related works
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
2fl 2fl(pic) 3ob eh 3cl cl-b sax-s sax-a 3fg cfg 4h 4trp 3trb tb 2timp 2perc 2hp str
Behind the Death : for string quartet and orchestra / Wassim Ibrahim
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
3fl 3ob 3cl/cl-b 3fg/cfg 2h 3tpt 2trb trb-b tb 4perc pf 2hp str
Celebration : for large orchestra, 2002 / Jan van Vlijmen
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
4353 6431 timp cymb cel(perc) perc hp pf(cel) str(16.14.12.10.8.)
Metamorphosis 4-6-2-1 : orchestra, 1976 / Benjamin Ashkenazy
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
2232 4330 2perc 2hp pf str
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