related works
Concerto per pianoforte e orchestra : 1964 / Kees van Baaren
Genre:
Orchestra
Subgenre:
Piano and orchestra
Scoring:
pic fl ob eh cl cl-b fg cfg 4h 3trp 3trb tb timp 4perc hp str pf-solo
Intermezzo : from the opera Naima, for orchestra, 1986 / Theo Loevendie
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
2fl fl(pic) 2ob eh 2cl cl-b 2fg cfg sax-a 4h 4trp tb-b timp 3-4perc hp pf(cel) str
Musique concertante : pour orchestre, 1988 / Luctor Ponse
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
2232 2220 5-6perc hp pf str
Terze : for orchestra / Geert van Keulen
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
2222 2210 2perc pf str(8.6.5.4.2.)
composition
Musica per orchestra : 1965-'66 / Kees van Baaren
Author(s):
Baaren, Kees van
(Composer)
Contains:
Lento non troppo, doppio movimento
Sostenuto
Vivo
Description:
Program note (English): [Première: 18-5-1966 - Rotterdam - Rotterdams Philharmonic Orchestra - Franz-Paul, conducting] - The work consists of three movements that are separated by short general pauses. As in six earlier compositions, (Muzikaal zelfportret, Variazioni per orchestra, 2° Quartetto per archi, Quintetto a fiati, Concerto per pianoforte e orchestra and Musica per campane) a twelve-tone range containing all intervals within the octave identical to its own retrograde is utilized. (With this 'seventh' work the usage of these specific ranges has been exhausted). The work characterises itself further by striving towards a completion of certain aspects of serial technique, exploration (in part 2) of new possibilities for an autonomous-melodic notation, placing next to each other (in part 3) of a number of structures of a very divergent nature, without use of secondary (for example introducing or binding) elements, with the intention of showing that a compact result can be formed from this working
method. This third movement has the following structure: an authentic ' vivo ', a rhythmically, lively piece with variable meter 2/8-3/4-3/16-5/4-5/16-3/8-7/4-7/16-4/8-9/4; a fragment with a Latin-American dance rhythm which by each half-measure fall a half beat behind; two very short quotation-collages; a varied return of elements from part 2; two quotations from my own work, the musical self-portrait. Unusually, the two quotation-collages give, within moments Wagner (3 times), Johann Strauss (2 times), Pijper (2 times), Mendelssohn, Von Suppé, Beethoven, Moussorgsky and Stravinsky all come into view, as their tonal relationship suggests an imminent shifting of gears. - KEES VAN BAAREN