gerelateerde werken

24 capriccio's voor viool solo

Genre: Kamermuziek
Subgenre: Viool
Bezetting: vl

L'Inverno - Pärt : for string orchestra / Vladimir Martynov

Genre: Orkest
Subgenre: Strijkorkest
Bezetting: str

Pulverization : for 52 strings, (1972) / David Porcelijn

Genre: Orkest
Subgenre: Strijkorkest
Bezetting: 24vl 10vla 10vc 8cb

Concerto Rosso : for string quartet and string orchestra / Hanna Kulenty-Majoor

Genre: Orkest
Subgenre: Strijkorkest
Bezetting: 2vn vla vc str

compositie

There must be some way out of here : for string orchestra / JacobTV - Jacob Ter Veldhuis

Overige auteurs:
Veldhuis, Jacob ter (Componist)
Bevat:
Slow movement
Fast movement
Toelichting:
There must be some way out of here demonstrates JacobTV’s capabilities as a storyteller. Its subtitle ‘There must be some way out of here’ is a quotation from ‘All along the watchtower’ by Bob Dylan. A song that particularly embodies the philosophy of life as expressed by the rock generations from which TV stems.

‘There must be some way out of here,
said the joker to the thief.
There’s to much confusion
I can get no relief’

The text can be seen as optimistic or despairing, but also as encapsulating an idea to be explored. That is the spirit in which the There must be some way out of here (Third String Quartet )was conceived. The music is all about sound, about the forces of attraction and repulsion revolving around the central note ‘D’. And for JacobTV sound also means harmony. In that sense, ‘There must be some way out of here’ is a search for a harmonic ‘resolution’: in the words of the composer ‘far from the faded avant-garde, from threadbare conceptualism and postmodernism.’ This search yields a huge spectrum of events: a maze of side roads, abrupt transitions and apparent lacunas. The search for a new aesthetic for Jacob TV, however, does not mean falling back into a romantic idiom. On the contrary: There must be some way out of here is in essence one large crescendo, with striking elements drawn from rock and blues. Originally the composer wanted to call it ‘Life and the Boy’ because of its extraordinary energy, and as a deliberate inversion of Schubert’s ‘Death and the Maiden’.