related works

Alceste : Opera / Ton de Leeuw; tekst Ton de Leeuw (naar Euripides)

Genre: Opera, musical theatre
Subgenre: Opera
Scoring: sopr sopr-m ten bar MK fl 2ob 2cl 2fg 2trp 2trb db perc hp pf

Trio : kleine ländliche Suite, fluit, hobo, piano, op. 13 no. 1a, (1938) / Jan Koetsier

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

Skin : for flute, bass clarinet and piano, 1995 / Geert van Keulen

Genre: Chamber music
Subgenre: Woodwind ensemble and keyboard instrument
Scoring: fl(pic) cl-b pf

Thema met variaties : voor fluit, hobo en piano, 1953 / Hendrik Andriessen

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 The piano plays a cyclic theme as a basis, which in fact rules the whole movement, but is repeatedly interrupted and superseded by increasingly fast tumbles by all instruments.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