Remgewogen—Martin van Hees, guitar/TRPTK

The new recording from classical guitarist Martin Van Hees (on the TRPTK label), brings together compositional works from prominent Dutch composers: Roderik de Man, Aart Strootman, Jan-Peter de Graaff, Christiaan Richter, Leo Samana, Louis Andriessen, as well as Van Hees himself. There’s such diversity of tone and colour in these works, I decided to briefly review each of them. All, I believe, complement the concept of the album. The expressive layers of each composition come through the guitar of Martin Van Hees, who plays the instrument with excitement and precision.  

I found the idea very interesting of having all composers the same nationality. There are a few details in the album notes where Van Hees comments a little about each composer. Intrigued, I researched more and found several writings from the soloist dating back to his Master’s degree studies at The Royal Conservatory in the Hague. Since then, he showed a growing interest in these composers. A desire to learn about their work, questioning how the composers imagined the playing style of their compositions. This important work paves the way for a unique and coherent sound throughout the album. As such, he invested himself into each composition, its complexities, and even conducted interviews and played the work for some of the composers (de Man, Andriessen and Samana). The pairing of soloist and composer is for our benefit as we listen to a faithful interpretation of the score. 

Martin Van Hees, guitar

Composition and expressive artistry

Roderik de Man’s ‘Dulcamara’ (1987, revised 1997). In this composition, Van Hees captures a musical structure that falls into the Flamenco realm: rasgueo, golpe and tambora technique. All make for a crisp ferocity you expect from the flamenco style. At times even darker notes resembling ‘palm muting’ that serve as an anticipation of a slapped E bass string. The piece quiets to almost a whisper in some parts which only entices the listener. Van Hees turns the bitter and chaotic to a contrasting sweet phrasing of overflowing notes and percussion. The longest piece of the recording (clocks-in, at nine and a half minutes) plays and feels like a journey, a pleasant one.

Louis Andriessen and ‘Triplum’ (1962) is a three-piece fret jumping, forte playing, clean harmonics, short composition. The composer says: ‘I call it Triplum because it’s three pieces, that, as it were...were the same piece, but seen from different perspectives. “Variations” you could say, but that is still a bit different, because they’re still independent’. Composed in the ‘60s while Andriessen was a student in the Hague, its flexibility and subtlety are beautifully engaging. There are continuous moving tempi and dynamics. I’d say the most joyful and child-like piece on the album. I should mention that while a ‘contemporary’ or ‘modern music’ album, all the pieces are very accessible, tuneful even.

My first encounter with Van Hees was some years ago while researching another Dutch artist, the composer, inventor and guitarist Aart Strootman (winner of the Gaudeamus Composition prize in 2017 and of the Matthijs Vermeulenprijs prize in 2019). Strootman is a phenomenal artist. His range of work is jaw-dropping, from composer, inventor of his own guitars, to playing wonderful interpretations of Steven Reich and Philip Glass. He also built a wall of marimbas played by two percussionists. Excited to listen to the latest from Strootman, lead me to Van Hees.

Interestingly, Strootman’s ’Variations on a quote by Debussy’ is very traditional in form. It is a calm, melodic and sweet sounding seven minute piece divided into five movements. Even though robust at times, the composition never leaves the overall idea. A very welcomed balanced piece that feels like a good moment to catch one’s breath and contemplate the up and down movements along the fretboard and tense bridge playing from Van Hees.   

Jan-Peter de Graaff and ‘That all changes’ is the most modern piece in the album. Complex strumming, odd rhythms and constant changes in volume make for an interesting and lively, even jazz-like, sound. Certainly, this composition catches your attention, from pondering moments to string slapping to soulful melodic phrasing, de Graaff’s composition at almost seven minutes does not disappoint.

Christiaan Richter’s ‘Remgewogen', is one of the most powerful and fun pieces I’ve listened to on classical guitar. It’s also my favorite work here. A composition of curiosity complemented by fret and string demolition. Many intimate moments also come through. You could almost hear Van Hees ‘speaking’ to his guitar. You can hear slides, pull-offs, hammer-ons, percussion slaps and harmonics, complemented with some intense strumming. At minute three, the guitar answers back—you listen to an electric bass that’s really just Van Haas exploding notes on the top E string. The sliding nail on bass strings, that screeching, tearing sound, has always felt to me like a malevolent, visceral sound.

Van Hees’ two compositions are, in a good way, disturbing moments of restlessness. For example, in ‘Ikariotikoyunbabarrange’ (2016), topping the eight-minute mark, is an interesting, energetic piece: it begins with a soft plucking pretty melody at the bridge slowly falling into some dense and dangerous chord progressions. At moments, the bass strings are played punctuating sadness and wonder. Perhaps the most expressive piece in the recording. Short bursts of repeated phrases form an echo sound, which in turn feels like a release in some way, the hammer-ons on open strings show how you can ‘hover’ notes on this magnificent instrument. While in his second composition ‘Orewoet’ a bass string follows a high string, each walk to a different beat in simple melody lines. Then, an eclectic and open movement develops, with sliding chords that parallel a more folk-like theme. Rapid ascending and descending notes fire along the neck. Tremolo gives air to the piece, then a soft chord progression and a final diminuendo to end. 

Concluding remarks

This album is a gold mine for guitarists of any style and a demonstration recording for audiophiles. Remgewogen allows the listener to consider the fullness of the guitar and the range of compositional work for the instrument. Additionally, each composer fits perfectly with the versatility and technical brilliance of Van Hees.

There is so much to enjoy in each of these compositions: flamenco bursts, frenetic fret attack, melodic arpeggios, beautiful tremolos, dynamics that stop you cold, box percussion, bass slaps, slurs that are just technically fantastic. Some compositions offer a warm sensibility, only to clash in tone and tension. The experience throughout is akin to a special Dutch journey. You’ll feel like you’re on the journey with Van Hees; his journey from conservatoire to concert hall.

Be sure to check out TRPTK’s website below. All their recordings are available on SACD, HiRes download, vinyl and streaming. I’m looking forward to using other TRPTK recordings in my upcoming equipment reviews for Audiophilia.

Further information: TRPTK