related works
The hollow men : voor gemengd koor en orkest / Kees van Baaren; tekst: T.S. Eliot
Genre:
Vocal music
Subgenre:
Mixed choir and orchestra
Scoring:
sopr bar GK4 2fl 2ob 2cl 2fg 2h 2trp timp perc str
Petite Suite : pour orchestre de chambre / Jan van Dijk
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
2222 sax-a 1100 timp perc xyl str
Dorian Gray suite : for orchestra, 1979 / Hans Kox
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
fl fl(pic) ob ob(eh) cl cl-b 2h 2trp timp 2perc hp str
Soundscape of my time : for symphony orchestra / Reza Nakisa
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
2fl 2ob 2cl 2fg 2h 2trp trb 2timp perc str
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