related works
24 capriccio's voor viool solo
Genre:
Chamber music
Subgenre:
Violin
Scoring:
vl
Muziek uit het ballet Luctor et emergo : voor orkest en koor, op. 43a / Géza Frid
Genre:
Orchestra
Subgenre:
Orchestra; Mixed choir and orchestra
Scoring:
(GK4 ad lib.) 2222 4331 timp perc hp str
Sinfonia: Luci nella notte : for orchestra / Andrzej Kwiecinski
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
3fl 3ob 3cl 3fg 4h 3trp 3trb perc 2pf str
Interpolations : voor orkest / Jan van Vlijmen
Genre:
Orchestra
Subgenre:
Orchestra; Orchestra with multimedia
Scoring:
3353 3sax 4331 5perc cymb 2mar xyl 2el.g g-b man hp pf 2ham.org str(12.6.6.3.) electronics
composition
Toonen : voor kamerorkest, 1980 / Guus Janssen
Other authors:
Janssen, Guus
(Composer)
Description:
Program note (English): [Première: 19 oktober 1980 - Radio Kamerorkest under the direction of Ernest Bour (Donaueschingen)] - The work consists of three movements followed by a coda. In the first movement a monodic piece of music is developed into polyphony consisting exclusively of the very fast canonical treatment of the four basic motifs, which is not really polyphony. The second movement includes the repetition of the introduction at a too low and a too high speed. The four chords underlying the basic motifs also filter through now and then, but their first really clear appearance, in strings and glockenspiel, has to wait until just before the coda. In the third movement a homophonic pattern is first developed (from a pulsating fugure, by continuous shifts), followed by polyphony (merely rhythmic since at the same moment the melodic movement has stopped) caused by the rhythmic pattern running off the rails. So again there is no complete polyphony. Real polyphony comes into existence right before
the coda by a superposition of the introduction and its too fast and too slow versions. The coda is announced, being truly polyphonic but at the same time being a major musical derailment: the four "tonalities" dissolve, the four basic motifs lose their identity by merging into longer ascending and - mainly - descending lines (which didn't figure earlier in the work). The pulses (important in the third) also melt together beyond recognition and the music as a whole gets stuck as there are too many scratches in it. - GUUS JANSSEN