related works

24 capriccio's voor viool solo

Genre: Chamber music
Subgenre: Violin
Scoring: vl

Moving : an opera in progress, or how to change from a debating machine into the semblance of a human being by remembrance of the unknown, for computer, ensemble and sound projection, 1998-2000 / Willem Boogman

Genre: Orchestra
Subgenre: Large ensemble (12 or more players)
Scoring: 1120 0110 perc pf vl vla vc cb comp electronics

16 Fractals : for 4 ensembles / Adam Lukawski

Genre: Orchestra
Subgenre: Large ensemble (12 or more players)
Scoring: wind quintet (fl ob cl h bsn), brass quintet (2tpt h tbn tb), "glass" quintet (5perc), percussive "quintet" (4timp pf)

Toe the Line (And Yet it Moves) : Version for oboe, bassoon, accordion and string orchestra / Chiel Meijering

Genre: Orchestra
Subgenre: Large ensemble (12 or more players)
Scoring: ob acc fg str

composition

Scenes from an old memory box : for 19 players / Joey Roukens

Other authors:
Roukens, Joey (Composer)
Contains:
Delen: 1. At Muller's bar & dance hall
2. In a sunday morning haze
3. Mad carousel
Description:
Sometimes one finds such an old box at a flea market or in a dusty corner in the attic full of memories of bygone times in the form of letters, photos, postcards, etc. 'Scenes from an old memory box' is a kind of chamber concerto for ensemble in three parts, which evoke associations with (imaginary) scenes and memories that one could find in such a box.

Part I, At Muller's Bar & Dance Hall, evokes the exuberant atmosphere of a busy establishment where people drink, gamble and dance enthusiastically. The kind of café that was fashionable in the first half of the 20th century, with a pianola that jingles happily and a stage for dance orchestras and variety shows.
In part II, In a Sunday Morning Haze, the atmosphere of a misty Sunday morning prevails. The bells of the village church can be heard through the fog, as well as a lonely, contemplative flute melody. Suddenly a fragment of a popular song sounds out of a window, after which the music becomes even more sultry and heads for a climax full of heavy piano clusters.
In part III, Mad Carousel, the energy of part I returns in a kind of hyperactive merry-go-round, with crazy carnival music and barrel organ sounds, but also with references to the 'banal' dance booms that dominate the fair nowadays.

However, the music should not be interpreted programmatically, and certainly not as a naive pictorial rendition of nostalgic pictures: the titles and descriptions above are only associations that I myself had when writing this music, but each listener should make his or her own make your own associations with this music.