Recorded and mixed between October 2004 and January 2005 at the MiniMinus Studio.|
- Prosa Part 1 [6:12]
- Prosa Part 2 [13:28]
- Prosa Part 3 [22:23]
- Prosa Part 4 [9:33]
- Prosa Part 5 6:12 [15:47]
Composed, arranged and produced by René van der Wouden.
René van der Wouden - keyboards, electronic percussion
Pro Sequentia = Latin for the sequential hymns sung by monks and musicians at around the year 1100. This kind of repetitive music can be seen as the basis of the Western music as we know it today.
The word Prosa is just the abbreviation of Pro Sequentia.
2005. Press Information
The music on "Pro Sequentia" (which is Latin for the sequential hymns sung by monks and musicians at around the year 1100) of Dutch synthesist René van der Wouden shows a few musical steps forward. Above all, it features a warmer, better produced sound, which makes the general melodic music stand out better.
The five tracks are very accessible, the first "Prosa" starting out with joyful played sounds and rhythms. The second track sits back, journeying into quiet, floating territory before setting out in a sequenced/rhythmic outing.
"Prosa 3", the longest track lasting over 22 minutes, carries a nice, engaging feel with its undeniable influences of both Mr Jarre and Vangelis.
The other two parts continue rather nice as well, but even here different elements just don’t match, although René tried to make them work.
On the other hand, the warm anthem-like textures of the closing track do very well before (pitiful enough) the rhythms set in, next to the beautiful melancholic feel halfway.
"Pro Sequentia" shows a further maturation of Rene’s music. But there’s still quite some work to be done as he should further refine and sculpture his own sound and not try too much at one time.
2010. Bert Strolenberg / Sonic Immersion
I received this CD "Pro Sequentia" from René van der Wouden. After I had listened to the soundclips on the site, I decided to buy this CD and I don't regret it. The music is very refreshing but also Berlin School. It is also like the music of other EM such as Jean Michel Jarre and Vangelis, but fitted in René's own style.
The sounds are classic but inspiring. The overall sound quality is very good, especially in Prosa 5 which is my favorite.
The best is saved for last. Although the music changes sometimes unexpectedly, the album gets better and better while playing it more and more. I find this CD a very promising start for this Dutch artist. It indeed pleases all the fans of electronic music.
It is a special record and I hope there's more to come.
2005. Lucas Chagny / Swiss
2005 production containing the 5 (musical) Prosa’s
Prosa 1 (6:12) Imaginary Soundscape : sequencers starting the melody. Rhythm is guiding the music marching through a landscape of colourful sounds. Built on many layers ending as it begun.
Prefer to mention it lyrical. Nice piece of music and a perfect start. Marching in!
Prosa 2 (13:28) Totally different floating music mixed with sound effects. Theme starts with a simple melody. "Tubular Bells" followed by heavy sequencers strong middle part ending in "Rhythm and Blues"
Summary : melting pot of different styles showing a musical "bunch of flowers"
Prosa 3 (22:23) Mysterious intro followed by melancholic and emotional music starting the electronic journey looking for ……..
Nice theme again. RvdW proves to be a musical painter using a lot of expression in his works.
Sequencers taking over halfway pushing the music to its end. Rhythm is dominating Prosa 3 during the second half cutting it in different slices. The result is a 22 min. voyage working to a climax (Jarre was around ;-)
Prosa 4 (9:33) Less interesting piece missing the character of the previous parts. Differs too much
(TD influences all over)
Prosa 5 (15:47) "The End" starts impressive almost classical. RvdW is obviously influenced by classical music i.m.o. his strongest side and his best Prosa so far. Beautiful Finale.
Chapeau Rene !
2005. Koos van Wijngaarden / The Netherlands
Sweeping and majestic, "Prosa 1" starts this synthesizer fest in grand style. Soaring pads and effects ring out. Then a moderately paced sequencer loop arrives, followed shortly by a full-on rhythm section that picks up the pace. The lead synth is a tad on the cute side, but the bright upbeat nature of it is enjoyable. Airy synths draw the track to a close.
