related works
My Skeletonized Portrait : for violin and orchestra / Edward Top
	
			Genre: 
		
		Orchestra
	
			Subgenre: 
		
		Violin and orchestra
	
			Scoring: 
		
		vl-solo 3fl 2ob eh 2cl cl-b 2fg cfg 4h 3trp 2trb trb-b tb timp 3perc hp cel str
	
	
			Genre: 
		
		Orchestra
	
			Subgenre: 
		
		Large ensemble (12 or more players)
	
			Scoring: 
		
		1100 0000 perc 3g 4vl 2vla 2vc cb
	
Las Ramblas : for clarinet, bassoon, accordion and string orchestra / Chiel Meijering
	
			Genre: 
		
		Orchestra
	
			Subgenre: 
		
		Large ensemble (12 or more players)
	
			Scoring: 
		
		cl acc fg str
	
De haas en de schildpad : een hoketus voor twee instrumentale groepen, 1983 / Jan Rispens
	
			Genre: 
		
		Orchestra
	
			Subgenre: 
		
		Large ensemble (12 or more players)
	
			Scoring: 
		
		1111 1000 mar vibr 2pf 2vl vla vc cb
	
composition
				Most beautiful bird of paradise : for ensemble, 2003 / Edward Top
			
					
										Other authors:
									
									
									Top, Edward
									(Composer)
								
							
							Description:
						
						
						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