related works

Die Weise von Liebe und Tod des Cornets Christoph Rilke : voor hoge stem en piano, 1948 / op tekst van R. M. Rilke, Ton de Leeuw

Genre: Vocal music
Subgenre: Voice and piano
Scoring: high pf

Cycle of Jewish Songs : for symphony orchestra / Benjamin Ashkenazy

Genre: Orchestra
Subgenre: Orchestra
Scoring: 2fl 2ob 2cl 2fg 3h 3trp 3trb perc pf str

Piccola musica concertata : opus 79, per tre tromboni, 3 timpani, orchestra d'archi, Amsterdam 19-3-1963 / Lex van Delden

Genre: Orchestra
Subgenre: Orchestra
Scoring: 0000 0000 3timp str 3trb-solo

Akoetest : voor symfonieorkest, opus 45, -1973- / Jan Masséus

Genre: Orchestra
Subgenre: Orchestra
Scoring: 3333 4331 timp perc hp pf str

composition

Alba : concerto da camera for small orchestra, 1982, r[evised] 1986 / Ton de Leeuw

Other authors:
Leeuw, Ton de (Composer)
Description:
Program note (English): Alba (dawn) is the title of this concerto da camera composed in 1982. The musical notation is often characterised by a treatment of pairing equal instruments (2 horns, 2 violins) or groups of instruments. This leads to the development of a number of so-called gymels (also gimel or gemell), which emerge throughout the work. Some of them occur once; others are repeated with or without variation. The modal structure of the work is, among others, stipulated by two modi related to each other, which - depending on the musical course - is used separately or combined. This musical path becomes controlled by a time structure which can best be compared to Indian classical music, but is an independent element, incorporated into a contemporary language. The first part begins immediately with a group of three succeeding gymels (2 horns - 2 oboes - 2 horns). Thereafter the strings set in, from the lower registers (gymels in 2 double basses and 2 violas); where the gymels gradually ascend
merging into the totality, to then re-emerge at the end. The second part is mainly slow and is characterised by, among other things, the consecutive development of a number of episodes that contrast mutually in movement and character. The last of these episodes connects without interruption to the beginning of the third part. The movement of this last part is quick and continuous. One may think perhaps of a big, ongoing dance in a circle but from which other parts are always revealed. - TON DE LEEUW