Paul Termos (1952­2003)

He studied composition with Ton de Leeuw (1972­79) and music analysis with Jos Kunst at the Music Conservatory in Amsterdam. He also received lessons in alto saxophone from Leo van Oostrom. In addition to his work as a composer, he was active as a saxophonist in the field of jazz and improvised music, leading his own groups and working with other musicians. He wrote music for the ensembles De Volharding, Mondriaankwartet, Nieuw Ensemble, Loos, Maarten Altena Ensemble, Basho Ensemble; the soloists Frances Marie Uitti, Walter van Hauwe, and Guus Janssen; the Chamber Radio Orchestra in the Netherlands, as well as for his own ensemble Termos Dubbel Express. In 1986 he received the Aanmoedigingsprijs (Incentive Prize) from the Amsterdams Fonds voor de Kunst for Carrara for piano solo.

Selected works: Nieuw werk for bass clarinet and piano (1976), Semantic hedonism for three clarinets (1976), De voede van Neptunus for school orchestra and choir (1978), Lustobject for chamber orchestra (1979/1980), Buste for two bass clarinets (1980), Borstbeeld for 13 brass instruments and double-bass (1980/1984), Bedankt Maecenas! for sixinstruments (1982), Concerto for Alto Saxophone and Chamber Orchestra (1983), Expres(s) for wind quintet, string trio, double-bass and piano (1984/1995), Carrara for piano (1985), Fortuna for chamber choir and four instrumentalists (1986/87), String Quartet No. 1 (1987/1991), Nagras for orchestra (1988), m. m. for four percussionists (1988), Vuoto ossesso, versions for piccollo and for soprano recorder (1989), Linea recta for 11 wind instruments, piano and double-bass (1990), Roma for cello (1992), Vokalise x for soprano and piano (1993), Groundwork for brass quintet (1993/1996), kk for solo percussion (1995), Concerto for Flute and Chamber Orchestra (1994­95/1996), The Book of Indians for soprano and ensemble (1996), Blues for Marcel W. for piano (1997), Nonet for wind ensemble and double-bass (or double-bassoon; 1997), Datum for recorder quartet (1997), Via, via for ensemble (1998), SerŽ for small ensemble (1999), Review for seven performers (2000), Kwarts for violin and piano (2001), E dominio for electric guitar (or acoustic jazz guitar) (2002), String Quartet No. 2 (2002).

E Dominio
Some thirty years ago the composer himself played the guitar. The piece vividly shows his love for the basic components of this instrument, such as the ever-present resonant note E, its timbral qualities and the use of certain idiosyncratic elements, without resorting to cheap effects or irony. The piece lasts about 17 minutes and is the outcome of an improvisatory collaboration between the composer and Wiek Hijmans which extended over a long period.