gerelateerde werken

Cloud Ossuary : Symphony Nº 4 for soprano and orchestra / Douglas Knehans; words by Katarina Knehans

Genre: Vocaal
Subgenre: Zangstem en orkest
Bezetting: sop eh tpt 2perc hp str

Oud-Nederlandsche Dansen : voor orkest, opus 46 / Julius Röntgen

Genre: Orkest
Subgenre: Orkest
Bezetting: 2fl 2ob 2fg 4h 2trp timp t 2vl vla vc cb

Symphonische triptiek : (Symphonie no. XIV) / Henk Badings

Genre: Orkest
Subgenre: Orkest
Bezetting: 2fl fl(pic) 2ob ob (eh) 2cl cl-b 2fg cfg 4h 3trp 3trb tb timp 4perc cel str

Epilogue X-II : voor orkest / Hans Lachman

Genre: Orkest
Subgenre: Orkest
Bezetting: 3fl 3ob 2cl 3bn 4h 3tr 3trb 3tb 1 timp perc 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