composer
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
A cette heure du jour : for mixed choir a cappella, 1991-1992 / Ton de Leeuw
Genre:
Vocal music
Subgenre:
Mixed choir
Instruments:
GK8
Cinq impromptus : für Kammerorchester, 1958 / Ton de Kruyf
Genre:
Orchestra
Subgenre:
Orchestra
Instruments:
1222 2110 perc str
Ramiro suite : voor orkest / Herman Strategier
Genre:
Orchestra
Subgenre:
Orchestra
Instruments:
3222 4331 timp perc hp str
Persephone : for brass orchestra / Kees Olthuis
Genre:
Orchestra
Subgenre:
Orchestra
Instruments:
5trp 3bug (trp) sax-s sax-a sax-t sax-b 4h 3tb-t 3trb 2bas timp 3perc
composition
Nritta : orchestral dance / Ton de Leeuw
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