related works
Verzauberte Lieder : für Chor und Orchester, 1986 / Joep Straesser
Genre:
Vocal music
Subgenre:
Mixed choir and orchestra
Scoring:
GK4 2222 2211 perc pf str
Genre:
Chamber music
Subgenre:
Wind and string and keyboard instrument(s)
Scoring:
fl ob vl vla vc pf
Credences of summer : for violin, clarinet (B flat) and piano, 1974 / Walter Hekster
Genre:
Chamber music
Subgenre:
Wind and string and keyboard instrument(s)
Scoring:
cl vl pf
Genre:
Chamber music
Subgenre:
Organ; Oboe and keyboard instrument; Mixed ensemble (2-12 players); Woodwind ensemble and keyboard instrument; Wind and string and keyboard instrument(s); Flute and keyboard instrument; Flute and keyboard instrument
Scoring:
org / ob org / org vl vla / fl 2ob org / ob org vl / fl-a org / 2fl org
composition
Fusion à six : symphonic music for string quartet, bass clarinet and piano, 1980 / Joep Straesser
Author(s):
Straesser, Joep
(Composer)
Contains:
Ouverture-transition one
Scherzo-transition two
Fantasia-transition three
Rondo finale
Description:
Program note (English): "Fusion à six" is a four-movement work, consisting of Overture, Scherzo, Fantasia and Rondo-Finale, each of which has its own specific character. They are self-contained pieces, in which the string quartet, bass clarinet and piano are on the same level - with the exception of the 'Fantasia' where the bass clarinet has a soloist part.
The movements are separated by transitions of a more open character, which, contrary to the four movements, are not particularly distinct one from the other. When, in viewing the work, one focuses on the transitions, they turn out to be as it were the 3 split-up parts of one and the same narrative. In them, the bass clarinet and piano form a duo opposing the strings. Since the 'Fantasia', with the bass clarinet in a prominent role, partly overlaps the third transition, two musical types melt together. So far for the structure of the piece.
Pitch material and interval structure are derived from a 'theme' of which the complete version is only heard at the beginning and at the close of the piece.
The first interval (a), a minor second, is the basic interval of the 'Overture' . The second and third intervals (b and b'), a perfect fifth and a minor sixth, determine the 'Scherzo' in that its fast runs comprise either a fifth or a minor sixth. The two cells, c and c', are the main components of the 'Fantasia'; in retrograde and in augmented motion they also form a 'motif' recurring in other parts of the work, notably in the piano part. The minor second 'a' underlies the last movement, parts of which are accelerated versions of the first movement. The transitions are mainly built on the cells c and c' - minor second and minor and major third. - JOEP STRAESSER