"Prosa 2" takes time to develop, starting with a cool lengthy space music intro, including some nice chords and reverberating bell tones. Just about the time it seems this one will stay mellow, a low bass sequence comes out of nowhere at the 6:30 mark, along with a fantastic soaring synth lead. I get chills on this one. A slamming beat really kicks it up a notch. What an excellent track this is.
"Prosa 3" is a 22 ½ minute epic, with a majestic feel like Jarre or Vangelis at times. Once the smooth melody and beat comes in, it also reminds me of Gert Emmens. The best part is, a synth sounds like a synth – no pseudo guitars, violins, or anything else.
Pro Sequentia is pure electronic music from beginning to end.
2005. Phil Derby / Electroambient Space
The album Pro Sequentia consists of five tracks named "Prosa 1", "Prosa 2" etc.
The first part begins with serene symphonic synth pads and abstract noises. At around the 2 minute mark we get the first sequence and then another one. Shakuhachi flute can be heard that gives this track an oriental flair. A 4/4 beat then enters the stage, providing a modern age to what started like an out-and-out retro number. We then get lots of melodies so those who enjoy melodic EM should dig this. The track ends with subtle pads and soundscapes. For some reason it all reminds me on 90's Tangerine Dream, although with better arrangements and more interesting sounds.
"Prosa 2" has an excellent start with subtle hummings and some out-there sounds. A wonderful soundscape that feels like being in a parallel world or in a faraway star system. This is in completely different style compared to the first track and I welcome these changes with both hands. A lone melody is playing on top of wind sounds. Mournful, even a bit tragic mood permeates this piece. A bell sound adds to the funeral-like atmosphere. A musical equivalent of a transition to another world is the only analogy I can think of at the moment. However, it suddenly erupts with a bass sequence and some melodic motifs with even a bit of Mellotron flute in there. A rhythm then kicks in and takes things closer to dance territory, with insistent melodic theme and some tight soloing. The track closes with a dramatic pad section and effective piano sequences.
"Prosa 3" is the longest track of the lot. We hear some pads and a melodic theme that just wanders along. Relaxing, but very emotional stuff. Substantial changes come after 8 minutes when an Enigma-like rhythm kicks in, along with some resonating fast-paced bass pattern, while melodic meandering solo continues to cast its spell. Different themes appear towards the 12 minute mark, along with more intense backgrounds and some additional effects. All then calms down for an atmospheric interlude. Closing this track is another upbeat sequencer-based section with multiple pulsations coupled with a rhythm and some solo synth.
The fourth track is dominated by major chords, therefore being much more uplifting than most of what's come before. Sequences do come in after three minutes into the track, making this another urgent rhythmic number. My only gripe are the sounds that on this particular track sound somewhat unimaginative and way too thin. The sequences are ok, but the surrounding sounds / solos I'd prefer more punchy and bold (and more wooden if you know what I mean).
On "Prosa 5" Rene serves us with some synth pads playing uplifting melodies. Then a sequenced section appears with some cheesy brass & flute leads. Another atmospheric part with synth pads and barely heard effects comes next. Then, noisy sequence echoes in the distance that is joined by yet another one and another one in the bass register. Thus, we motor along on top of the most energetic section of this track that eventually closes with sea sounds and various effects.
The last section is rhythmic but laid-back, with nice melodies.
Overall, Pro Sequentia is a fine album that perhaps relies a bit too much on digital synthesizers for my liking. However, own preferences put aside, I'd say this album will be enjoyed by those who like melodic / sequenced Electronic Music with varied moods and a classical influence in there as well.
2005. Artemi Pugachov / Encyclopedia of Electronic Music
Dutchman René van der Wouden is already active in the electronic music for a long time.
With "Pro Sequentia" he delivers his first cd-r. René’s early sources of inspiration are artists like Jean Michel Jarre and Vangelis. These are people that choose the melodically side of EM and this is also René’s course.
This cd-r consists 5 pieces: "Prosa" ("Part 1" -"Part 5"). The first part opens with nice digital sounds after which a sequence falls in, soon followed by (pop) rhythms and a Jarre-like melody. It can be heard that René can play pretty well. While listening to the music, these elements together remind me of the music of Frank van Bogaert, though his music is more in the direction of Vangelis.
The second part begins quietly, slightly as filmmusic, and a piano-like sound after which the melodic element returns.
