Niksers, leeghoofden = Witless, empty heads, 1973 - 1991

The literary form of this piece, as portrayed on p. 1, is a Psalm in the category of communal lamentation (see. p. 31). It's structure is tri-fold: Reflection on the Evil State of the Nation and World, Prayer for the Restoration of the Nation, and The Hope of Restoration. It's cultic origins were in Temple worship, at a time of great moral decline of both the people in general and most specifically the leaders who should have know better. The Prophets are relentless in their condemnation of institutional abuse and depravity. This hymn of lament is was written around the times which are clearly expressed in Is. 24:26, as foreshadowed in Is. 6:9-13, during the events leading up to the Fall of Jerusalem and the Babylonian Exile. The moral fiber of the nation had collapsed, and the Nation was summoned to the Temple for a Liturgy of Lament.

The musical form relies on 3 formula, Verse 1 open-form strophic song for the Choir - formula A Canonic Refrain for the Assembly - formula B Verse 2 open-form strophic for the Choir formula A Canonic Refrain for the Assembly - formula B Verse 3 mixed forms chant form for Female Schola - formula C strophic open-form song for Choir - Formula A Canonic Refrain for the Assembly - formula B Verse 4 chant form for Male Schola - formula C Canonic Refrain for the Assembly - formula B Verse 5 mixed form (reversal of v.3) open-form strophic for the Choir formula A chant form for Tenor Solo, Choir, Assembly (sung twice) - formula C Canonic Refrain for the Assembly - formula B Verse 6 chant form for Choir with Assembly repeat - formula Cs chant form for Choir with Assembly repeat - formula C Coda, organ rendition of Chorus Angelorum from In Paradisum, leading to a peaceful conclusion.

The strophic verses follow a step pattern of descending thirds, leading to a mirror reversal at the end. The chant verses are based on a step pattern of ascending seconds, leading to a descending pattern of similar intervals, concluding with two complementary rising figures. This is a similar pattern used by Huijbers in the song Psalm (JM 165) - Tony Barr