composer
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
Sinfonia : 1956/'57 / Kees van Baaren
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
2222 2200 timp str
Symphonisch scherzo : (1953) / Henk Badings
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
3333 4331 timp 2perc cel pf hp str
Orkeststuk : 1921 / Jeanne Beyerman-Walraven
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
4334 4341 timp 3perc 2hp cel str
Concerto for orchestra : 1974-1976 / Gary Carpenter
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
3333 4431 timp 3perc hp pf(cel) str
composition
Musica per orchestra : 1965-'66 / Kees van Baaren
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