composer

Leeuw, Ton de

Ton de Leeuw was born on November 16, 1926 in Rotterdam. He died on May 31, 1996 in Paris (France). In 1949, after some years of composition lessons with Henk Badings, ...

related works

Cinq hymnes : for mixed choir, 2 pianos and percussion, 1987/88 / Ton de Leeuw

Genre: Vocal music
Subgenre: Mixed choir and instruments; Mixed choir
Instruments: GK4 2pf ; GK4 ; GK4 2pf 2perc ; GK6 ; GK4 2pf 2perc

Introductie en rondo : voor orkest, 1980 / Jan Felderhof

Genre: Orchestra
Subgenre: Orchestra
Instruments: 2222 2200 timp (glock ad lib.) str

Serenata / Harold C. King

Genre: Orchestra
Subgenre: Orchestra
Instruments: 2222 4231 timp perc hp str

Ricercare : orchestra, (1949) / Hendrik Andriessen

Genre: Orchestra
Subgenre: Orchestra
Instruments: 2fl fl(pic) 2ob 2cl 2fg 4h 3trp 3trb tb timp perc hp str

 

composition

Nritta : orchestral dance / Ton de Leeuw

Publisher: Amsterdam: Donemus, cop. 1961
Publisher's number: 04069
Genre: Orchestra
Subgenre: Orchestra
Instruments: fl fl(pic) fl (fl-a) 2ob ob(eh) 2cl cl-b 2fg sax-a 4h 3trp 3trb tb timp 3-4perc hp pf(cel) str
Remarks: Voor orkest. - Voorw. in het Nederlands. - In opdracht van het ministerie van O. K. en W. - Opgedragen aan Jacques Schaap. - Jaar van comp.: 1961. - Tijdsduur: ca. 9'
Duration: 9'00"
Year of composition: 1961
Status: fully digitized (real-time delivery)

Description:
Program note (English): (Première: 16-6-1962 - Tilburg - Brabants Orchestra, Hein Jordans, conducting) Nritta is a term from the art of Indian dancing that perhaps can best be defined as abstract dancing. It is a dance form without expressive contents: by means of stylised attitudes and movements a purely rhythmical joy becomes apparent. With or without song, rhythm is essential. Often one uses this for certain rhythmic syllables, a very developed rhythmic language, which can be produced with or without words on the drums. This dance form inspired me to writing an orchestral dance 'Nritta'. Of course it was not intended that the `couleur locale be used. The Indian instruments and the manner of making music cannot be compared to our symphony orchestras and our chromatic tuning. Although western dancing art assumes entirely other technical principles. But it can be expressed in both media: the pure perception of rhythm and movement. It is perhaps a dangerous suggestion, but conductor and orchestra
members could implement spontaneous movements while the primary rhythm begins. Primary rhythm. This does not mean the elementary, volcanic rhythm of the beginning of our century, nor the driving motoric composers by technique, nor the abstracted rhythmic differentiations of current serial music. No tensions, no breaking loose, no drama, but a determined rhythmic advancement, which nevertheless continues forward in spite of an increasing rhythmic complication for the balance which also characterises also the Indian rhythms. For the technically inclined: the Tala-pattern assumes nine entities, which are conducted slowly by other sub-entities and other groups reaching a climax. This line is interrupted by a fixed rhythmic sense, which has much of the word language already mentioned. It works as a refrain and returns regularly, especially in the drums. To obtain the necessary changes a set of six drums of several pitches are scored. Along with the timpani and other percussion instruments
they are important to the instrumental apparatus, whichassumes in its totality the normal orchestration. - TON DE LEEUW

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