componist
Patrick van Deurzen (1964) studied Classical Guitar from 1983-1989 with Dick Hoogeveen and Music Theory from 1987-1991 with Peter-Jan Wagemans and Jan Kleinbussink and Instrumentation from 1983-1987 with Klaas de ...
gerelateerde werken
Choral, Fugue e Prélude : for wind quintet / Patrick van Deurzen, 2006
Genre:
Kamermuziek
Subgenre:
Blaaskwintet
Bezetting:
fl(pic) ob cl(cl-b) fg h
Fantasia IV : de aarde, voor basklarinet en klanksporen, 1988 / Hans van Eck
Genre:
Kamermuziek
Subgenre:
Klarinet; Elektronica met verschillende instrumenten; Klarinet met elektronica
Bezetting:
cl-b tape
Apparences II : pour quatuor de clarinettes, 1987 / Ton de Leeuw
Genre:
Kamermuziek
Subgenre:
Klarinet
Bezetting:
3cl cl-b
Quartet : for 3 clarinets and bass clarinet, 1992 / Janine Mehrtens
Genre:
Kamermuziek
Subgenre:
Klarinet
Bezetting:
3cl cl-b
compositie
Ceux qui sont venus du ciel : for clarinet in A solo / Patrick van Deurzen, 2006
Overige auteurs:
Strauss, Richard
(op een thema van)
Toelichting:
This A-clarinet solo is a short, ironic piece. During the solo we hear the line 'We thought to find civilization' which is sung/spoken by an imaginary species from outer space that visits the earth and sees the daily occupations of mankind. The idea was conceived when Van Deurzen read Houellebecq's novel 'Le possible d'une île.' In the novel we meet a sect who believe that man was created by aliens ('ceux qui sont venus du ciel') and that at an unspecified moment in the future the aliens will come back to reunite with mankind in paradise. This would appear to be an outrageous idea, but such a sect really exists, callng themselves the Raëlians! The clarinet solo could be seen as a song from the aliens, with micro-tones to underline the unearthly origin of the song. In the beginning the micro-tones are used in a light and playful manner but gradually becoming more and more dramatic with lamenting Jewish-like gestures. At the end we hear one of the most famous A-clarinet solos from the orchestral literature: the opening of Richard Strauss' 'Salome': a symbol of corruption and violence. - PATRICK VAN DEURZEN