componist
The composer Klas Torstensson has lived and worked most of his adult life in the Netherlands, but his music crosses borders – in all respects. Despite the abstract nature of ...
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Genre:
Kamermuziek
Subgenre:
Gemengd ensemble (2-12 spelers)
Bezetting:
sax-a trb gtr perc vln vc pf perc
Aum : for voices and large ensemble / Petra Strahovnik
Genre:
Vocaal
Subgenre:
Zangstem en groot ensemble
Bezetting:
2sopr sopr-m ten bar 2fl-a cl sax-b sax-a tpt h 2trb tb g-e g-b pf perc
Genre:
Vocaal
Subgenre:
Zangstem en groot ensemble
Bezetting:
sopr mand-orch
Genre:
Vocaal
Subgenre:
Zangstem en groot ensemble
Bezetting:
ten fl cl-b timp 4perc pf str
compositie
L'autunno di Christina : Dramatic scene for soprano and large ensemble / Klas Torstensson
Toelichting:
L’autunno di Christina - Christina’s Autumn – is the third part of the Christina Cycle (2004-2018), which includes the following compositions: 1. Le dolci parole (2004) for soprano solo (3’), 2. Pocket Size Violin Concerto, 2nd movement (2010) for violin, flute, cello and piano (5’), 3. L’autunno di Christina (2018) for soprano and large ensemble (32’) and 4. Four Queen Christina Madrigals (2013) for chamber choir (24’).
Le dolci parole is also the third song in the song cycle ‘In grosser Sehnsucht’ (2004). The Pocket Size Violin Concerto also exists in a larger version for violin and large ensemble (2010), whereas the Queen Christina Madrigals is an adaptation of a work for large mixed choir, ‘Arcadia 1689’ (2013).
The Christina Cycle deals with the life and work of the Swedish Queen Christina (1632-1689). After only 10 years on the throne, she abdicated and converted to catholicism. The last decades of her life she lived in Rome, where she took on the role of meccenas of the fine Arts. In L’autunno di Christina for soprano and large instrumental ensemble we meet the old queen, looking back on a rebellious life full of struggle and unfulfilled longings and desires.
After an introvert and mild prologue played by the (muted) strings, the two percussionists introduce a soldierly tone. The Queen hastily enters the stage while indignantly reading aloud from the report made of the (umpteenth) opening of her grave in the papal crypt of the Vatican, Rome, in 1965 (sic). Christina enumerates the injustices made to her, but at the same time exposes the power and talents attributed to her (not in the last place by herself). The (unanswered) love for cardinal Azzolino is remembered in the final movement. In a
short epilogue the ensemble recites a quote from her testament: ‘The tombstone should only have the following inscription: Here lies Christina, she lived for 63 years.’
The texts is a montage (by the composer) of original, historical sources: either texts by Queen Christina herself, or by contemporaries.