gerelateerde werken
1494 : for voice and instrumental ensemble, 1992-1993 / Kim Bowman
Genre:
Vocaal
Subgenre:
Zangstem en groot ensemble; Zangstem en orkest
Bezetting:
sopr(perc) 1001 2200 2perc hp pf vl vla vc cb / sopr(perc) 1001 2200 2perc hp pf str
Caprice 4-1 : voor symfonieorkest, 1978 / Benjamin Ashkenazy
Genre:
Orkest
Subgenre:
Orkest
Bezetting:
2222 sax-a 4330 timp perc str(12.12.10.10.8.)
Concerto for orchestra : 1974-1976 / Gary Carpenter
Genre:
Orkest
Subgenre:
Orkest
Bezetting:
3333 4431 timp 3perc hp pf(cel) str
Ahnung des Endes : voor koor en orkest, 1985 / Chiel Meijering
Genre:
Orkest
Subgenre:
Orkest; Altviool en orkest; Gemengd koor en orkest
Bezetting:
I-IV-VI: 3333 8431 4perc 2hp pf(cel) str II: 3333 8431 4perc 2hp pf(cel) str vla-solo III-V: GK4 3333 8431 4perc 2hp pf(cel) str
compositie
Alchemia I : for orchestra, 1998 / Kim Bowman
Overige auteurs:
Bowman, Kim
(Componist)
Toelichting:
Program note (English): (Première: 17-08-2005, Sydney Symphony Orchestra cond. Reinbert de Leeuw) - An orchestra can be a very powerful machine, able to make a tremendous noise, comparable to the physical aspect that can be experienced with amplified pop music. Further things I want to achieve is that my music triples over itself, disarranges and proceeds like a tidal wave. In 1998 I started developing ideas that would exploit these aspects. They deal with a minuscule weaving of sonorous fragments that are prefarably unrelated. Because I did not want to invent the wheel once again, I took these fragments from works by composers that preceded me. This resulted to a music that, in theory, perpetually changes direction harmonically, after very small time fractions. This is only theory, because eventually due to the structure of the piece and the consistent instrumentation no one will be aware of it. What can be discerned though is a very dense and hectic music in which all instruments are treated like a
flock of birds or a shoal of fish. This working method, in a sense, shows some similarity with an alchemistic way of thinking; it deals with regenerating material and the difficulties of identifying the diverse characters of the materials used. Eventually trying to establish something of a higher structure. Alchemia I is the first work written with these aspects in mind. The piano functions a a sort of motor that drives the orchestra, almost like the harpsichord player in the Baroque. I prefer the pianopart to be played by the orchestra's pianist, though the staging of the piano can be at the soloist position. - KIM BOWMAN