related works
Arc III : La Flèche : for string quartet / Daan Manneke
Genre:
Chamber music
Subgenre:
String quartet (2 violins, viola, cello)
Scoring:
2vl vla vc
Liederen op teksten van P.C. Boutens : voor tenor en orkest, (1940) / Henk Badings
Genre:
Vocal music
Subgenre:
Voice and orchestra
Scoring:
ten 2232 3230 timp 2perc cel hp str
Kleine ouverture : voor sopraan en orkest, op. 14 / Marius Flothuis
Genre:
Vocal music
Subgenre:
Voice and orchestra
Scoring:
sopr 2233 3331 timp perc cel vibr hp str
Genre:
Vocal music
Subgenre:
Voice and orchestra
Scoring:
sopr 2fl fl(fl-a) ob 2ob(eh) 2cl cl(cl-b) 2fg 4h 3trp 3trb 2tb 2timp perc vibr 2hp str
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