related works
Invocations : for mezzo-soprano, mixed choir and instrumental ensemble, 1983 / Ton de Leeuw
Genre:
Vocal music
Subgenre:
Mixed choir and instruments
Scoring:
sopr-m 3sopr 3alt 3ten 3bas 3cl h trb 2perc pf(el.pf)
Toccata-Interlude-Variaties : for orchestra, 2003 / Ludwig Otten
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
3333 4331 timp str
Sinfonie Nº 2 : in d Moll, voor orkest, 1868, (op. 44) / Richard Hol
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
3222 4230 timp perc str
Gamut : for orchestra / Bram Kortekaas
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
2fl(picc) 2ob 2cl 2fg 2h 2tpt trb-b timp 2perc str
composition
Ombres : voor symfonieorkest, 1960/1961 / Ton de Leeuw
Author(s):
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