related works
Pier & ocean : for 10 wind instruments, 1988 / Andries van Rossem
Genre:
Chamber music
Subgenre:
Wind ensemble (2-12 players)
Scoring:
2fl 2ob 2cl 2fg 2h
Khayal : concerto for piano and ensemble/chamber orchestra, 1996 / Sinta Wullur
Genre:
Orchestra
Subgenre:
Piano and orchestra; Piano and orchestra; Piano and large ensemble
Scoring:
1121 1110 2vl vla vc cb / str pf-solo
Genre:
Orchestra
Subgenre:
Piano and large ensemble
Scoring:
fl(pic) ob cl cl-b fg h trp trb tb 2perc el.g acc 2vl vla vc cb pf-solo
Ghosting Pantaleon : Concerto for piano and large ensemble / Elmer Schönberger
Genre:
Orchestra
Subgenre:
Piano and large ensemble
Scoring:
pf-solo 3cl cl-b/cl-cb trp 2h trb tb 2perc cel hp cimb str
composition
Concerto : for piano and chamber orchestra / Andries van Rossem
Other authors:
Rossem, Andries van
(Composer)
Description:
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.