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
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
Two scenes for orchestra : 2006 / Martijn Padding
Genre:
Orchestra
Subgenre:
Orchestra
Instruments:
4fl 2ob eh 2cl cl-b 2fg cfg 6h 4trp 3trb tb timp 4perc hp str
Symphony no. 3 : for orchestra, 1990 / Otto Ketting
Genre:
Orchestra
Subgenre:
Orchestra
Instruments:
fl(pic) 2fl 3ob 2cl cl(cl-b) 3fg 4h 4trp 3trb tb timp 4perc hp pf(cel) str
The sound of music : for orchestra, 1989/1990, revision 1993 / Boudewijn Tarenskeen
Genre:
Orchestra
Subgenre:
Orchestra
Instruments:
4444 4431 4perc 2hp pf 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