related works
Trimurti : trittico per quartetto d'archi, (1980) / Jan van Vlijmen
Genre:
Chamber music
Subgenre:
String quartet (2 violins, viola, cello)
Scoring:
2vl vla vc
Preludio all'infinito : per orchestra / Diderik Wagenaar
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
pic fl fl(pic) 2ob eh 2cl cl-b cl-cb 2h 3trp 2trb tb 2perc str(6.6.4.4.2.)
Divertimento : voor klein orkest / Adr. Bonsel
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
2222 2200 perc str
Résonances : for orchestra, 1984/85 / Ton de Leeuw
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
2fl fl(pic) fl(fl-a) 3ob ob(eh) 3cl cl-b 3fg cfg 4h 3trp 3trb tb 4perc hp pf str(16.14.10.8.6.)
composition
Quaterni I per orchestra : (1979) / Jan van Vlijmen
Other authors:
Vlijmen, Jan van
(Composer)
Description:
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