composer
Otto Ketting was born in Amsterdam on September 3, 1935.
He studied trumpet at the Conservatory of The Hague, and composition with Karl Amadeus Hartmann in Munich.
He was active as a ...
related works
24 capriccio's voor viool solo
Genre:
Chamber music
Subgenre:
Violin
Scoring:
vl
Sinfonia no. 8 : opus 144 / Herman Mulder
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
3333 4331 timp perc 2hp pf str
Lustobject : voor kamerorkest, 1979, (revisie 1980) / Paul Termos
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
2fl(pic) fl 3cl ob(eh) 2fg sax-s h 2trp 2trb pf str(14.6.4.1.)
Polarhavet : = (The Polar Sea) : from: A cycle of the North : for orchestra / Klas Torstensson, 2008
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
pic 2fl 2ob eh 2cl cl-b 2fg cfg 4h 3trp 3trb tb timp 3perc synt str(16.16.12.10.8.)
composition
Symphony no. 3 : for orchestra, 1990 / Otto Ketting
Contains:
...
Adagio
...
Description:
Program note (English): Musical reason and primary inspiration are the last measures written by Maurice Ravel: the final chord of his orchestra work ' Ronsard à son âme'. The original form - voice and piano - dates back to 1924, but in 1935, the composer made an orchestral version. Ravel was by that time already so ill that he dictated the instrumentation to Manuel Rosenthal. The final chord with its stacking of fifths and for Ravel, the unusual usage of the vibraphone are the departure points for this symphony where Ravel-givens are used strictly as musical structure, not as an impressionistically ambiance. Slowly a developing melody halts - now for approximately one second a Ravel-quotation in original form is heard-thereafter accompanied by a harmonious attire (oboes and horns) continue the plea. These three aspects of one given stipulate the course of the entire work. I am rather tradition-conscious, i.e. I am only capable of creating something new from the tradition or against the tradition,
hence that my symphony is especially related to the symphonic form. Important thereby was finding a 'new' tonality, a large line along which everything takes place; a perceptible logic. In this way the first part is in A major - without pronouncing this tonal center entirely. The second part D-flat major and the finale in A and D-flat simultaneously, of the at the same time, culminate in the final chord uniting both tonalities. The symphonic form in a polemical sense, there where in the adagio an echo of Mahler resounds. The same manner of handling the past is in the song cycle 'The Light of the Sun'. - OTTO KETTING