composer
Lex van Delden was born Alexander Zwaap on September 10, 1919 in Amsterdam the only child of Wolf Zwaap, a school teacher, and Sara Olivier. He died on July 1, ...
related works
Genre:
Orchestra
Subgenre:
Two or more different solo instruments and orchestra
Scoring:
2222 2000 timp perc str vl-vla-cb-solo
Breakdance : for harp solo, 2002 / Gerard Beljon
Genre:
Chamber music
Subgenre:
Harp
Scoring:
hp
Snarenspel : voor kleine harpen, 1979, No. 17 t/m 21, Band III / Sas Bunge
Genre:
Chamber music
Subgenre:
Harp; Harp
Scoring:
2hp / 3hp
Remplissage : pour harpe, 1966 / Henri C. van Praag
Genre:
Chamber music
Subgenre:
Harp
Scoring:
hp
composition
Kleine suite : voor twaalf harpen, 1951 / Lex van Delden en Marius Flothuis
Other authors:
Flothuis, Marius
(composer)
Contains:
Prelude
Allegro
Valse lente
Fughetta
Finale
Description:
Program note (English): Mrs Phia Berghout's request, made to me and my colleague Lex van Delden, for a composition for twelve harps immediately appealed to me because of its unusual character. I had as yet no clear conception what it would look like, let alone how it would sound. After collecting a few ideas I conferred with Lex van Delden and we both agreed that a composition of twelve wholly idependent parts would be impossible to realize. Hence our decision to compose a Suite for "harp-orchestra": we divided the ensemble into three groups of four which would perform one part together, thereby leaving room, however, for one or two solo parts. At times therefore six different parts can be heard; occasionally divisions into groups of two also occur. The sequence of the tempi, well as the keys, formed other points in our discussions. The result was that I worked out various ideas in a Prelude-moderato, while Lex van Delden took it upon himself to compose an Allegro and a Valse lente - the second and
third movements, followed by a Fughetta by myself. The Finale is a march, the material for which Van Delden drew from my Prelude; I simultaneously worked out the Trio and needed, so it appeared later, only one bar for the modulation from march to trio; similarly, the transition to the recapitulation of the march needed no more than a few bars. - MARIUS FLOTHUIS