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
Memento mori : 2002 / Micha Hamel
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
3333 6431 4perc hp org str
Overture : for orchestra / Bram Van Camp
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
2fl(picc) 2ob scl sfg cfg 4h 2tpt 3trb(trb-b) tb timp 3perc hp cel str
Symphonie Nº 2 / Willem van Otterloo; rev. Otto Ketting
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
pic 2fl 2ob eh 2cl cl-b 2fg cfg 4h 4trp 3trb tb timp 2perc str
composition
Musica per orchestra : 1965-'66 / Kees van Baaren
Other authors:
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