composer

Burgers, Simon

Simon Burgers werd op 12 maart 1958 te Den Haag geboren. Opleiding Hij studeerde piano van 1975 tot 1977 bij Chris Veelo, daarna tot mei 1979 bij Leendert Huges aan het Sweelinck ...

related works

Torenval : voor gemengd koor, fanfareorkest, drumband en orgel, 1990 / tekst: Marianne Buitenhuis, Simon Burgers

Genre: Opera, musical theatre
Subgenre: Musical
Scoring: GK4 0000 4sax 3332 3bug euph barh 2perc drumband org tb-solo

Concerto : for baritone saxophone and wind orchestra, 2007, Bernard van Beurden

Genre: Orchestra
Subgenre: Saxophone and Wind Band
Scoring: pic 2fl 2ob 3cl cl-b 2fg 2sax-s 2sax-a sax-t sax-br 4h 4trp 4trb 2tb-t tb-b timp perc cb sax-br-solo

Quadrupelconcert : versie voor 4 saxofoons en harmonieorkest, 1984 / Henk Badings

Genre: Orchestra
Subgenre: Saxophone and Wind Band
Scoring: 2141 4sax 4232 2crt 2barh 2euph timp 4perc cb 4sax-solo

Four Movements : for saxophone quartet and wind orchestra / Bernard van Beurden

Genre: Orchestra
Subgenre: Saxophone and Wind Band
Scoring: 4sax-solo picc 2fl 2ob 3cl cl-b 2fg 2sax-a 2sax-t sax-bar 3trp 4h 4trb tb-ten tb-bass db timp

 

composition

Concert voor altsaxofoon en harmonieorkest : 1986 / Simon Burgers

Publisher: Amsterdam: Donemus, cop. 1989
Publisher's number: 04645
Genre: Orchestra
Subgenre: Saxophone and Wind Band
Scoring: 3.2.20.2 3sax 4332 euph timp 4perc sax-a-solo
Remarks: In opdracht van het Fonds voor de Scheppende Toonkunst. - Opgedragen aan Arno Bornkamp en het Amsterdams Blazers Collectief. - Tijdsduur: 13'30''
Duration: 14'00"
Year of composition: 1986
Status: fully digitized (real-time delivery)

Contains:
Allegro
Cadenza (Adagio)
Moderato
Description:
Program note (English): This is my first composition for big band orchestra. In 1987 the reduction for two pianos was premiered at De IJsbreker in Amsterdam. Especially for this piece I invented a new kind of tone scale: the so-called giant-tone-scale. Its range of not one but seven octaves makes this scale unique. A melody cannot be transposed literally, because in the new area also other tones exists. Only literal transpositions over (a manyfold of) seven octaves are possible. This has of course consequences for the forming of melodies but also, for example, for the harmonic idiom of the piece. Thus not all chords can be layered arbitrarily. Also the instrumentation is influenced by the giant-tone-scale: it is not possible to double a flute by a piccolo which plays an octave higher. The notes which are not in the giant-tone-scale are 'forbidden notes'. They don't appear in the piece at all, except for the cadence (the middle part) of the solo saxophone. This cadence only consists of forbidden notes!
- SIMON BURGERS

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