related works
24 capriccio's voor viool solo
Genre:
Chamber music
Subgenre:
Violin
Scoring:
vl
Violin Concerto Nº 1: Generation : for violin and symphonic band / Yip Ho Kwen Austin
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
vn-solo picc 2fl ob 4cl cl-b 2sax-a sax-ten sax-bar 4h 3tpt 2trb trb-b 2euph 2tb timp 4perc db
Symphonie no. 3 : Thrène et Péan, 1921-1922 / Matthijs Vermeulen
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
2pic 2fl(pic) 2ob ob(eh) 2cl cl(cl-b) 2sax 4fg 4h 4trp 3trb tb 2timp 3perc 2hp str
Seanchai : - an after-image -, for orchestra, 2004 / Willem Jeths
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
fl fl(pic) ob ob(eh) 2cl fg cfg 2h trp trp(trp-p bug) trb-t trb-b timp 3perc hp str(12.10.8.6.4.)
composition
Postnuclear Winterscenario No. 12 : for orchestra / JacobTV - Jacob Ter Veldhuis
Other authors:
Veldhuis, Jacob ter
(Composer)
Description:
On January 23 1991, shortly after the Gulf War broke out, I felt speechless and unable to compose. In the media, meteorologists predicted apocalyptical consequences for the climate and the environment, similar to the effects of a nuclear war. In the New York Times they called it a ‘postnuclear winterscenario’.
I then decided to express my speechlessness in music. In just a few hours time, Postnuclear Winterscenario for solo piano was written, probably the most simple score I ever wrote. All musical material was reduced to a minimum. The 'melody' consists of one single note, an E, that is repeated endlessly. The harmonic accompaniment consists of only four different notes: B, A, G, F#.
There are no rhythmical, melodical or harmonical developments. The main way of expression is in the repetition and the delivery.
Postnuclear Winterscenario No.1 - as we call it now - was performed numerous times worldwide by Kees Wieringa, even in Iraq, on the ruins of Babylon. Soon musicians asked me to arrange the work for their instruments and so I wrote versions for string quartet (my string quartet no.2), for choir, for percussion, for one and two electric guitars, for saxophone quartet, for string orchestra and finally in 2005 for symphony orchestra. Each scenario is a bit different, but they all have the same mood in common: speechlessness about war and devastation.