Leeuw, Ton de

Ton de Leeuw was born on November 16, 1926 in Rotterdam. He died on May 31, 1996 in Paris (France). In 1949, after some years of composition lessons with Henk Badings, ...

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Haiku II : for soprano and orchestra, (1968) / Ton de Leeuw

Publisher: Amsterdam: Donemus, [1982]
Publisher's number: 06060
Genre: Vocal music
Subgenre: Voice and orchestra
Instruments: sopr 3fl fl(pic) 3ob ob(ob-am) 4cl 4fg 4h 4trp 4trb tb 3perc vibr(mar) str(
Remarks: Met voorw. - Met haiku's van M. Basho, Ryusui, Soin, Hashin en Issa, vert. in het Engels door H.G. Henderson. - In opdracht van de Rotterdamse Kunststichting. - T.g.v. het 50-jarig jubileum van het Rotterdams Philharmonisch Orkest. - Cop. 1968. - Tijdsduur: ca. 12'
Duration: 12'00"
Year of composition: 1968
Status: fully digitized (real-time delivery)

Other authors:
Hashin (librettist)
Henderson, H.G. (librettist)
Kobayashi, Issa (librettist)
Matsuo, Basho (librettist)
Ryusui (librettist)
Soin (librettist)
No sky
Old pond
Naked horse
Program note (English): Haiku II points back to former compositions. In the first place to the cycle Haiku I and to the opera De droom [The dream]. In both compositions use was made of haikus, short Japanese poems, in which the use of associations of ideas is characteristic. They not only suggest a certain mood, they also call up clearly profiled images, which may lead to manifold interpretations. This multi-interpretability is even essential. In De droom, already the haikus were strongly split, down to the seperate phonemes, and were divided over 32-part choir. In this composition this splitting up finds expression in a different way: the words and sounds of the various poems are mingled together. Thus they form new word- and sentence structures which, semantically, are unintelligible: the music is not aimed at giving an understandable rendition of the text. The text is rather the sound material, comparable to the sounds of the instruments come to the surface. Sometimes, indeed, in this stream of
sounds intelligible word combinations suddenly float upwards; all the six haikus used, emerge at least once in their original form. They are thus given a new dimension, as it were. Wholly in the spirit of the haikus, the listener may freely interpret the scraps he catches, and the same words may, in different positions, have a totally different effect. The musical effect, however, remains of prime importance. - TON DE LEEUW

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