related works
Collected Chamber Music / ed. by Odilia Vermeulen & Ton Braas, Matthijs Vermeulen
Genre:
Chamber music
Subgenre:
Cello and keyboard instrument; Violin and keyboard instrument; String quartet (2 violins, viola, cello); String trio (violin, viola, cello)
Scoring:
vc pf ; vl pf ; vl vla vc ; 2vl vla vc
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
2fl(pic) ob(ob-am) ob(eh) 2cl cl-b 3trp 3trb timp perc hp str
Dona montana : tre pezzi per orchestra / Hans Henkemans
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
4222 2220 timp perc cel xyl hp str
Intermezzo and Epilogue : from the opera "The Expedition" / Klas Torstensson
Genre:
Orchestra
Subgenre:
Orchestra; Voice and orchestra
Scoring:
(sopr) fl(pic) pic(fl) fl 2ob eh 2cl cl-b cl-cb 2fg cfg 2sax 4h 3trp 3trb 2tb timp 5perc g-b hp pf str synth (acc-solo)
composition
Symphonie no. 7 : Dithyrambes pour les temps à venir, 1963-1965 / Matthijs Vermeulen
Other authors:
Vermeulen, Matthijs
(Composer)
Description:
Program note (English): I am not using the word 'dithyramb' as the literary term of the ancient Greeks, but in the widest sense as any song of joy of any form and intonation, such as profane, sacral, lyrical, phrenetic, wild, gentle, enthusiastic and in every gradation thereof, including the playful. (...) The place of the action of the 7th Symphonie is a traditional podium which the listener can, at will, imagine as an ancient open-air theatre, a spectacular historical square with good acoustic properties where various pieces of music join together for the celebration of a festival. It could in fact take place in this way. A group constantly steps out from the orchestra, plays its part which can have very varying dimensions, returns again and it followed by another. The groups are sometimes contrasting, sometimes supplement one another, are sometimes rousing, sometimes tempering, always in keeping with the psychology of the circumstances which changes very often, but which can, from the beginning, be
characterized as a striving of one-ness to many-ness, to the generality which comes about at the end. The 7th Symphonie has about forty such episodes, not counting those which differ merely by nuance. The basis of the construction of this symphony, just as of my previous works, is the cantus firmus. Placed on paper, that melodic line resembles an immense solo, moving in all positions, from the highest to the lowest, and it serves me as an architectonic plan. - MATTHIJS VERMEULEN