related works

Cinq hymnes : for mixed choir, 2 pianos and percussion, 1987/88 / Ton de Leeuw

Genre: Vocal music
Subgenre: Mixed choir and instruments; Mixed choir
Scoring: GK4 2pf ; GK4 ; GK4 2pf 2perc ; GK6 ; GK4 2pf 2perc

Divertimento nr. 2 : voor fluit, hobo, cello (fagot) en klavecimbel, 1990 / Carlos Micháns

Genre: Chamber music
Subgenre: Mixed ensemble (2-12 players); Woodwind ensemble and keyboard instrument
Scoring: fl ob vc/fg cemb

Sérénade : for flute, horn and piano / Hendrik Andriessen

Genre: Chamber music
Subgenre: Wind and string and keyboard instrument(s); Woodwind ensemble and keyboard instrument
Scoring: fl h/eh/vla pf

Drie stukken : voor jeugdensemble / Theo Loevendie

Genre: Chamber music
Subgenre: Woodwind ensemble and keyboard instrument
Scoring: 2fl ob 2cl pf

composition

Trio : for flute (also alto flute and piccolo), bass clarinet (ad lib. also alto clarinet) and piano, 1990 / Ton de Leeuw

Other authors:
Leeuw, Ton de (Composer)
Contains:
Con moto
Allant
Description:
Program note (English): The first movement of the "Trio" opens with a duet for the two winds, which - each in their own way - play the same melodic line. Somewhat later they are joined by the piano, and in this episode the same melodic line can be heard twice.
Then, after a short piano solo, the two winds produce a new theme. Though they still form a close unity, they now somewhat shift with regard to each other. It is a play of shifting motifs in different degrees of motion, ending in a quiet way.
In the second and final movement, we hear the same tendency, viz. to appear as one single and many-coloured unity. But the rhythmic contrasts are growing. The piano plays a cyclic theme as a basis, which in fact rules the whole movement, but is repeatedly interrupted and superseded by increasingly fast tumbles by all instruments. Finally it returns to the quiet cycle of the beginning.
In this movement, the cyclic element can be directly heard, but in fact the whole "Trio" is ruled by a cyclic motion. It functions, as it were, as a musical respiration to which all temporal processes in the music are subject. This is one of the aspects of the so called 'widened modality', which has dominates nearly all the composer's works since 1980. - TON DE LEEUW