composer

Beurden, Bernard van

General: Bernard van Beurden was born in Amsterdam on the 5th of December, 1933. He started playing the violin when he was 8 years old and at the age of ...

related works

Tout à coup(e) mondiale : pour accordéon seule, 1986 / Bernard van Beurden

Genre: Chamber music
Subgenre: Accordion
Instruments: acc

Bianco attraverso il nero (Il Nero) : for ensemble / Ángel Arranz

Genre: Chamber music
Subgenre: Mixed ensemble (2-12 players)
Instruments: 6vl 3vla 2cl cb

Ciaconna : Answering the question / Daan Manneke

Genre: Orchestra
Subgenre: Orchestra

Five Songs : for soprano, basset horn and string quartet / John Dowland; arranged by Hans Koolmees

Genre: Vocal music
Subgenre: Voice and instrument(s)
Instruments: sopr basseth 2vln vla vc

 

composition

Estampie : for wind orchestra, 1978, revision 1992 / Bernard van Beurden

Publisher: Amsterdam: Donemus, cop. 1978
Publisher's number: 04526
Genre: Orchestra
Instruments: fl fl(pic) ob ob(eh) cl cl(cl-b) 2fg 2h trp trb tb timp 2-3perc
Remarks: Voor 2 fluiten (2e tevens piccolo), 2 hobo's (2e tevens althobo), 2 klarinetten (2e tevens basklarinet), 2 fagotten, trompet, 2 hoorns, trombone, tuba, pauken en 2-3 slagwerkers. - Oorspr. versie met 2 trompetten en trombones. - Opgedragen aan Arie van Beek. - Tijdsduur: ca. 11'
Duration: 11'00"
Number of players: 16
Year of composition: 1978
Status: fully digitized (real-time delivery)

Description:
Program note (English): (Première: 18-12-1992 - Prinsekerk, Rotterdam - Ensemble of the Rotterdams Conservatorium, Arie van Beek, conducting) - The composition Estampie is based on four dance melodies from the 13th and 14th centuries, the so-called estampies. The structure of these melodies - both instrumentally and vocally - can be characterised by among other things a repetitive principle which results in estampies radiating in a motorised way. This motorising phenomena as well as the enormous vitality of medieval monophony formed the main departure point for joining these four dances. The earlier mentioned reoccurring principles are especially found in the percussion parts and the parts which link the dances with each other. Also because of my usage of polyphony, a certain medieval form of polyphony and the parallel organum, where the melody in equal intervals is followed by one or more voices comes forward. There where polyphony and homophony make their entrance in a 'later period', has to
do with the way in which these estampies are composed and the need to break through the reoccurrences, as stated above, and parallelism. - BERNARD VAN BEURDEN

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