related works
Genre:
Chamber music
Subgenre:
Piano
Scoring:
pf
Dansen uit het Labyrint : opus 15-a, voor orkest, 1963 / Peter Schat
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
2fl fl-a 2ob eh cl 2cl-b 2fg 2cfg 4h 3trp 3trb 2tb timp 3perc hp pf str(0.13.10.8.)
Interludes de "La symphonie pastorale" : pour orchestre / Guillaume Landré
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
2232 3220 timp perc hp pf str
Symphony No 5 : 'Umbrae futurae', for orchestra, 2005-7 / Hans Kox
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
pic 2fl(fl-a) 2ob eh 2cl 2fg cfg 4h 3trp 3trb tb 4perc 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