related works

Litany of our time : television play / by Ton de Leeuw

Genre: Opera, musical theatre
Subgenre: Music theatre
Scoring: sopr MK3 fl 2perc hp pf cb tape electronics

Sérénade : opus 31, viool, altviool, hobo, fagot, 1958 / Jan Masséus

Genre: Chamber music
Subgenre: Wind and string instrument(s)
Scoring: ob fg vl vla

Souvenir nostalgique : een pastiche / Geert van Keulen

Genre: Chamber music
Subgenre: Wind and string instrument(s)
Scoring: fl vl vla vc

Divertimento : voor fluit, klarinet & viool, 1974 / Henri Delnooz

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

composition

Vijf schetsen : hobo, clarinet, fagot, viool, altviool, cello, 1951-'52 / Ton de Leeuw

Other authors:
Leeuw, Ton de (Composer)
Contains:
Moderato
Andante tranquillo
Poco lento e cantabile
Comodo-quasi allegretto
Moderato ma non troppo
Description:
Program note (English): The title five sketches does not particularly indicate that this work was composed in 'sketches', but that the composition's accent came from the combination possibilities of the many instrumental timbres. For this reason there was conscious use of small, elementary forms, in which - by simple game playing with melody and counter melody - the timbres could be weighed against each other in the best possible way. For the same reason the components have several instrumentations: 1. Moderato: all instruments are combined in a moderate movement, in which from time to time dance-like rhythm emerges to then again disappear. 2. Andante tranquillo: the strings predominate. Contrasting to the three strings is a clarinet, the only solo wind instrument. 3. Poco lento: in this movement these roles are reversed; the violin mixes as a string instrument into the arabesques lines of the three winds instruments. 4. Comodo: both parts (oboe and bassoon, viola and violoncello) are equal and
compete with each other in a sort of Scherzando, in which syncopated rhythms play the leading role. 5. Moderato ma non troppo: this final movement is equivalent to the first part in terms of complete instrumentation. Both parts are also musically related to each other, resulting in a symmetrical ending to the composition. - TON DE LEEUW