Vlijmen, Jan van

Jan van Vlijmen writes chamber music, operas, songs and orchestral works. His compositions are strongly influenced by the serial music of Arnold Schoenberg. He is also attracted to the sumptuous ...

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Serie per sei strumenti : 1960 / Jan v. Vlijmen

Genre: Chamber music
Subgenre: Wind Ensemble and keyboard instrument (3-8 players)
Scoring: fl ob cl fg trp pf

Openingsmuziek : fluit, clarinet, fagot, 2 hoorns, slagwerk, strijkers, 1976 / Lucas Vis

Genre: Orchestra
Subgenre: Orchestra
Scoring: 1011 2000 perc str

I Have Loved and I've Been Loved : Version for orchestra / Chiel Meijering

Genre: Orchestra
Subgenre: Orchestra
Scoring: picc fl 2ob 2cl ofg 2trp 2trb 2perc hp pf str

Louisville - symphony : (1954) / Henk Badings

Genre: Orchestra
Subgenre: Orchestra
Scoring: fl fl(pic) ob ob(eh) 2cl cl-b 2fg 4h 2trp 3trb tb timp perc hp pf str



Quaterni I per orchestra : (1979) / Jan van Vlijmen

Publisher: Amsterdam: Donemus, [1981]
Publisher's number: 04237
Genre: Orchestra
Subgenre: Orchestra
Scoring: 2fl fl(pic fll-a) 2ob eh 3cl 2cl-b 4fg cfg 4h 3trp 4trb tb cymb mar man 2hp str(
Remarks: Quaterni nr. 1. - In opdracht van het ministerie van CRM. - Opgedragen aan Walter Maas. - Cop. 1979. - Tijdsduur: ca. 27'
Duration: 27'00"
Year of composition: 1979
Status: fully digitized (real-time delivery)

Program note (English): 'Quaterni I' was commissioned by the Dutch Ministry of Culture. It is the first part of a three-part work to fill out an entire programme.
The title of this first part literally means 'by fours', and refers to the construction (4 x 3 tones, or 3 x 4 tones) of four twelve-note series, which, through various techniques of repetition, play a dominant role. In addition, the title refers to the interval of a fourth (perfect or augmented), which must be considered an important element in the work. Finally, this part is laid out in four movements, so that the number four is central to almost everything in the composition.
Melody and harmony, the two principal elements of classic compositional technique, are employed in 'Quaterni' and establish its character, but the use of these basic elements can hardly be called classical. For example, there is no question of thematic construction and development of the material in the classical sense; nor is there, in terms of rhythm, any relationship to classical principles of melodic construction. The structure of the work is established by means of a continuously present melodic line, an 'unendliche Melodi', as it were. The melodic principle is utilized in accordance with serial technique, in a manner otherwise very different from orthodox, Schoenbergian serial technique. The character of the melody varies from one movement to another: in the second movement, for example, it is signal-like, in the third movement unambiguously lyrical. Another characteristic of the melody is the development from longer to shorter note values. The simultaneities (harmonies) are -
when not the result of coinciding melodic lines - also derived from the melodic (series) material. In this respect they are again related to classical compositional techniques. - JAN VAN VLIJMEN

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