composer
Edward Top was born in Ommen, the Netherlands, in 1972. Top has lived and worked in London, Bangkok, and Rotterdam. He now lives in Vancouver, Canada. Top studied composition and ...
related works
Concerto : for violin and two orchestras / Edward Top
Genre:
Orchestra
Subgenre:
Violin and orchestra
Instruments:
vl-solo 2picc(fl) 2ob cl(cl-b) fg(cfg) 2trp 2trb tb-b perc hp pf(synth) str
Tut-Ankh-Amen's tomb : for large ensemble, 1993 / Chiel Meijering
Genre:
Orchestra
Subgenre:
Large ensemble (12 or more players)
Instruments:
3330 4sax 4661 3perc drums el.g g-b el.org synth
"Vo Kitae bylo v gorode" : for piano, percussion and string orchestra / Olga Victorova
Genre:
Orchestra
Subgenre:
Large ensemble (12 or more players)
Instruments:
pf perc str
en al luisterend... : voor kamerorkest, 1996 / Eric Verbugt
Genre:
Orchestra
Subgenre:
Large ensemble (12 or more players)
Instruments:
1111 1110 2perc hp pf 2vl vla vc cb
composition
Most beautiful bird of paradise : for ensemble, 2003 / Edward Top
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