Between
for percussion quartet and soundtrack (1997)
Inspirational for the formal structure of this piece was a multi-layered ivory ball, a special handicrafted object dating back to the Chinese Qing Dynasty. The Ivory Ball is carved in multiple layers, each layer a freely moveable, independent ball with openings cut into it.
Between is about musical events taking place within other events, a fictive journey along the diameter of a multi-layered ball. The structures are cut open to insert other structures into the main form. The piece consists of parts, cut open and surrounding the fifth middle part: A B C D E D C B A. Inserts can be found at all levels, in the formal structure of the parts, in details such as timbre switches and in the rythmic structures.
The sounds on the soundtrack are edited percussion sounds. The most important editing is cutting open the reverb made by a percussion sound: a vacuum appears in which the percussionists play a fragment of their musical material.
Between is part of the "Preposition" trilogy - Above, Between, Attach. Each part focuses on a specific positioning of the musical material.
Van der Aa won the prestigious International Gaudeamus Prize for this piece in
1999
Press
"Van der Aa wins with the sound of steel and fire of drums. The jury praised Van der Aa for his clear idea's, the unpretentious way he has put them to music and the way he uses technology in his music. Between is indeed a very elegant composition. Van der Aa chooses color, rhythm and form over pitch. He used capricious rhythmical structures, thin metal sounds and electronically edited percussion sounds to build a firm structure. An editing of several elements that thickens more and more. An exiting crescending 'fire of drums' is also present, this effect is subtle dosed too"
— Volskrant, Frits van der Waa, 1999
" For the first time in almost half a century, the Gaudeamus Price is given to a Dutch composer, Michel van der Aa. 'Between' is a beautiful detailed work that shows craftsmanship and knowledge of electronics. Its has both surprising and logic structures. With this playful and intelligent work, Van der Aa shows us to have a promising future."
— Telegraaf, art editor 1999