"Part 3", with 22:23 minutes the longest track, seems homage to Jarre but also has some melodylines that sounds like symphonic rock. The choice of sounds is well.
Sequences play an important part in the fifth part. I find this the best track on the album.
The last composition also has excessive sequences, though these sound somewhat fussier. "Pro Sequentia" is an interesting debutalbum. Sometimes it sounds something too poppy for me personally but in spite of this the album is promising.
2005. Paul Rijkens / SonicImmersion.org
This a so-so EM cd, a bit too much Jarre for my liking, too popish and symphonic in areas, not much berlin-school as stated, the melodies are okay with some trite if not completely boring noodling in between.
Like that Artemi guy says it's weak, unimaginative and thin in places, sorry Mr Wouden it just doesn't appeal to me. I give it 4/10.
With this album, René delivers some very pleasant music whose main characteristic is freshness. This cd has a cheerful tone to it that makes it a worthy acquisition for all EM lovers who don’t want to only listen to ominous landscapes and menacing drones. There are some thoughtful moments as well, of course, but always with a certain lightness that makes for a listen as nice as a walk in the park on a bright morning.
And part five is just beautiful :) Buy it and listen to it while sitting on your porch and looking at the meadows (or imagining to), and catch a breath of fresh air.
2006. Mac of BIOnighT / Italy
What a marvellous title. Pro Sequentia, or Prosa in Latin, means sequential anthems sung by monks and musicians in the years 1100. This form of abstract and repetitive art would be the cradle of the sequenced music nowadays. It is also the title of the 1st work of René van der Wouden, a Dutch synthesist whom I hear on some compilations, whose style charms me so much. It is thus with a well nourished curiosity that my ears rubbed into Pro Sequentia. And, shall I say immediately, I had very beautiful moments listening to it.
Prosa Part I starts with a wonderful sidereal breath, tinted with analog sounds effects and a synthetic orchestral movement. Soft, the line floats with tenderness, whereas a superb series of undulating keys trace a nervous sequence, a splendid flute appears, solidifying a melancholic melody which could melted tears hidden back since years away. The rhythm becomes animated around another more dynamic sequence, good percussions and one divinely melodious synth. Prosa I is full of serene and great harmonies to hear. A superb title that ends too quickly.
More atmospheric Prosa II proposes a long intro with heteroclite sounds effects. On a cosmic wind, keys cross and uncross a sad melody which will nourish the sequence to come. The tone is serious and disastrous bells open the way with a sequence which oscillates in the dazes of suave and intense synthetic layers which balances a waltzing orchestral movement. The percussions explode a melodious rhythm, with a bass sequence and a superb Mellotron which adds a richer and deeper musical texture. The tempo is more and more rhythmical with superb magical flute Mellotron solos. Another superb moment which dies out in the intense atmospheric dazes, and an alert piano segment.
Prosa III continues this atmospheric quest. The intro floats on good synthetic pads which stretch their chords in a kind furrow of harmonious themes. Superb passages of synthesizer, twinned with breaths of tenderness of a Mellotron flute cradles the melancholic atmosphere which overhangs this intro. Symphonic and majestic, the synths progress until the rhythm becomes animated. Dry percussions and a heavy drone bass sequence, seize Prosa III, around the 8th minute mark. The sequence flies with resonance on a slow rhythm, but stylist, as Enigma or Jean Michel Jarre styles. A wonderful melody which slowly quiets out in dense atmospheric breaths, before finding the road of cadence, with hammering synth solos.
A nice small synthetic serenade cribs the melancholic darkness of Prosa IV. Limpid keys, sounding like a crystalline harpsichord, float in static surroundings. Frantic, they hiccough a sequential movement which rams a jerked and hypnotic rhythm. Heavy synthetic layers dramatize the atmosphere whereas the percussions hammer a hungrier beat on a linear movement of the virtual harpsichord, which is decreasing, on rammed keys of intensity.
Prosa V encloses this extremely melodious opus with a symphonic touch within the spirit of a contemporary classical movement. A superb melody which waltzes on mellotron layers with the violin character, traditional flutes and other classical wind instruments. Superb symphonic synth takes the lead and blows of majestic anthems on a sequencer which circles and assumes the rhythm section. Great contemporary art which exploits various styles and sequences, embracing heavy rhythms and melodies sumptuously dresses more beautiful orchestral assets. What a final.
