related works
Litany of our time : television play / by Ton de Leeuw
Genre:
Opera, musical theatre
Subgenre:
Music theatre
Scoring:
sopr MK3 fl 2perc hp pf cb tape electronics
Ayre of Solace : for orchestra / Giel Vleggaar
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
pic fl ob eh cl cl-b fg cfg 4h 2trp 2trb trb-b tb 3perc pf/cel cemb hp str
Mozaïeken : = (Mosaics), opus 5, for orchestra, (1959) / Peter Schat
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
fl fl(pic) ob ob(eh) 2cl fg fg(cfg) 2h 2trp 2trb 5-6perc cel hp pf str
"......" : for orchestra / Andys Skordis
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
2fl/picc ob eh cl cl-b 2fg 4h 2trp 2trb-y trb-b timp 2perc hp pf str
composition
Ombres : voor symfonieorkest, 1960/1961 / Ton de Leeuw
Other authors:
Leeuw, Ton de
(Composer)
Description:
Program note (English): (Première: 7-10-1962 - Concertgebouw, Amsterdam - Concertgebouworkest, Bernard Haitink, conducting) - In an earlier orchestral composition, "Mouvements rétrogrades", music was compared to a rotating crystal which, remaining the same, reflects ever changing light-values. This same static conception appears again in this composition; now, however, realised with wholly different formal means. The movements in the music might here be compared to the mysterious and balancing forces of nature, and to its wondrous complex world of forms whose laws can only be approached along the lines of human intuition. The title denotes that music, being a humanly ordered movement, can only give a shadow of all this. The above comparison is only relevant when light is shed on its background. The reflection of forces outside and above man implies that music is no longer a too subjective expression. The artist's "ego" recedes. What becomes primary is not the act of the will, but the surrender, which
does not necessarily preclude a personal touch. This conception runs counter to that of most music heard in the European concert-halls. Contrariwise, it is decisive - if we may limit ourselves to living music - for the most important music cultures outside Europe. It is therefore not just coincidental that, besides a selection of serial means, a number of music-technical aspects from India, in particular, play an important part. It is of little use to enter into details here. Furthermore, the composition consists of four parts, and the scoring is for a normal orchestra, although an important task is allotted to the percussion and plucked instruments. - TON DE LEEUW