gerelateerde werken

Concerto for electric violin : for solo violin and ensemble, 1992 / James Fulkerson

Genre: Orkest
Subgenre: Viool en groot ensemble
Bezetting: 2010 2sax 2121 perc el.g g-b pf vl-solo

Possible Places : for violin solo and ensemble / Dmitri Kourliandski

Genre: Orkest
Subgenre: Viool en groot ensemble
Bezetting: vl-solo fl-a fl-b eh cl-b cl-cb cfg 2tpt trb tb perc gt hp pf 2vn 2vla 2vc db

1st Violin Concerto : for violin with delay and ensemble, 1991/1992 / Hanna Kulenty

Genre: Orkest
Subgenre: Viool en groot ensemble
Bezetting: 1010 2sax 2121 perc pf el.g g-b vl-solo

Roads to Everywhere : A concerto for violin and ensemble / Joey Roukens

Genre: Orkest
Subgenre: Viool en groot ensemble
Bezetting: vln-solo fl(picc) ob(eh) cl fg h trp trb 2perc pf cel/synth 2vln vla vc db

 

compositie

Concerto for electric violin : for solo violin and ensemble, 1992 / James Fulkerson

Uitgever: Amsterdam: Donemus, cop. 1992
Uitgavenummer: 08148
Genre: Orkest
Subgenre: Viool en groot ensemble
Bezetting: 2010 2sax 2121 perc el.g g-b pf vl-solo
Bijzonderheden: Bez. ensemble: 2 fluiten (1e tevens piccolo), klarinet (tevens tenorsaxofoon), altsaxofoon, sopraansaxofoon (tevens alt- en baritonsaxofoon), 2 hoorns, trompet, tenortrombone, bastrombone, tuba, basgitaar, el. gitaar, piano en slagwerker. - In opdracht van Krystof Bakowski, De Ereprijs en Lisa Kraus. - Opgedragen aan Peter Rester t.g.v. zijn negentigste verjaardag. - Tijdsduur: 38'-40'
Tijdsduur: 40'00"
Aantal spelers: 16
Compositiejaar: 1992
Status: nog niet gedigitaliseerd (verwachte levertijd 14 dagen)

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

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