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composition

Chromatische fantasie / bewerking voor strijkorkest: B. v.d. Sigtenhorst Meyer, Jan P. Sweelinck

Publisher: Amsterdam: Donemus, cop. 1951
Publisher's number: 04638
Genre: Chamber music
Subgenre: String orchestra; String Quartet (2 violins, viola, cello)
Scoring: str / 2vl vla vc
Remarks: Oorspr. titel: Fantasia chromatica. - Oorspr. voor toetsinstrument. - Kan ook -met weglating van de contrabaspartij- door strijkkwartet worden uitgevoerd. - Jaar van bew.: 1951. - Tijdsduur: ca. 9'
Duration: 9'00"
Number of players: 4
Year of composition: 1951
Status: fully digitized (real-time delivery)

Other authors:
Sweelinck, Jan Pieterszoon (composer)
Sigtenhorst Meyer, Bernhard van den (orchestrator)
Description:
Program note (English): Sweelinck's Chromatic Fantasy is No. 1 of his instrumental works, published by the Association of Dutch Music History, 2nd print dating from 1943. When arranging the version for string quartet the original notation remained untouched, what went easily because of the pure four voiced nature of this work.
Nevertheless for the sake of consonance a voice here and there has been placed an octave higher or lower. This applies in particular to the first violin and to the violoncello. Additionally there are some doublings introduced (2nd violin in 2nd measure after 8 and further) and some arpeggio chords (5th measure after 12 and further).
Finally (again for the sake of consonance) and moreover for the performance possibilities for string quartet, the entire piece has been transposed to a fourth interval higher, to Doric g. The chromatic theme (measure 1-5) is also augmented at 8, diminished at 11 and diminished twice at 14. Under the large number of counterpoints that contrast with the theme are four countersubjects to observe: 1st and 2nd on page 1, 3rd at 5 and 4th at 7. The theme up to 5 with the first countersubjects as triple fugue is handled; from 5-7 as double fugue with the 3rd countersubject, whereas the 4th as countersubject serves against the augmented theme at 8. As of measure 9 changing counterpoints are placed against the theme.
The form is ternary: I theme in half notes from the beginning to 7, II theme in whole notes from 7 up to 11, III theme in quarter notes and eight notes from 11 to end. Movement I consists of a triple fugue followed by a double fugue. Movement II has been written in cantus-firmus technique with the augmented theme as counter fugue. Movement III is resembles a toccata. - BERNARD VAN DEN SIGTENHORST MEYER

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