related works

Die Wolken : ein Zyklus auf Texte aus der "Naturwissenschaft" von J.W. Goethe, für Mezzosopran, Bratsche oder Violoncell und Klavier, 1979 / Peter Visser

Genre: Vocal music
Subgenre: Voice and instrument(s)
Scoring: medium pf vla/vc

Concertatio avium : plaisanterie virtuose, pour violon, flûte, épinette et viole de gambe, 1965 / Harold C. King

Genre: Chamber music
Subgenre: Mixed ensemble (2-12 players); Wind and string and keyboard instrument(s)
Scoring: fl spt vl vladg

Pastorale : voor fluit, viool en piano, 1942 / Hendrik Andriessen

Genre: Chamber music
Subgenre: Wind and string and keyboard instrument(s)
Scoring: fl vl pf

Kotz : suite voor 11 instrumenten uit de gelijknamige muziektheaterproduktie [van Jean Paul Franssens], 1979 / bewerking Maarten Smit, Klaas de Vries

Genre: Chamber music
Subgenre: Wind and string and keyboard instrument(s)
Scoring: fl(pic) ob cl fg h trp trb(-b) vl vla vc pf

composition

Oriënt Express : fantasie voor saxofoon (klarinet), altviool en piano, 1982 / Peter Visser

Other authors:
Visser, Peter (Composer)
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