gerelateerde werken
Broken Dances : for saxophone trio / Carlos Micháns
Genre:
Kamermuziek
Subgenre:
Saxofoon
Bezetting:
sax-s sax-a sax-bar
Concertino : für kleines Orchester mit obligat-Geige, -Cello und -Klavier, (1942) / Henk Badings
Genre:
Orkest
Subgenre:
Twee of meer verschillende solo-instrumenten en orkest
Bezetting:
3232 3110 timp perc cel str vl-vc-pf-solo
Symphonie concertante : voor fluit, hobo, clarinet, fagot, hoorn en orkest / H. Lachman
Genre:
Orkest
Subgenre:
Twee of meer verschillende solo-instrumenten en orkest
Bezetting:
1021 2330 timp perc str fl-ob-cl-fg-h-solo
Izkor : in memoriam, for cor anglais and piano solo and orchestra, 1986 / Benjamin Ashkenazy
Genre:
Orkest
Subgenre:
Twee of meer verschillende solo-instrumenten en orkest
Bezetting:
2222 2110 4perc mar(xyl) vibr pf(cel) str eh-pf-solo
compositie
Sinfonia concertante (no. 2) : for violin, violoncello and orchestra, 1996 / Carlos Micháns
Overige auteurs:
Micháns, Carlos
(Componist)
Bevat:
Allegro comodo-Calmo-Allegro
Largo molto arioso
Allegro vivo e giusto
Toelichting:
Program note (English): Sinfonia concertante (No. 2) was written for a series of concerts around the School of Mannheim. Consequently, the spirit of Mannheim was to a large extent present during the creative process. However, there was no question of imitating a style or a particular form or instrumentation. It was rather the 'memory' of Mannheim that served as a source of inspiration, not as a model. This resulted in a work with a compact though never rigid structure, conceived for a rather classical orchestral formation in permanent interaction with two brilliant solo parts. In short, a composition within deliberately chosen limits of time, expression and style, as a remembrance of a movement in music history still not fully valued. The thematic material used throughout the work is clear and immediately recognisable. Almost twelve-tone at times, it never renounces its purely musical essence to satisfy technical demands. It also gives unity to the composition by its frequent reappearance at different
levels and layers of the orchestra and, of course, in the solo parts. Besides the numerous solistic passages emerging from the orchestral mass at all times, an extra concertante element is added in the slow movement of the Sinfonia. Here, an obligato of the first clarinet almost matches the two solo instruments in importance, all three playing against a transparent background provided by the string section alone. - CARLOS MICHÁNS