related works
Piano concerto : 1979/80 / Tristan Keuris
Genre:
Orchestra
Subgenre:
Piano and orchestra
Scoring:
3333 4231 3perc str pf-solo
Keer : for orchestra / Guus Janssen
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
fl 2fl(pic) 2ob 2cl cl-b 2fg cfg 6h 3trp 2trb trb-b tb timp 3perc 2hp str
Weekend-symfonie : for orchestra / Nico Hermans
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
3322 4331 timp perc hp str
De beweging : for orchestra / Oscar van Dillen
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
3fl(fl-a/picc) 3ob(eh) 3cl(cl-b) 3fg(cfg) 4h 4tpt 3trb(trb-t/trb-b) tb-b tmp 2perc 2hp cel/pf str
composition
Sinfonia : for orchestra, (1974) / Tristan Keuris
Other authors:
Keuris, Tristan
(Composer)
Description:
Program note (English): The composition is written for large orchestra: quadruple woodwind plus two alto saxophones, eight horns, four trumpets, three trombones, two tubas, percussion, piano and string orchestra. The percussion is used in the traditional manner, merely for purposes of accentuation or timbre.
The piece has two movements without a break. The first of these (approx. 10 minutes) consists of several fragments in various tempi, the second forms one whole. The piece opens with a semi quaver figure played by horns and bassoons against chords in the low strings. This "introduction" contains all the material for the first fragment, the overall tempo remaining the same; the harmony develops from the first chord. At figure 12 a short intermezzo begins, with a solo cello, imitated by clarinets and saxophones; the tempo slows down, and after a cadenza for two piccolos the second fragment begins (p. 14).
Against a background of sustained tones, vivid flashing figures and short solos are heard in constantly changing instrumentation. A brief, rapid fragment follows; it closes the first section and also forms the transition to the second. The second movement is a long coda of final adagio, lasting about 7 minutes. Its nucleus is a constantly repeated homophonous theme in E major, relieved by changing interruptions. Towards the end, solo strings play the theme in canon, but without any contrapuntal intentions. The theme's contours become blurred; the theme puts itself to an end. - TRISTAN KEURIS