related works
Syntaxis II : voor symphonieorkest / Ton de Leeuw
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
3fl fl(pic) 4ob 4cl 4rfg 4h 4trp 4trb tb 3perc hp pf(cel) str
Genre:
Chamber music
Subgenre:
Flute and keyboard instrument; Flute; Woodwind ensemble and keyboard instrument
Scoring:
fl pf / 2fl / 2fl pf
Gramvousa : for flute, bass clarinet, piano and tape, 1995 / Roderik de Man
Genre:
Chamber music
Subgenre:
Woodwind ensemble and keyboard instrument; Electronics with different instruments; Mixed ensemble (2-12 players) with multimedia
Scoring:
fl cl-b pf tape
Trio : voor piano, fluit en hobo, op. 18, aug. 1940 / Ary Verhaar
Genre:
Chamber music
Subgenre:
Woodwind ensemble and keyboard instrument
Scoring:
fl ob 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 The piano plays a cyclic theme as a basis, which in fact rules the whole movement, but is repeatedly interrupted and superseded by increasingly fast tumbles by all instruments.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