gerelateerde werken
Concerto : for guitar, orchestra and concertino / Douglas Knehans
Genre:
Orkest
Subgenre:
Gitaar en orkest
Bezetting:
gtr-solo picc/fl ob cl-b/cl h tpt-picc 2perc cemb trb-b tb-b str
Tantalia : voor blazers, strijkers en slagwerk, 1972 / Bernard van den Boogaard
Genre:
Orkest
Subgenre:
Orkest
Bezetting:
1121 1100 2perc hp pf str
Musique pour l'esprit en deuil : for orchestra, (1943) / Rudolf Escher
Genre:
Orkest
Subgenre:
Orkest
Bezetting:
pic 2fl fl(pic) 3ob eh 4cl cl-b 3fg cfg sax-s(sax-a) 4h 4trp 3trb tb timp 6perc 2hp pf str(16.14.12.10.8-10.)
La celebrazione : sinfonia no. 8, (in stile classico), 1977 / Jurriaan Andriessen
Genre:
Orkest
Subgenre:
Orkest
Bezetting:
2222 2200 timp str
compositie
Black City : Concerto for violoncello and orchestra Nº 2 / Douglas Knehans
Overige auteurs:
Knehans, Douglas
(Componist)
Bevat:
Letter to a Friend—(Expressive)
River on Fire—(Scherzo)
It Will Be Rain Tonight—(Passacaglia)
You Asked What the Heart Can Carry—(Cadenza)
Midst of a Burning Fiery Furnace—(Finale)
Toelichting:
My second cello concerto Black City sits in contrast in many ways to my first cello concerto Soar. My first concerto is in one long movement with rather conventional scoring and is about striving and our innate urge to overcome and grow.
My second concerto, in contrast, is first of all on a much larger scale or ‘bigger canvas’ than the first concerto being cast in five rather long movements, each with an internal intensity that links them and creates the narrative thread of the music. Much of this music is about degradation, erosion and loss. As with most of my music I mean these somewhat geological ideas as metaphors for internal psycho-emotional change that takes place within us. As we grow and change it is not always about gain and stability but can also be about loss, diminishment and structural change. The metaphor of a rich internal city slowly eroding gave rise to the title of the work. I was extremely fortunate to come across the amazing poetry of the young American poet Dave Lucas, whose take on the decaying Midwestern cities of the United States (where I was both born and now live) had in them many internal and external metaphors that seemed so appropriate to my work. Each movement has an inscription taken from Mr. Lucas’s poems from the volume Weather, while each also has a different structure and character despite the narrative thread that links them.
Douglas Knehans