King, Harold C.

gerelateerde werken

À fleur d'eau : quatuor, pour flûte, violon, épinette (ou piano) et viole de gambe (ou 'cello), 1964 / Harold C. King

Genre: Kamermuziek
Subgenre: Gemengd ensemble (2-11 spelers); Blaas en strijk en toetsinstrument(en)
Bezetting: fl spt/pf vl vladg/vc

Japanese settings : for voice, flute, cello, percussion and guitar, 1985 / Walter Hekster

Genre: Vocaal
Subgenre: Zangstem en instrument(en)
Bezetting: voice fl(fl-a) perc g vc

Mind river : for voice, amplified flute, alto sax, accordion, piano and double bass, 1995 / David Dramm

Genre: Vocaal
Subgenre: Zangstem en instrument(en)
Bezetting: voice fl sax-a/ob acc/vla+vc pf cb

Eight English poems : version for soprano, alto saxophone, percussion and piano, 1991 / Kees Schoonenbeek

Genre: Vocaal
Subgenre: Zangstem en instrument(en)
Bezetting: sopr sax-a perc pf



Tres orationes : = Three prayers, zang, blokfluit en luit, 1982 / Harold C. King

Uitgever: Amsterdam: Donemus, cop. 1982
Uitgavenummer: 05508
Genre: Vocaal
Subgenre: Zangstem en instrument(en)
Bezetting: bar rec-t lute
Bijzonderheden: Voor bariton, tenorblokfluit en luit. - Latijnse tekst met Engelse vert. - Voorw. in het Engels. - Opgedragen aan Syntagma Musicum. - Tijdsduur: ca. 11'
Tijdsduur: 11'00"
Aantal spelers: 3
Status: volledig gedigitaliseerd (direct leverbaar)

Overige auteurs:
Alcuinus (tekstdichter/librettist)
Boethius (tekstdichter/librettist)
In dormiturio / tekst v. Alcuinus
Da pater / tekst v. Boëthius
Oratio D. Alcuini in nocte / tekst v. Alcuinus
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

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