composer
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
Linkerhand en rechterhand : for piano, 1976 / Ton de Leeuw
Genre:
Chamber music
Subgenre:
Piano 1 hand
Scoring:
pflh pfrh
camera obscura: dark chamber : for chamber orchestra / Edward Top
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
ob trp pf perc str
Myriad : for orchestra / Jeroen D'hoe
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
picc 2fl fl-a 2ob eh 3cl cl-b 3fg cfg 4h 4tpt 3trb-t tb timp 3perc 2hp cel str
Symphony no. 3 : for orchestra, 1990 / Otto Ketting
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
fl(pic) 2fl 3ob 2cl cl(cl-b) 3fg 4h 4trp 3trb tb timp 4perc hp pf(cel) str
composition
Alba : concerto da camera for small orchestra, 1982, r[evised] 1986 / Ton de Leeuw
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