composer

Leeuw, Reinbert de

Reinbert de Leeuw wordt op 17 januari 1938 in Amsterdam geboren. Hij studeert piano en muziektheorie in Amsterdam bij Jaap Spaanderman en compositie aan het Koninklijk Conservatorium in Den ...

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Symphonie no. 6 : Les minutes heureuses, sur la-do-re, en trois mouvements qui se succèdent sans interruption, 1956-1958 / Matthijs Vermeulen

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composition

Abschied : symphonische Dichtung, für grosses Orchester, 1973 / Reinbert de Leeuw

Publisher: Amsterdam: Donemus, cop. 1974
Publisher's number: 04598
Genre: Orchestra
Subgenre: Orchestra
Instruments: 2fl 2fl(pic) 4ob 4cl cl-b 2sax 8h 5trp 4trb 2tb-b timp perc 2hp pf str
Remarks: In opdracht van de Nederlandse regering. - Tijdsduur: 29'
Duration: 29'00"
Year of composition: 1973
Status: fully digitized (real-time delivery)

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

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