composer
Reinbert de Leeuw (17 Jan. 1938 – 14 February 2020) studied piano and music theory at the Amsterdam Conservatoire and composition with Kees van Baaren at the Royal Conservatory of ...
related works
Der nächtliche Wanderer : for symphony orchestra / Reinbert de Leeuw
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
picc 3fl 2ob eh 3cl cl-b 3fg fg-c 4h 3trp 2trb trb-b tb timp 4perc pf hp str
Simphonie periodique no. XI / Joseph Schmitt
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
2000 2000 str(vl vla bc)
Raving : for large orchestra and electronic dance pulse / Willem Boogman
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
pic 2fl 2ob eh 2cl cl-b 2fg fg-c 4h 3trp 2trb trb-b tb timp dr dr-b g-b str elec
De reuzenalbatros : voor symfonisch ensemble, 2001 / Huub de Vriend
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
2222 1200 timp perc hp str
composition
Abschied : symphonische Dichtung, für grosses Orchester, 1973 / Reinbert de Leeuw
Description:
Program note (English): [Première: 11-05-1974 - Rotterdams Philharmonisch Orkest, Edo de Waart, conducting] - Abschied is a piece on which I had worked for more than three years, but it was something that I always wanted to compose. It has been written for a huge symphony orchestra with a totally conventional instrumentation, apart from the piano and saxophones, which are scored. Furthermore there is no unusual treatment of instruments or new music techniques. It is, however, a piece that runs continuously from its seams; it is a permanent sort of fury. On viewing the score, that begins on page 1 and ends on page 82, every page is black of notes. It must be played in an extraordinarily high tempo; everything is very compact. That makes it difficult for performance: it is filled with virtuosity for all. The idea behind it is a literary one; for this reason I have given the piece a literary title, referring to the German romanticism, the period of Symphonische Dichtung. That is also the subtitle of the
piece. It is full of extremes, extremity in expression and exaggerated in aggressiveness. Thus a reason for choosing a symphony orchestra in the form as I opted for, completely 19th century, late-romantic without, however, late-romantic means, except in one neglected part. It is almost everywhere homo-rhythmical, with the complete orchestra simultaneously, or two groups positioned opposite of each other. On that note, it is somewhat Stravinsky-like; it refers here and there to the Sacre, as an archetype. - REINBERT DE LEEUW