componist

Emmerik, Ivo van

Ivo van Emmerik is een componist die graag voorbij de grenzen van zijn partituur en zijn genre kijkt. Hij werkt veelvuldig samen met kunstenaars uit andere disciplines en toont grote ...

gerelateerde werken

Ventriloquist : voor orkest, 1995-1996, revisie 1997 / Ivo van Emmerik

Genre: Orkest
Subgenre: Orkest
Bezetting: 2112 2010 hp str(8.8.4.4.2.)

Symphonie no. 1 : für Orchester, 1992 / Reinhold Selen

Genre: Orkest
Subgenre: Orkest
Bezetting: 3333 4331 perc str

Inno della tecnica : introduzione e scherzo, per orchestra / di Jurriaan Andriessen

Genre: Orkest
Subgenre: Orkest
Bezetting: 3222 4331 timp perc cel str

Derde symfonie : ("gamelansymfonie"), voor orkest, opus 45, 1998/1999 / Peter Schat

Genre: Orkest
Subgenre: Orkest
Bezetting: pic 3fl 3ob 3cl cl-b 3fg cfg 4h 3trp 3trb gamelan 3timp mar str

 

compositie

Architektur der Ebene : for orchestra, 1988 / Ivo van Emmerik

Uitgever: Amsterdam: Donemus, cop. 1989
Uitgavenummer: 04666
Genre: Orkest
Subgenre: Orkest
Bezetting: 3fl(3pic) 2ob eh 2cl cl-b 3fg 2h 2trp 2trb trb-t(trb-b)tb 2perc 2pf str(8.6.4.2.)
Bijzonderheden: Tijdsduur: ca. 7'
Tijdsduur: 7'00"
Status: nog niet gedigitaliseerd (verwachte levertijd 14 dagen)

Toelichting:
Program note (English): This orchestral piece was named after a water colour painted by Paul Klee in 1923. At that time, partly because of his appointment as a teacher at the Bauhaus in Weimar, Klee was deeply involved in exploring the significance of architecture to the composition of his paintings and drawings. His 'Architektur der Ebene' , in which various transparant fields of colour were superimposed, resulting in a subtile, rhythmically changing spectrum, is representative of this period.
According to Klee, a painter should, by carefully considering the formal elements of his work, strive for a perfect balance, thus increasing its "carrying capacity".
Similar considerations were a point of departure in the composition of my 'Architektur der Ebene' ; various aspects of the same basic material are presented in thirteen short parts, caught in concise, often symmetrical structures. The static character of most of these parts - but also the differences between them - bring about a discontinuous flow of time; one could speak of a chain of autonomous passages rather then a continuous story line. From time to time, however, these parts are kept together by two pianos slowly playing descending modes in their own tempo, like the string on which the beads of a necklace are strung. - IVO VAN EMMERIK

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