gerelateerde werken

Black City : Concerto for violoncello and orchestra Nº 2 / Douglas Knehans

Genre: Orkest
Subgenre: Orkest
Bezetting: vc-solo dulc pf hp sopr(offstage) 2fl(picc) 2ob 2cl 2fg(cfg) 4h 2tpt 2trb-t trb-b tb timp 3perc str

Lenteconcert voor fluit en orkest : 1993/2001, (op. 36) / Peter Schat

Genre: Orkest
Subgenre: Fluit en orkest
Bezetting: 3ob 3cl cl-b cl-cb 3fg h trp trb timp mar str fl-solo

Concert Piece : for flute and chamber orchestra / Henriëtte Bosmans

Genre: Orkest
Subgenre: Fluit en orkest
Bezetting: fl-solo picc cl fg sax-s sax-a/sax-t h tpt trb perc pf vn vla vc db

Resurrecting Persephone : for flute and chamber orchestra, 1999, revision 2000 / Vanessa Lann

Genre: Orkest
Subgenre: Fluit en orkest
Bezetting: fl fl(pic) ob eh 2cl fg cfg 2h 2trp 2trb tb 2perc hp pf str(8.6.5.4.2.) fl-solo

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