composer

Leeuw, Ton de

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

Cinq hymnes : for mixed choir, 2 pianos and percussion, 1987/88 / Ton de Leeuw

Genre: Vocal music
Subgenre: Mixed choir and instruments; Mixed choir
Instruments: GK4 2pf ; GK4 ; GK4 2pf 2perc ; GK6 ; GK4 2pf 2perc

Dancing to an orange drummer : for ensemble, 1993 / Vanessa Lann

Genre: Orchestra
Subgenre: Large ensemble (12 or more players)
Instruments: fl(pic) fl cl(cl-b) sax-s sax-a h trp 2trb tb perc el.g g-b pf

16 Fractals : for 4 ensembles / Adam Lukawski

Genre: Orchestra
Subgenre: Large ensemble (12 or more players)
Instruments: wind quintet (fl ob cl h bsn), brass quintet (2tpt h tbn tb), "glass" quintet (5perc), percussive "quintet" (4timp pf)

Lantern lectures : for sinfonietta, 1999-2002, (Brass Link I / Solid Rocks I / Brass Link II), Volume I / Klas Torstensson

Genre: Orchestra
Subgenre: Large ensemble (12 or more players)
Instruments: fl(pic) ob cl cl-b fg (h trp trb) perc pf 2vl vla vc cb

composition

Spatial music IV : homage to Igor Strawinsky, for twelve players / Ton de Leeuw

Description:
Program note (English): "Spatial Music IV" is one of a series of works bearing the same name in which the spatial positioning of the performers plays an essential role. The position of the performers has compositoral consequences. This can be illustrated by two extremes taken from the score: in the case of the greatest dispersion, totally independent parts can be said to be playing together. The players are, as it were, isolated from one another, only connected by the same time limits given the score. The other extreme is the classic set-up of the players around the piano. In this case, all the parts are closely related to the quotation of a Stravinsky chorale.
The 12 instrumentalists have a limited amount of freedom with regard to their choice of instrument. The composer indicates the following possibilities for part A, for example: flute-bass flute-oboe-oboe d'amore-clarinet-soprano saxophone or trumpet.
There is no improvisation; the composer envisages guided interpretation, i.e. his text is the framework which the players are to take as a basis for their embellishments, colourings and dynamic nuancing; a procedure which is still frequently used today in the highly developed musical cultures of Asia. - TON DE LEEUW