composer
Peter Visser was born on April 2nd, 1939 in Heerenveen in the Frisian district of the Netherlands. He grew up in a schoolteacher's family with little musical background. Until his ...
related works
Three poems by Mao Tse Tung : for baritone and piano, 1977 / Peter Visser
Genre:
Vocal music
Subgenre:
Voice and piano
Scoring:
bar pf
Nara : for clarinet, violin, violoncello and piano, 1993 / Walter Hekster
Genre:
Chamber music
Subgenre:
Wind and string and key instrument(s)
Scoring:
cl pf vl vc
Music for nine instruments : 1979 / Joël Bons
Genre:
Chamber music
Subgenre:
Wind and string and key instrument(s)
Scoring:
fl ob cl fg h vl vla vc pf
Claremont concerto : for clarinet, string quartet and piano, 1987 / Gene Carl
Genre:
Chamber music
Subgenre:
Wind and string and key instrument(s)
Scoring:
cl 2vl vla vc pf
composition
Oriënt Express : fantasie voor saxofoon (klarinet), altviool en piano, 1982 / Peter Visser
Description:
Program note (English): 'Orient Express' was written on the special request of saxophone player Arno Bornkamp, who liked yo have a piece for his ensemble in the 'Hindemith constellation' of tenor saxophone, viola and piano. Since a clarinet trio along the lines of Mozart's Kegelstatt Trio was also asked for, and since I felt the range of the tenor saxophone to be too limited, I decided to conceive the work in such a way that the first movement could be played by tenor saxophone of clarinet and the second by alto saxophone or clarinet. 'Orient Express' came into being partly owing to my love of East European folk music, especially Balkan music. However, I realized that, not being a native, I could not integrate and use the elements of this music in the way composers such as Bartók did. The approach of the well-known Dutch group Flairck, and the wareness that one will always remain a Western 'tourist' in this idiom, inspired the style and the name of the composition; the name was also chosen because of
the motile force of the elements, particularly in the final movement. This is the main part of the composition, on which the whole first part - of a more or less improvising character - is focused. Apparently, the musicians are probing and playing solos behore they really find each other in this turbulent toccata, in which all the elements of the work come together. - PETER VISSER