gerelateerde werken
Documents pour servir de canevas : six pieces for ensemble, 1990-1992 / Ivo van Emmerik
Genre:
Kamermuziek
Subgenre:
Gemengd ensemble (2-12 spelers)
Bezetting:
fl(pic, fl-b) ob(eh) cl-b trb perc pf vl vla vc
Tympan : pour grand orchestre, 1990 / Geert van Keulen
Genre:
Orkest
Subgenre:
Orkest
Bezetting:
2pic(2fl) 2fl fl-a 2ob ob-bar ob(eh) 2cl cl(cl-b) cl-cb 3fg cfg 6h 5trp 5trb tb timp 4perc vibr 2hp pf synth str(16.16.14.12.8.)
Suite voor orkest : (1954) / Karel Mengelberg
Genre:
Orkest
Subgenre:
Orkest
Bezetting:
2222 2200 timp str
Symphonie no. 3 : Thrène et Péan, 1921-1922 / Matthijs Vermeulen
Genre:
Orkest
Subgenre:
Orkest
Bezetting:
2pic 2fl(pic) 2ob ob(eh) 2cl cl(cl-b) 2sax 4fg 4h 4trp 3trb tb 2timp 3perc 2hp str
compositie
Architektur der Ebene : for orchestra, 1988 / Ivo van Emmerik
Overige auteurs:
Emmerik, Ivo van
(Componist)
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