componist
Carlos Micháns is een Nederlandse, uit Argentinië afkomstige componist. Het oeuvre van Carlos Micháns bevat composities voor orkest, koor en elektronica en veel solo- en kamermuziekwerken voor diverse bezettingen. Deze ...
gerelateerde werken
Le cortège d'Orphée : voor gemengd koor en accordeonorkest, 1993, revisie 1995 / Carlos Micháns
Genre:
Vocaal
Subgenre:
Gemengd koor en groot ensemble
Bezetting:
GK4 accordion-orchestra
Thought : for three soloists and orchestra, 1990 / Ivo van Emmerik
Genre:
Orkest
Subgenre:
Twee of meer verschillende solo-instrumenten en orkest
Bezetting:
5040 2341 5perc 2hp str(16.14.12.10.8) fl-b-cl-b-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
Concertino : for string trio and mandolin orchestra, 2006 / Bernard van Beurden
Genre:
Orkest
Subgenre:
Twee of meer verschillende solo-instrumenten en orkest; Mandolineorkest
Bezetting:
2man mandolina g cb vl-vla-vc-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