Horst, Anthon van der

Anthon van der Horst was born on June 20, 1899 in Amsterdam and died on March 7, 1965 in Hilversum. His father Hendrik was organist and conductor of an amateur ...

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Réflexions sonores : pour orchestre, op. 99, oct. nov. dec. 1962 / Anthon van der Horst

Publisher: Amsterdam: Donemus, cop. 1963
Publisher's number: 03975
Genre: Orchestra
Subgenre: Orchestra
Instruments: pic 2fl 2ob eh 2cl cl-b 2fg cfg 4h 3trp 4trb tb perc 2hp str
Remarks: Met voorw. - In opdracht van het Concertgebouworkest. - Opgedragen aan leiding en leden van het Concertgebouworkest. - Tijdsduur: 20'
Duration: 20'00"
Year of composition: 1962
Status: fully digitized (real-time delivery)

Le fleuve Godawari-Le royaume Pratichtana, situé sur le fleuve Godawari-Le roi Triwikramasena
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Nuit-Le passage à travers le crématorium-Le cercle magique-Le wétala
Danse magique-Transfiguration-Le roi, suivant le wétala
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

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