This first René van der Wouden exceeds my expectations. Pro Sequentia is a superb opus, with highly stylized arrangements. Van Der Wouden uses and develops his sequences in an astonishing way. His music is woven multiple sequences movements which intersect with affinity on very fluid and melodious orchestral arrangements.
My hairs did rise on more than one occasion, showing out of any doubt the great sensitivity which seems to surround this extremely promising composer.
2006. Sylvain Lupari / Canada, Quebec
René van der Wouden posee un estilo muy personal. Su música puede definirse como Planeadora melódica, aunque también se adentra a veces en el sinfonismo clásico y en el Pop.
"Pro Sequentia" es una impresionante obra de melodías cálidas y atmósferas mágicas, donde se fusionan los elementos menos abstractos de la Música Cósmica y los rasgos más etéreos de la Nueva Música Instrumental. Ritmo y melodía se mezclan en complejas construcciones, donde los secuenciadores trazan melodías. También hay pasajes lentos, donde los ambientes flotantes dominan. Estamos sin duda ante un disco estupendo, acompañado además por una espectacular portada.
René van der Wouden has a very personal style. His music can be defined as Space melodic, although it also enters Classical symphonism and Pop sometimes.
"Pro Sequentia" is an impressive work of warm melodies and magical atmospheres, where the less abstract elements of Space Music merge with those more ethereal ones from Contemporany Instrumental Music. Rhythm and melody become fused into complex constructions, where the sequencers shape the melodies. Also there are slow passages, where floating environments predominate.
This is no doubt a wonderful album, accompanied by a amazing cover.
2006. Edgar Kogler / Amazing Sounds
This release from 2005 offers 67 minutes of thrilling progressive electronic music.
With the first track, majestic textures sweep overhead, ushering in peppy percussives and nimble keyboards. An orchestral flair accompanies these elements, lifting the tuneage to vertiginous altitudes with breathtaking passion. The electronics convey a masterful air that is commanding and engaging.
The second track begins with an extended airy intro that leads to a passage of classically tinted keyboards. Tubular bells join in with astral effects, conjuring a celestial mood of dreamy demeanor. E-perc enters the mix, injecting a lively disposition that is suitably mirrored as the keyboards grow more demonstrative.
The third piece is the longest (at 22 minutes), and here Van der Wouden's sense of composition flourishes. The tune matures slowly, reaching a state of regal wonder as keyboard riffs interweave and combine, resulting in a fluid grandeur that gradually moves from progressive into pop laced tuneage as percussives emerge to lend a bounciness to the pulsating harmonies. Crystalline passages bestow a chill to the piece. Pensive stretches develop, stepping down the velocity for a ruminative turn...tat leads to a return of the music's previous state of agility.
The next track utilizes a surging quality to capture the audience's attention. Keyboard riffs throb and quiver, building in conjunction with swelling rhythms.
The last composition fuses a heavenly manner with an earthy stability, combining Van der Wouden's nimble-fingered keyboards with a jovial sense of celebration.
Moving from flutish strains to darker passages, the music refuses to stop mesmerizing, delivering inventive developments with determined exposition.
2006. Matt Howarth / Sonic Curiosity
This is René's first album, and an impressive one at that. There are obvious influences from different European electronic music styles, and well done at that. And that alone should be enough to make this a worthwhile album.
But what really matters is René's command of melody. Even though this is a very sequencer driven album, there's a strong melodic element, an uplifting quality to the music that I seldom hear these days. There are five long pieces, giving René plenty of room to show his ability.
My favorites are Prosa 3 and Prosa 5, both very heavy sequencer pieces, but also very positive melodically as well. Highly recommended.
2007. Scott Raymond / NY/USA
A reflective and superb album with echoing rhythms, deep spacious pads and melancholic synth textures. A must have, so highly recommended.
2008. Jon T. Maett / Sweden
This EM merges newer styles and Berlin school like elements into something new. Its not a clone of Tangerine Dream or Klaus Schulze. But its is not too far away from their style.
It pleases the fans of pulsing sequences. How to fit it in words? Better listen!
2005. Till Kopper / Germany