related works
Soy Manuela : voor sopraan en orkest / Carlos Micháns
Genre:
Orchestra
Subgenre:
Voice and orchestra
Scoring:
sopr 2fl 2ob 2cl 2 fg 2h 2trp 2trb timp 3perc tub-bells triangle whip sus-cymb cymb tam-tam drum-s drum-b hrp vl vla vc db
In the circumference of my solitude : for viola and double bass (scordatura), 1993 / Vanessa Lann
Genre:
Chamber music
Subgenre:
Other combinations of string instruments
Scoring:
vla cb
Trio I : voor 2 violen en altviool, (1952) / Hans Kox
Genre:
Chamber music
Subgenre:
Other combinations of string instruments
Scoring:
2vl vla
Sonatine : voor viool (of altviool) en cello / Hans Osieck
Genre:
Chamber music
Subgenre:
Other combinations of string instruments
Scoring:
vl/vla vc
composition
Divertimento (Nr. 3) : (Variations on a Tamil lyric), for eight strings, 2000 / Carlos Micháns
Other authors:
Micháns, Carlos
(Composer)
Description:
Program note (English): Tamil lyrics represent one of the oldest and most traditional forms of Christian singing in Tamil Nadu (South India) and Sri Lanka. They generally consists of simple melodies, with sometimes basic, sometimes complex rhythmic patterns. Although Christianity entered South India from the very beginning (St. Thomas Apostle's grave is believed to be in Chennai, the former Madras), it would be wise to associate the origin of Tamil lyrics with the work of European missionaries several centuries later. However, it is not always easy to trace the exact provenance of these hundreds, if not thousands of tunes, let alone the name of the composers. In fact, many lyrics are adaptations of ancient Hindu ragas, whereas others may derive from European hymns and profane, even sailor's songs, next to Tamil Nudu's own folk music. Also, it is not strictly church music, but rather songs to be sung by Christians on different occasions, whether religious or not, usually without any accompaniment. The
tune introduced in the second movement of this Divertimento, for instance, is actually the first part of a lengthier lyric heard mainly at weddings, which explains its joyful character. The structure is a plain A-B-A, with all three sections being repeated. Apart from this musical quote, no other Indian-like motives, sounds or references whatsoever should be looked for in the composition, which is for the rest purely abstract and in any case western in both spirit and conception. - CARLOS MICHÁNS