gerelateerde werken

Entity : for flute quartet, 1994-1997

Genre: Kamermuziek
Subgenre: Fluit
Bezetting: pic(fl) pic(fl fla) 2pic(fl fl-b)

De hemel : = The Heavens, twaalf symphonische variaties, twelve symphonic variations, for orchestra, 1989/1990 / Peter Schat

Genre: Orkest
Subgenre: Orkest
Bezetting: 3fl fl(pic) fl-a 3ob ob(eh) 3cl cl-b 3fg cfg 4h 3trp 3trb tb timp perc cel mar vibr 2hp pf str

Helix (2022 revision) : for orchestra / Edward Top

Genre: Orkest
Subgenre: Orkest
Bezetting: 2fl 2ob 2cl 2fg 4h2tpt 3trb/trb-b tb timp 2perc hp pf str

Pastorale et hymne : pour grand orchestre, (deux intermèdes de "Vom Jahreslauf") / Henry Zagwijn

Genre: Orkest
Subgenre: Orkest
Bezetting: 3333 4331 timp perc cel 2hp 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