Canto Ostinato for 4 pianos

And then, the sea washes and polishes, time crystallizes. Simeon ten Holt Dutch composer Simeon ten Holt studied piano and theory with the Bergen composer Jakob van Domselaer (1890-1960). In 1949 Ten Holt moves to France, taking lessons from Honegger and Milhaud at the Ecole Normale in Paris. With his major composition Canto Ostinato (1976-1979) for four keyboards, Ten Holt gains national exposure. Like other characteristic compositions for keyboard of the same period (Lemniscaat, Horizon, Incantatie IV and Soloduiveldans (Solo Devil's Dance) II and III) it borders on repetitive music. They show his own unmistakable style in which tonality and repetition evoke a new sort of aesthetics (“tonality after the death of tonality”). Canto Ostinato took shape as a work in progress at the piano. The score is laid out as a route for the performers to take, using the so-called “drift parts” at will. The number of players is undetermined, as is the total length and the number of repetitions of the various sections on which the composition is built. The freedom left to the performers gives them a great responsibility towards the final result. Since its release on album this live-recording has become the one recording of the (long version-) Canto Ostinato. Gerard Bouwhuis, Gene Carl, Cees van Zeelandand Arielle Vernède are true giants of the keyboard. All are dedicated to the 20th century repertoire and are members of various ensembles.