gerelateerde werken

Musique pour saxophone : alto / Carlos Micháns

Genre: Kamermuziek
Subgenre: Saxofoon
Bezetting: sax-a

Double Helix : klarinet in Bes, piano en symfonie-orkest, 1978 / Alex Manassen

Genre: Orkest
Subgenre: Twee of meer verschillende solo-instrumenten en orkest
Bezetting: 2222 2sax 2221 perc mar vibr hp pf(cel) str cl-pf-solo

Concertos, opus III / edited by Robert L. Tusler, Willem de Fesch

Genre: Orkest
Subgenre: Twee of meer verschillende solo-instrumenten en orkest; Viool en strijkorkest
Bezetting: No.1: str bc 2vl-vla-solo, No. 2,4: str bc 2ob-fg-solo, No. 3,5: str bc 4vl-vla-solo, No. 6: str bc vl-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

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