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

Helen Barbara / David Dramm

Genre: Unknown

Zes variaties zonder thema : voor 4 kleine harpen, 1979 / Andries de Braal

Genre: Chamber music
Subgenre: Harp
Instruments: 4hp

Le tombeau d'Edgar Poe : voor 6-stemmig koor a cappella, opus 29, 1991 / tekst: Stéphane Mallarmé, Huub Kerstens

Genre: Vocal music
Subgenre: Mixed choir
Instruments: GK6

 

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
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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Score Download (A3), 36 pages EUR 24.10
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Hardcopy, normal size (A4), 88 pages EUR 61.40