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:
Vocal music
Subgenre:
Voice solo; Voice and piano; Voice and instrument(s)
Instruments:
voice solo ; voice pf ; voice perc pf ; voice vc ; 4voices
Sinfonia concertante : klarinet, hoorn, strijkorkest, 1951 / Alexander Voormolen
Genre:
Orchestra
Subgenre:
Two or more different solo instruments and orchestra
Instruments:
str cl-h-solo
Thought : for three soloists and orchestra, 1990 / Ivo van Emmerik
Genre:
Orchestra
Subgenre:
Two or more different solo instruments and orchestra
Instruments:
5040 2341 5perc 2hp str(16.14.12.10.8) fl-b-cl-b-pf-solo
Delta dances : for solo flute, bass clarinet and piano, and chamber orchestra, 1990 / Sytze Smit
Genre:
Orchestra
Subgenre:
Two or more different solo instruments and orchestra
Instruments:
1111 1110 2perc str(8.6.4.3.2.) fl-cl-b-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