Furthermore Van Vlijmen's affection for the Italian language, which is also evident, even when we just look at most of the titles of his compositions, has never been so impressively acknowledged and relived to the core as in this cantata. The general feeling of austerity and remoteness in Omaggio a Gesualdo has been replaced in Inferno by a warm-blooded melodic writing through which the whole, both horizontally as well as vertically, is inspired and it functions as the basis for music which is often very emotional and compassionate. The composer achieves this without in the least distancing himself from the rational and well thought-out techniques from his earlier works. Van Vlijmen's fascination for numbers plays an important role in Inferno . The number seven is an example which captures the imagination, for Inferno consists of seven overlapping sections and calls for seven groups of performers, three vocalists and four instrumentalists.
Numbers also have a meaning in the structure of the sound material.
Here the structure of the text and serial theory complement each other, in a way that does not work at all as a straitjacket. Of the three groups it is the third unusually enough which has the most solo work and is used for the parlando sections. As a result the vocal part can sound simultaneously as if it is very independent as well as homogeneous which applies more distinctly to the instrumental groups. The outcome of this is an immense richness of diverse and yet perfectly appropriate colours and timbres which leaves the listener with an impression of striking unity. Van Vlijmen, in using the text, has definitely not aimed at casual word-painting.