composer

Baaren, Kees van

In his youth, Kees van Baaren played jazz and accompanied the Kabarett der Unmöglichen [Cabaret of the Impossible] to support himself. His great inspiration at the time was the jazz ...

related works

Recueillement : pour chant et piano, 1947 / [texte] (Ch. Baudelaire), Kees van Baaren

Genre: Vocal music
Subgenre: Voice and piano
Instruments: sopr-m pf

Galimathias Musicum : for symphony orchestra (and forte piano) / Martijn Padding

Genre: Orchestra
Subgenre: Orchestra
Instruments: 2fl(fl-a) 2ob 2cl 2fg 2h 2trp perc pf str

Promenades : suite voor sinfonie-orkest, 1955 / Hugo Godron

Genre: Orchestra
Subgenre: Orchestra
Instruments: 3222 2220 timp perc str

Variazioni per orchestra : = (Variations for orchestra), (1959) / Kees van Baaren

Genre: Orchestra
Subgenre: Orchestra
Instruments: pic 2fl 2ob 2cl 2fg 3h 4trp 2trb tb 9-11perc hp pf4h str

 

composition

Musica per orchestra : 1965-'66 / Kees van Baaren

Publisher: Amsterdam: Donemus, cop. 1966
Publisher's number: 03518
Genre: Orchestra
Subgenre: Orchestra
Instruments: fl fl(pic) fl-a 2ob eh 2cl cl-b 2fg cfg 4h 3trp 3trb tb timp 3perc vibr mar cel pf hp str
Remarks: Er bestaan meer werken met deze titel. - Versie 1968. - Tijdsduur: 18'
Duration: 17'00"
Status: fully digitized (real-time delivery)

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

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