the first solo, the ensemble takes up a mournful but melodious theme that is twice interrupted by the same dissonant intrusion: the beauty of the maiden versus the pervasiveness of death. Those two bowed notes dismantle the melody completely.
Henneman’s skill in bringing together the different idioms of classical and improvised music is also evident in the two works that she wrote for ‘improvising string quartet and harp’. The classical harpist Godelieve Schrama collaborates in exemplary fashion with the string quartet of musicians from the realms of jazz and improvised music. These are striking illustrations of Henneman’s long-cherished vision: merging diverse playing styles and modes of musical thinking to elicit the creation of a new kind of music."
Mischa Andriessen, from liner notes of the CD box set Ig Henneman Collected
"The string quartet comes laden with heavy classical baggage, but by the time Strepen was recorded in 2003, any tradition was malleable in Henneman’s hands. Melodies were entirely her own, again blending an ancient and modern sensibility similar to the Tentet recording and using rhythm and nonstandard intervals to shape and color them. She and the group marshal the textures unique to stringed instruments with imagination and fine detail. The execution has the suppleness of improvised music and the balance of a classical ensemble. Use of microtones and untempered notes expand the music’s harmonic base and the range of colors as well. The music is heard in two different contexts."
Ed Hazell, Signal to Noise