componist
gerelateerde werken
Sinfonia : for chamber orchestra, 1985 / John Borstlap
Genre:
Orkest
Subgenre:
Orkest
Bezetting:
2333 2000 str
Metamorphose : voor sopraan, klarinet en piano, 1987 / Henk van der Vliet ; poëzie: Jan Greshoff
Genre:
Vocaal
Subgenre:
Zangstem en instrumenten(en)
Bezetting:
sopr cl pf
Honk : for soprano and ensemble / Martijn Padding, 2000
Genre:
Vocaal
Subgenre:
Zangstem en instrumenten(en)
Bezetting:
sopr rec/fl cl-b trb vl pf el.g cb perc
Manifeste simple pour une écriture lineaire : for voice and ensemble / Martijn Padding, 1999
Genre:
Vocaal
Subgenre:
Zangstem en instrumenten(en)
Bezetting:
voice 2rec/fl, fl-b cl trb vl pf el.g cb perc
compositie
Rajanigandha : for soprano, flute and piano / John Borstlap ; seven poems by Rabindranath Tagore, 2008
Overige auteurs:
Tagore, Rabindranath
(tekstdichter/librettist)
Bevat:
Bevat: 1. Dance of life
2. The parting
3. Useless dialogue
4. The stranger
5. Spring
6. Immutability
7. Transfiguration
Toelichting:
The texts, by the Indian poet, writer and mystic Rabindranath Tagore (1861-1941), were taken from the collection 'The Gardener' (1913), which contains poems translated by the author from the original Bengali. Most of these lyrics of love and life were written much earlier than the series of religious poems named 'Gitanjali' which won Tagore the Nobel Prize in 1913. The translations are not always literal: the originals being sometimes abridged and sometimes paraphrased. 'Rajanigandha' is the Bengali name of a small plant, with very fragrant white funnel-shaped flowers that shed their fragrance at night.
The refinement of the musical textures requires a delicate and intimate approach, in which voice, flute and piano part form a total patterns of integrated, ornamental detail, as can be found in the ornamental culture of India's past. The balance should not be understood as a 'voice plus accompaniment', but as an integrated whole in which no part dominates, the piano part forms a unifying framework, a tapestry of sound in which the other parts organically find their place. The voice and flute parts are structural parts of the total fabric, and should not employ a too pronounced vibrato, but a light sound with a light, added vibrato at places for expressive reasons. In the voice part, the distinction between parlando passages and lyrical passages is obvious, a discrete, not too pronounced diction is recommended. The music should not be 'romanticized' by rubati, which are not indicated. The last song, 'Transfiguration', is highly atmospheric and should create the dreamy effect of an 'unreal' vision, enveloped in an aura of otherwordly light; the piano part - in which the transitions of rhythm have to be executed with suppleness - should be played with the left pedal throughout to create the required 'misty' sound quality. - JOHN BORSTLAP