Beurden, Bernard van

General: 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 ...

gerelateerde werken

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

Genre: Kamermuziek
Subgenre: Accordeon
Bezetting: acc

Renacimientos De Fin De Siglo : for ensemble / Rafael Reina

Genre: Kamermuziek
Subgenre: Gemengd ensemble (2-12 spelers)
Bezetting: fl/fl-b cl/cl-b vl vc pf perc

Priamel : voor symf. orkest, 1964, op. 62 / Ary Verhaar

Genre: Orkest
Subgenre: Orkest
Bezetting: 3333 4330 timp 2perc hp str

Spel : voor blaaskwintet, 1972 / Gerrit de Marez Oyens

Genre: Kamermuziek
Subgenre: Blaaskwintet
Bezetting: fl ob cl h fg



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"
Status: volledig gedigitaliseerd (direct leverbaar)

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

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