related works
Three Michelangelo songs : for mezzo-soprano and orchestra / Tristan Keuris
Genre:
Vocal music
Subgenre:
Voice and orchestra
Scoring:
sopr-m 2222 2100 2perc hp str(8.6.4.4.2.)
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
3333 4005 4timp str
Sinfonietta No. II : per orchestra / Jan van Dijk
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
1122 1200 str
Triptyque symphonique : pour orchestre symphonique, 1964 / Harold C. King
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
3333 4331 timp perc hp 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