Flothuis, Marius

“The title of Flothuis' 'Zoeken naar zuiverheid en schoonheid' [Search for purity and beauty], his 'in memoriam' for his friend Witold Lutoslawski, could actually also stand as the motto of ...

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Symfonische muziek : op. 59, voor groot orkest, 1957 / Marius Flothuis

Publisher: Amsterdam: Donemus, cop. 1958
Publisher's number: 03687
Genre: Orchestra
Subgenre: Orchestra
Scoring: 2fl fl(pic) 2ob eh 2cl cl-b 2fg cfg 4h 3trp 3trb tb timp perc 2hp str
Remarks: In opdracht van de gemeente Amsterdam. - Opgedragen aan Eduard van Beinum en het Concertgebouworkest. - Tijdsduur: 18'
Duration: 18'00"
Year of composition: 1957
Status: fully digitized (real-time delivery)

Adagio molto espressivo, un poco strascinante
Allegro agitato
Andante maestoso
Program note (English): [(Première: 18-6-1958 - Amsterdam - Concertgebouworkest under the direction of Eduard van Beinum] - The work has four movements, which have been grouped together two by two; after the second movement a short interruption follows. a. Allegro. The first movement has the character of a scherzo with a trio. The scherzo has been composed more or less as an uninterrupted crescendo. The trio brings to some extend some repose, although in the background the long string melody are set against motives from the scherzo. The reprise from the scherzo moves analogously to the exposition but starts on a different dynamic plan (piano instead of pianissimo); the instrumentation has been extended. At the peak, horns, trumpets and trombones sound their admonishing voice, then following a short passage, in which the timpani come to the forefront: b. Adagio molto expressivo, un poco strascinante, three-part sorrowful music, with which the first level is concluded. Thematically related to the
beginning of: c. Allegro agitato. This part is of a violent and nervous character. The set-up is in five parts, of the five sections only the second passes rapidly, the fourth section is however a very comprehensive episode, the third and fifth sections are modified recurrences of the first. At the end of the fifth a pinnacle is reached, and the timpani are heard in solo, this time however to make way for the: d. Andante maestoso, passacaglia in which the inner balance is recovered. Cellos and double basses play the basis of the passacaglia-theme that afterwards is introduced by two harps, flute and bass clarinet. The seven variations that follow change only very little in the harmonious structure of the theme, all the more on the other hand to the melodic lines, whereas a separate instrumentation is made for each variation. A short coda ends the work in a positive sense. - MARIUS FLOTHUIS

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