Rossem, Andries van

Opleiding Andries van Rossem werd geboren op 20 december 1957 in Leerdam. Hij studeerde orgel bij Johan van Dommele aan het Arnhems Conservatorium en volgde aan het Rotterdams Conservatorium compositielessen bij ...

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Concerto : for piano and chamber orchestra / Andries van Rossem

Publisher's number: 16016
Genre: Orchestra
Subgenre: Piano and large ensemble
Instruments: pf-solo fl ob cl fg h trp trb 2vn vla vc db
Duration: 30'00"
Number of players: 13
Year of composition: 2016
Status: fully digitized (real-time delivery)

Form description (movements one and two): The first movement consists of three sub-sections; a short, slow introduction, a long middle section in a fast tempo, and a short final section at a slow tempo. The middle section is dominated by the performing pianist. The second movement is also made up of three sub-sections: a long first section at a slow tempo, a short section at a fast tempo, and a long final section at a slow tempo. The piano is heard in the course of this final section as well.
Form description third movement: The third part is also composed of three sections: a piano solo section at a slow tempo, in which the material is being developed from the previous conclusion from movement two in the form of a lyrical solo cadence. In the subsequent section - tempo moderato – instruments are gradually being added, as new soloists to the main soloist. This will be the longest and most complex part. The idea of a combination of different soloists should at least become expressive. In the concluding section – tempo allegro – the idea of competition is maximally utilized, during which the piano part is virtuosic and dominant, and which can be heard alternating between several formations within the ensemble.
Aesthetic: In a review following the performance of the first movement, the influence of Stravinsky is mentioned, and that is not unwarranted. Several motives play a role in the piece – there are also literal motifs from the work of Stravinsky. Motifs from Stravinsky are heard in movement one, and in movement two the harmonies are derived from a model (a chord from Schönberg from his Opus 16).
The idea was that these recognizable models exchange with each other such that the consistency of the composition as an autonomous aesthetic object does not suffer. The idea is not rhapsodic, but aims to transform the treatment of traditional elements for the sake of stylistic and compositional unity.

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