Top, Edward

The music of composer Edward Top is characterized by extreme contrasts. Rather than being an abstract and independent medium existing outside the human experience, music has the power to induce ...

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A Storm is Blowing from Utopia : for piccolo, vibraphone, piano and contrabass / Edward Top

Genre: Chamber music
Subgenre: Mixed ensemble (2-12 players)
Instruments: pic perc pf cb

Via via : for ensemble, 1998 / Paul Termos

Genre: Orchestra
Subgenre: Large ensemble (12 or more players)
Instruments: 1000 3sax 1330 pf cb

Zum Wassermann : voor 14 uitvoerders / Karel Goeyvaerts

Genre: Orchestra
Subgenre: Large ensemble (12 or more players)
Instruments: fl ob cl fg h tpt trb perc pf/cel 2vn vla vc db

Contra tempus / Louis Andriessen

Genre: Orchestra
Subgenre: Large ensemble (12 or more players)
Instruments: 3300 0330 2perc 2pf (2keyboard ad lib.) 4vla



Most beautiful bird of paradise : for ensemble, 2003 / Edward Top

Publisher: Amsterdam: Donemus, cop. 2003
Publisher's number: 10792
Genre: Orchestra
Subgenre: Large ensemble (12 or more players)
Instruments: fl(pic) ob(eh) cl cl-cb fg h trp trb perc hp acc 2vl vla vc cb
Remarks: Voor fluit (tevens piccolo), hobo (tevens althobo), klarinet, contrabasklarinet, fagot, hoorn, trompet, trombone, slagwerker, harp, accordeon, 2 violen, altviool, cello en contrabas. - In opdracht van en gecomponeerd voor het Schönberg Ensemble. - Met financiële steun van het Fonds voor de Scheppende Toonkunst. - Tijdsduur: ca. 10'
Duration: 10'00"
Number of players: 16
Status: fully digitized (real-time delivery)

Program note (English): The Schönberg Ensemble commissioned a work that should be an opening piece (like an ouverture) with a lyrical character. The title of the work is intended to be metaphorical and should therefore not be interpreted literally. It merely refers to a nostalgic feeling about memories or a close person in a lost or never existed (paradise-like) place. Because of the instrumentation which includes for instance an acoordion and a doublebass clarinet, the work consists of a wide spectrum of soundcolours. It is composed by means of a strictly used ratio of 2:3:6:3:2:6:2 which is applied to the formal structure, to bar-proportions, to contrapuntal proportions and to the rythm. Except for that, the main ratio is also used to generate pitches, where for instance '2' becomes a major second and '3' a minor third. As a result, a quite diatonic language is created with a composing process that reminds us of composers of post-war serialism, but also of the composer after whom the ensemble for
which this work was written was named. Instead of the negative attitude of serialists to avoid consonance, in this piece, consonance is being consciously searched for; the work is comprised of perfect fourths.On one hand these fourths are used like in Schönberg's first Chamber Symphony (meaning in a (horizontal) melodic way or being piled up until a wide chord is achieved), but on the other hand they are part of successive harmonies with which the work gets a massive, primitive, almost middleage-like character. - EDWARD TOP

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