componist

Padding, Martijn

Martijn Padding was born on April 24, 1956 in Amsterdam. In the introduction to his website, Martijn Padding writes, regarding his music and way of working, that he studied a volume ...

gerelateerde werken

Eight metal strings : for mandolin and ensemble / Martijn Padding, 2007-2009

Genre: Orkest
Subgenre: Groot ensemble (12 of meer spelers)
Bezetting: fl(pic) ob cl(cl-b) fg trp man g pf perc vl vla vc cb

Musica per organo trentunisono I : 1951, Dieci pezzi per organo trentunisono e strumenti, No. 3 / Jan van Dijk

Genre: Kamermuziek
Subgenre: Orgel; Hobo en toetsinstrument; Gemengd ensemble (2-11 spelers); Houtblazersensemble en toetsinstrument; Blaas en strijk en toetsinstrument(en); Fluit en toetsinstrument; Fluit en toetsinstrument
Bezetting: org / ob org / org vl vla / fl 2ob org / ob org vl / fl-a org / 2fl org

Concerto for piano and ensemble : 1979 / Geoffrey Madge

Genre: Kamermuziek
Subgenre: Blaas en strijk en toetsinstrument(en)
Bezetting: fl ob cl fg h trp vl vla vc cb pf-solo

Concertante muziek : voor negen instrumenten, (1972-'73) / Tristan Keuris

Genre: Kamermuziek
Subgenre: Blaas en strijk en toetsinstrument(en)
Bezetting: cl fg h 2vl vla vc cb pf

compositie

Shuffle : for ensemble, 1990 / Martijn Padding

Toelichting:
Program note (English): I wrote 'Shuffle' at the request of Dutch saxophone player Arno Bornkamp. He wanted a difficult piece. I always liked the saxophone as an instrument much more in jazz and blues music then in classical music because of the rougher quality of its sound.
Therefore, 'Shuffle' starts of with a polished sound and then transforms into something steamy and wild and the ensemble changes from a calm chamber music group into a screaming band. 'Shuffle' consists of two contrasting layers. The first one is the slow melody which accelerates and transposes in six steps to very fast notes.
The second one, the accompaniment, is in contrast rather static. There is almost no harmonic development, only an increasing density of the limited amount of chords. When speed and density are at their maximum, the tenor sax reaches its almost impossible ability to play in the falsetto register which sounds rough enough to me.
- MARTIJN PADDING