related works
Genre:
Vocal music
Subgenre:
Mixed choir and instruments; Mixed choir and orchestra
Scoring:
recit alt-m/sopr-m bar GK4 fl ob cl fg (g ad lib.) 2vl vla vc cb / recit alt-m/sopr-m bar GK4 1111 0000 (g ad lib.) str
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
3fl 3ob eh 3cl cl-b 3fg cfg 4h 3trp 2trb trb(trb-b) tb timp hp str
Abschied vom Abendland : opus 30, for orchestra, 1991 / Huub Kerstens
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
3333 4441 timp 2perc hp str
Elverhöi : sinfonisch gedicht, voor symphonie orkest, opus 48, 1940 / Johan Wagenaar
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
2fl fl(pic) ob ob(eh) 2cl 2fg 4h 3trp 3trb timp 2perc hp str
composition
Réflexions sonores : pour orchestre / Anthon van der Horst
Other authors:
Horst, Anthon van der
(Composer)
Contains:
Le fleuve Godawari-Le royaume Pratichtana, situé sur le fleuve Godawari-Le roi Triwikramasena
Le moine mendiant-Le singe domestique-Pierreries
Nuit-Le passage à travers le crématorium-Le cercle magique-Le wétala
Danse magique-Transfiguration-Le roi, suivant le wétala
Description:
Program note (English): (Première: 5-2-1964 - Amsterdam - Concertgebouw Orchestra, Bernard Haitink, conducting) The following can be noted about the music: this reflects in the sense of mirroring, not reflecting. It is up to the listener, after reading the synopsis, as to what will be recognised in the music. Each movement has specific notes. The score contains however also unmentioned details. The consecutive movement of the consonance pictures is not always chronological; as a result, this is not programme music in the usual sense of the word. The form has been composed ex improviso - i.e. from the unforeseen. Easily distinguishable are the themes of the king and of the monk. The vampire is represented by the clarinet in e-flat, the yogin by solo violin. My intention was for the audience to listen creatively to a strange but extremely coloured and captivating tale. They do not need to worry about technical, compositional matters like main or parallel, augmentation, diminutions, mirrorings etc.;
that searching would be in vain. In this way I dedicate this work, in addition to the conductor and members of the Concertgebouworkest, to the Concertgebouw audience. The tonal harmony and melodics are alternatively based on dia - and octotonics, however very freely. Several tonal centers vary with each other; the improvisatory character yields the possibility of a central place within the piece. - ANTON VAN DER HORST