composer

Andriessen, Jurriaan

Though Juriaan Andriessen was of the generation of musical innovators such as Pierre Boulez and Karlheinz Stockhausen, his main musical influences were pre-war French composers. Andriessen composed an extensive body ...

related works

Berkshire - symphonies : (symphony 1), for orchestra / by Jurriaan Andriessen

Genre: Orchestra
Subgenre: Orchestra
Instruments: 2fl fl(pic) 2ob 2cl cl-b 2fg 4h 3trp 3trb 1tb timp 3perc str

Concerto : for violin, viola and orchestra, (1965) / Henk Badings

Genre: Orchestra
Subgenre: Two or more different solo instruments and orchestra
Instruments: 3222 3200 timp 2perc pf cel str vl-vla-solo

Sinfonietta concertante : klarinet (in A), altsaxofoon (in Es) en klein orkest, op. 55, 1954/55 / Marius Flothuis

Genre: Orchestra
Subgenre: Two or more different solo instruments and orchestra
Instruments: 2000 2000 timp pf str cl-sax-a-solo

Concertino : voor harp, gitaar en kamerorkest, 1977 / Bernard van den Boogaard

Genre: Orchestra
Subgenre: Two or more different solo instruments and orchestra
Instruments: 1121 1110 perc pf str(6.4.3.2.2.) hp-g-solo

 

composition

Concerto Rotterdam : voor jazz-combo en symfonie-orkest / Jurriaan Andriessen

Publisher: Amsterdam: Donemus, cop. 1966
Publisher's number: 03415
Genre: Orchestra
Subgenre: Two or more different solo instruments and orchestra
Instruments: 3222 4331 timp 3perc hp str combo: sax-a sax-t trp trb cb perc
Remarks: In opdracht van "Het Vrije Volk". - Jaar van comp.: 1966. - Tijdsduur: ca. 23'
Duration: 23'00"
Year of composition: 1966
Status: fully digitized (real-time delivery)

Contains:
Lento tranquillo
Molto lento
Rondo (Allegro vivo)
Description:
Program note (English): The piece is structured like a classical concerto, that is, in three movements. The twelve-tone idiom is used in order to bring about a fusion of symphonic and jazz music. This involves improvisation by the jazz musicians on the twelve-tone structure. It is technically possible to derive traditional harmonies from twelve-tone harmonies. Whenever the soloist must improvise, the traditional harmonies have been written underneath the twelve-tone melodies in their parts. This gives the players a double point of reference, and enables them to play improvisatory jazz. The danger of the improvisation taking on too superficial a character is therefore warded off. The first movement begins with a slow introduction, in which later motifs can be heard in their embryonic form. After an orchestral passage, the combo enters with the first theme. Then follows the orchestral transition (the bridge). The combo, together with the violins and flutes, join in with the second theme. A shortened
recapitulation follows in which the orchestra plays the main theme. The second movement also begins with an orchestral introduction, and the combo fellows with the main theme, in which the twelve-tone row is presented and developed. A very fast waltz is developed out of the rhythm of a slow version of the main theme, which, in canon form, leads to a great climax. Then the first part of the movement is brought back with a coda based on the introduction. The second movement is thus the traditional three-part lieder form. The third and last movement is a rondo. It starts with a build-up of rhythms in the orchestra until the entry of the combo with the rondo theme, followed by a slow middle section (the alternative), in which the themes from the first and second movements are recalled. The rondo returns, leading from an extreme pianissimo to an extreme forte. - JURRIAAN ANDRIESSEN

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