gerelateerde werken
String quartet No. 5 : with electronic tape ad lib. / James Fulkerson
Genre:
Kamermuziek
Subgenre:
Strijkkwartet (2 violen, altviool, cello) met multimedia
Bezetting:
2vl vla vc (tape ad lib.)
Violin Concerto : for violin and chamber orchestra / Michael Fine
Genre:
Orkest
Subgenre:
Viool en groot ensemble
Bezetting:
vn-solo fl ob cl fg h 2vn vla vc db
Syntagma : concerto for violin and small orchestra, 1989-1991 / Wim Laman
Genre:
Orkest
Subgenre:
Viool en groot ensemble
Bezetting:
fl(pic) ob eh cl cl-b fg cfg 4h trp trb tb 2perc 4vl 4vla 4vc cb vl-solo
Cuddly animals : for violin and ensemble (violin concerto no. 1) / Marijn Simons
Genre:
Orkest
Subgenre:
Viool en groot ensemble
Bezetting:
2fl(pic) 2ob 2cl cl-b fg fg(cfg) 2h 2perc cb vl-solo
compositie
Concerto for electric violin : for solo violin and ensemble, 1992 / James Fulkerson
Overige auteurs:
Fulkerson, James
(Componist)
Bevat:
Movement I
Movement II
Cadenza
Finale
Toelichting:
Program note (English): Formally, the concerto uses a relitatively traditional scheme of fast slow fast - although experientially, the musical time sense of the Prologue and its nearly identical Epilogue seem to be slow movements, thereby forming a six movement work of slow-fast-slow-fast-fast-slow. The type of material chosen for the first and third movements is perhaps unusual for a 'traditional concerto', however, in that the sound material of first fast movement is the sound world of large free jazz groups and the world of electric guitar/trash metal. Movement three uses a row of pitches as a static sound block which is sculpted, repeated and projected in the time and pitch space. This movement is not 'developmental'; it is not discursive musical thought. The cadenza is an initial statement of the material for this movement. The central slow movement attempts to be a type of 'Escher' melody in which the perception of musical time is meant to be discursive except that the melody continually turns
back upon itself leaving the listener 'back where he started.'- JAMES FULKERSON