related works
Invocations : for mezzo-soprano, mixed choir and instrumental ensemble, 1983 / Ton de Leeuw
Genre:
Vocal music
Subgenre:
Mixed choir and instruments
Scoring:
sopr-m 3sopr 3alt 3ten 3bas 3cl h trb 2perc pf(el.pf)
Genesis : saxofoonkwintet en strijkkwintet, 2001 / Nathalie Boogers
Genre:
Chamber music
Subgenre:
Wind and string instrument(s)
Scoring:
5sax str
Kwartet : voor hobo, viool, altviool en cello / Rob du Bois
Genre:
Chamber music
Subgenre:
Wind and string instrument(s)
Scoring:
ob vl vla vc
Klarinetkwintet : opus 51, 1998 / Leo Samama
Genre:
Chamber music
Subgenre:
Wind and string instrument(s)
Scoring:
cl 2vl vla vc
composition
Vijf schetsen : hobo, clarinet, fagot, viool, altviool, cello, 1951-'52 / Ton de Leeuw
Author(s):
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