composer
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
Genre:
Chamber music
Subgenre:
Piano
Scoring:
pf
Genre:
Orchestra
Subgenre:
Two or more different solo instruments and orchestra
Scoring:
2232 4331 timp perc cel hp str vl-pf-solo
Duo concertante : per flauto, violino principale e orchestra, op. 14, nr. 3, (1937) / Jan Koetsier
Genre:
Orchestra
Subgenre:
Two or more different solo instruments and orchestra
Scoring:
0022 0000 str fl-vl-solo
Concerto da camera : voor viool, violoncello, piano en orkest, (1956) / Jaap Geraedts
Genre:
Orchestra
Subgenre:
Two or more different solo instruments and orchestra
Scoring:
2201 2100 str vl-vc-pf-solo
composition
Concerto Rotterdam : voor jazz-combo en symfonie-orkest / Jurriaan Andriessen
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