componist
“I am a Dutch composer born, raised and educated in Argentina”, is Carlos Micháns’ favourite answer when asked about his nationality. Born in Buenos Aires in 1950 into a family ...
gerelateerde werken
Concerto : for Harp and Orchestra / Carlos Micháns
Genre:
Orkest
Subgenre:
Orkest
Bezetting:
hrp orch
Exchanges : for 4 soloists and large orchestra, 1979/80, revision 1998/99 / Ernst Oosterveld
Genre:
Orkest
Subgenre:
Twee of meer verschillende solo-instrumenten en orkest
Bezetting:
4444 4sax 6441 timp 28vl 12vla 10vc 8cb 2vibr(mar)-2pf-solo
Impossible future : for soli and small orchestra, (1972) / Koos Terpstra
Genre:
Orkest
Subgenre:
Twee of meer verschillende solo-instrumenten en orkest
Bezetting:
2220 1110 pf/el.org str ensemble-solo
Concerto : voor trompet & hoorn, geschreven in het jaar 1952 / Marius Monnikendam
Genre:
Orkest
Subgenre:
Twee of meer verschillende solo-instrumenten en orkest
Bezetting:
3222 0000 timp perc pf str h-trp-solo
compositie
Sinfonia concertante (no. 2) : for violin, violoncello and orchestra, 1996 / Carlos Micháns
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