componist
gerelateerde werken
Trois chansons d'amour et une épigramme : voor zang en blokfluit, 1981 / Harold C. King
Genre:
Vocaal
Subgenre:
Zangstem en instrument(en)
Bezetting:
medium rec-s/rec-t
Immobile Eden : for soprano, flute and piano, 1972, on words by the composer / Rudi M. van Dijk
Genre:
Vocaal
Subgenre:
Zangstem en instrument(en)
Bezetting:
sopr fl pf
Genre:
Vocaal
Subgenre:
Zangstem en instrument(en)
Bezetting:
bar fl cl perc man g hp vl cb
Genre:
Vocaal
Subgenre:
Zangstem en instrument(en)
Bezetting:
medium cl pf vl vla
compositie
Tres orationes : = Three prayers, zang, blokfluit en luit, 1982 / Harold C. King
Overige auteurs:
Alcuinus
(tekstdichter/librettist)
Boethius
(tekstdichter/librettist)
Bevat:
In dormiturio / tekst v. Alcuinus
Da pater / tekst v. Boëthius
Oratio D. Alcuini in nocte / tekst v. Alcuinus
Toelichting:
Program note (English): I came across the Latin texts in a publication of poetic translations by Helen Waddell, which I intended to employ, but my request for autorisation remained unanswered. I then made my own English version which is almost verbal. Writing for the lute was a problem. I do not know the instrument and my condition prevented precise information. Playing is similar to that of the guitar, of which Berlioz states that it is next to impossible to write for unless you play it yourself, and that became my experience. So my lute-score is speculation. That of the first song was submitted to Otten's lutist who however thought it OK and I wrote the two others on the same principles. After composition however I managed to obtain some expert details from this artist. It appeared that 'lute' is a generality which applies to a whole family of greatly varied instruments, of which the alto is preferred for solo-performance. It exists in two pitches, the more usual based on G, the other on A, tuned in
fourths, seperated halfway by a major third, a disposition normal before the advent of keyed string-instruments. Naturally I had chosen for the unusual kind A. His information differed in several respects from the assumptions I had come to, the most radical of which was that I had considered the lefthand thumb to take care of the lowest string G or A, whereas he does not use this thumb at all. This may be explained by his statement that in addition to the six strings, e.g. G, c, f, a, d', g', there are two strings pitched successive major seconds below the base. He further indicated that the highest string is single, the rest double and the lowest adjoining two or three in octaves. I asked him the fingering (l.h.) of a few chords which I doubted possible. He is Japanese and he gave a fingering for which he must unbelievably twist his fingers - as probably only an oriental can (...). - H.C. KING