composer
Loevendie calls himself a “latecomer as a composer”. Until the 1970s, he was known only as a jazz saxophonist. He gained international fame with his quartet (with Hans Dulfer, Arjen ...
related works
Six Turkish folkpoems : for female voice and 7 instruments, (1977) / Theo Loevendie
Genre:
Vocal music
Subgenre:
Voice and instrument(s)
Instruments:
sopr/sopr-m fl(pic) cl perc hp pf vl vc
Genre:
Orchestra
Subgenre:
Clarinet and large ensemble
Instruments:
0200 2000 cemb 12vl 4vla 4vc 2cb cl-b-solo
Symphony 5 : "Time-spirit", for clarinet and orchestra / Jurriaan Andriessen
Genre:
Orchestra
Subgenre:
Clarinet and large ensemble
Instruments:
2222 4031 2perc hp pf 2vl 2vla 2vc 2cb pop group: drumset g-b ham.org cl-solo
Samen sterk : voor basklarinet en ensemble / Roderik de Man, 2003
Genre:
Orchestra
Subgenre:
Clarinet and large ensemble
Instruments:
2fl(pic) cl 2sax 2h trp 2trb tb perc g g-b pf cl-b-solo
composition
Scaramuccia : for clarinet and orchestra, 1969 / Theo Loevendie
Description:
Program note (English): Scaramuccia, composed in 1968-69, was my first composition, and first commission, for a large group of players in which there were no jazz musicians. It seems evident to me that years of activity with jazz music have left their trace on my work in other fields. Perhaps the tutti for wind form (page 17 of the score of Scaramuccia) is an example of this.
Although it is my view that a composer's annotations for his own work scarcely enlighten the listener, even if they are not a verbal smoke-screen, I should like to consider more deeply one detail which strikes me as being the most personal in this work. It is what I should like to call the poly-motoric cluster in the strings from page 33 of the score. This arises by placing the interval combination of 4 notes, on which the whole piece is constructed, in 6 layers in such a way that a chromatic field of 24 notes is formed. Each layer has its own tempo and rhythmic patterns related to Morse code signals. It is the dynamic element (crescendo-decrescendo) which independently determines here which layer is heard audibly. It becomes consequently a lighthouse-in-the-dark effect which lasts nearly two minutes. Everything is present, but only a constantly changing section is perceptible. - THEO LOEVENDIE