gerelateerde werken
My Skeletonized Portrait : for violin and orchestra / Edward Top
Genre:
Orkest
Subgenre:
Viool en orkest
Bezetting:
vl-solo 3fl 2ob eh 2cl cl-b 2fg cfg 4h 3trp 2trb trb-b tb timp 3perc hp cel str
Genre:
Orkest
Subgenre:
Orkest
Bezetting:
3333 4331 timp perc hp str
Symphony Nº 4 : "Ode to a Nightingale", for baritone and orchestra / Marijn Simons
Genre:
Orkest
Subgenre:
Orkest
Bezetting:
pic 2fl afl 2ob ca 2cl blc 2bsn dbsn 4hn 3tpt 2tbn tb timp 4perc hp pno keyb acc str
July '90 : for orchestra / Margriet Hoenderdos
Genre:
Orkest
Subgenre:
Orkest
Bezetting:
pic 2fl 2ob eh 3cl 3fg 3h 3trp 3trb str(20.16.12.8.)
compositie
Eruption : for orchestra / Edward Top
Overige auteurs:
Top, Edward
(Componist)
Toelichting:
This piece in itself is an eruption, a celebration of the intense outbreak of youthful vigor, capturing a tour de force of speed that does not diminish for the entire duration. It is the raw and unrestrained crest of musical heights that is captured in the fleeting moment of an eruption.
The idea came about when, by chance, I discovered a striking similarity between cadences in the Ars Nova style, a French medieval musical style, compared to power chords of the modern-day Heavy Metal genre, where the use of parallel perfect fifths plays a pivotal role in its unmistakable sound. The experience might be likened to a modern painter creating cave drawings even when many developments in skill and style have since transpired. It was this primal yet contemporary approach that justified the transforming of elements from the extreme metal subgenre such as blastbeat drumming (intense sixteenth-note strokes on the snare drum), chromatically moving power chords and metrical shifts, into a contemporary symphonic esthetic.
Eruption is commissioned by the Toronto Symphony Orchestra for joint performances by the TSO and the Toronto Symphony Youth Orchestra. It will be performed in Toronto, Ottawa, and Montreal during the 150th Anniversary of the Confederation of Canada in 2017. Eruption was composed with support from the Department of Canadian Heritage.
Edward Top, Vancouver (October 2016)