componist

Beurden, Bernard van

Bernard van Beurden was born in Amsterdam on the 5th of December, 1933. He started playing the violin when he was 8 years old and at the age of 11 ...

gerelateerde werken

Tout à coup(e) mondiale : pour accordéon seule, 1986 / Bernard van Beurden

Genre: Kamermuziek
Subgenre: Accordeon
Bezetting: acc

World in memory : for saxophone quartet, 1998 / Gerard Ammerlaan

Genre: Kamermuziek
Subgenre: Saxofoon
Bezetting: 4sax

Collected papers II : for a solo instrument, percussion and synthesizer, Will Eisma

Genre: Kamermuziek
Subgenre: Variabele instrumentatie; Elektronica met verschillende instrumenten; Gemengd ensemble (2-11 spelers) met elektronica; Variabele instrumentatie met elektronica
Bezetting: perc synth solo-instr

Sacræ Cantiones quinis vocibus : Motets for 5 voices / Giovanni Croce; transcribed and edited by Cees Wagemakers

Genre: Vocaal
Subgenre: Gemengd koor
Bezetting: GK

 

compositie

Concerto for violoncello and wind orchestra : 1998 / Bernard van Beurden

Uitgever: Amsterdam: Donemus, 1999
Uitgavenummer: 09633
Genre: Orkest
Subgenre: Cello en HaFaBra
Bezetting: 33.20.3 4sax 4444 4euph timp 5perc cb vc-solo
Bijzonderheden: Voor cello en harmonieorkest. - Met financiële steun van het Fonds voor de Scheppende Toonkunst. - Cop. 1998. - Tijdsduur: ca. 26'
Tijdsduur: 26'00"
Compositiejaar: 1998
Status: volledig gedigitaliseerd (direct leverbaar)

Toelichting:
Program note (English): A lonely string instrument against a host of winds and percussion. Composing, however, is posing a problem, and finding a solution often proves to be an interesting challenge. The idea of having the orchestra play softly all the time is not only unattractive for the orchestra, but it also constitutes a disregard of the many orchestral possibilities of the wind band. There is the Paganini or Chopin formula, with the orchestra presenting an introduction, followed by an almost complete withdrawal to make place for the solo instrument. All that remains for the orchestra is a simple accompaniment; a somewhat disinterested trailing along with the soloist. Or the dialogue: the orchestra makes a statement and the soloist replies, or the other way round, but this tends to become somewhat one-sided and dull. After much deliberation I came upon the following solution. The orchestra is broken up into small chamber music groups that circle around the soloist. Rather than providing
accompaniment in the classical sense, they play along in a solo fashion (though less emphatically) with the violoncello. The small instrumental groups stimulate, propel and pursue the solo instrument. Of course, a certain tension is the result, a tension that needs to be released now and then, which happens in those movements where the entire orchestra is mobilized, and the so-called tutti sections. This method is used in the first and third movements in particular.
Second Movement: After a few measures of long, sustained notes in the orchestra, the violoncello follows with a cadenza. This cadenza, however, is far removed from the virtuosic, extroverted cadenza from classical and romantic times. On the contrary: the solo instrument is an introverted, almost motionless presence. The intervals are reminiscent of medieval melody. Orchestral initiatives in particular cause more and more movement and this leads to a short, fierce climax. Then, quite suddenly, we return to the middle ages with the motet O, Millissmia Virgo Maria, played by the orchestra. Now it is time for the cello to flutter around notes from the past like a silly bird. The second movement ends with a recapitulation of the beginning, although in a slightly altered form.
Third Movement: The third movement is a dance with strong references to the Italian Tarantella. Just before the final bars, the cello escapes from the orchestra and, briefly, indulges in a cadenza. - BERNARD VAN BEURDEN

Koop
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