gerelateerde werken

Unfinished Earth : Symphony Nº 3 for large orchestra / Douglas Knehans

Genre: Orkest
Subgenre: Orkest
Bezetting: picc 2fl 2ob eh 2cl cl-b 2fg cfg 4h 4tpt 2trb-t trb-b tb timp 3perc pf hp str

Per sonare ed ascoltare : cinque canzoni per flauto ed orchestra, op. 73, 1971 / Marius Flothuis

Genre: Orkest
Subgenre: Fluit en orkest
Bezetting: 4222 4331 timp 6perc 2hp str fl-solo

Flute Concerto Nº 3 : for amplified flute with echo-delay and symphony orchestra / Hanna Kulenty

Genre: Orkest
Subgenre: Fluit en orkest
Bezetting: fl-solo 3fl(picc) 3ob 3cl 2fg cfg 4tpt 4h 3trb tb 4perc pf str

Fruit of Desire : for flute (piccolo) and symphony orchestra / Chiel Meijering

Genre: Orkest
Subgenre: Fluit en orkest
Bezetting: fl/picc-solo 3fl(pic) 3ob(eh) 2cl cl-b 4h 4trp 4trb tb timp perc mar glock vibr pf hp str

compositie

Tempest : Concerto for flute and orchestra / Douglas Knehans

Overige auteurs:
Knehans, Douglas (Componist)
Toelichting:
The title of this work refers to rough wind. When I was approached me about a new flute work the idea of a virtuosic wind player set my imagination to types of crazy, unrestrained wind. This led me to look into the natural occurrences of wild, unpredictable wind patterns around the world. This led in turn to the titles of the three movements: Ostro the traditional name of the southerly wind in the Mediterranean sea; Mistral, a cold northerly from central France and the Alps to Mediterranean–this movement I have also allied to the notion of a type of funeral march, hence the title Mistral… Funerailles with the cold wind perhaps summoning the notion of death and impermanence. Finally, the last frantic and virtuosic movement is titled Etesian which references a strong, dry north wind of the Aegean Sea which is most of the time a good steady sailing wind. The well-contained and metrical virtuosity of this movement seems to align with this welcome and sustaining wind that is good for travel.
In artistically interpreting all of these types of global wind patterns I have tried to invest a dramatic and virtuosic element to the corresponding wind music. I was asked for a piece without restrictions and so a concerto seemed the obvious vehicle for the soloist’s awesome technical power and completely beautiful musicianship. I am extremely fortunate to have Gareth Davies, principal flute of the London Symphony Orchestra, as the soloist for this work.
Douglas Knehans