related works
Genre:
Vocal music
Subgenre:
Mixed choir and instruments
Scoring:
3sopr 3sopr-m 3alt 3ten 3bar 3bas h 2trp 2trb tb
A Patchen Cycle : Version for baritone and orchestra / Douglas Knehans; lyrics by Kenneth Patchen
Genre:
Vocal music
Subgenre:
Voice and orchestra
Scoring:
bar-solo picc 2fl 2ob eh 2cl cl-b 2fg cfg 4h 3tpt 2trb-t trb-b tb 2perc hp str
Adore te : voor alt en orkest / Rudolf Mengelberg
Genre:
Vocal music
Subgenre:
Voice and orchestra
Scoring:
alt 2333 3200 str
De spul : voor alt, 5 blazers, cimbalom en strijkorkest, 1990 / Maurice Horsthuis
Genre:
Vocal music
Subgenre:
Voice and orchestra
Scoring:
alt 0000 sax-a sax-t 1110 cymb str(2vl vla cb)
composition
Haiku II : for soprano and orchestra, (1968) / Ton de Leeuw
Other authors:
Hashin
(Text writer/Librettist)
Henderson, H.G.
(Text writer/Librettist)
Kobayashi, Issa
(Text writer/Librettist)
Matsuo, Basho
(Text writer/Librettist)
Ryusui
(Text writer/Librettist)
Soin
(Text writer/Librettist)
Leeuw, Ton de
(Composer)
Contains:
Riding
Cool
No sky
Limpid
Old pond
Naked horse
Description:
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