related works
Genre:
Chamber music
Subgenre:
Piano
Scoring:
pf
Concerto da Camera : for clarinet in B flat, violoncello and small orchestra / Julius Hijman
Genre:
Orchestra
Subgenre:
Clarinet and large ensemble
Scoring:
cl-solo 2fl 2ob 2hn 2bsn 1trp timp vc vl vla vc cb
Samen sterk : voor basklarinet en ensemble / Roderik de Man
Genre:
Orchestra
Subgenre:
Clarinet and large ensemble
Scoring:
2fl(pic) cl 2sax 2h trp 2trb tb perc g g-b pf cl-b-solo
Dark Song : for basset horn and chamber orchestra / Walter Hekster
Genre:
Orchestra
Subgenre:
Clarinet and large ensemble
Scoring:
bassethorn 2trb perc timp pf str
composition
Signals and echoes : for 11 players and bass clarinet solo, 1982 / Joep Straesser
Other authors:
Straesser, Joep
(Composer)
Description:
Program note (English): (Première: October 3, 1982 - Harry Sparnaay and Ensemble M, David Porcelijn, conducting). - Signals and Echoes have been built from some ten different musical materials, of which most have a signal-like character. In addition to these signal motives the piece contains two 'melodies' and ostinato working in several conformations. The piece is divided in ten sections of which the first up to and including the fourth section forms the first movement; the fifth up to and including the eighth the second movement and the ninth and tenth the third movement. In the first two sections the material is completely exposed; in the rest of the piece variations constantly take place. The bass clarinet which acts as a 'sort' of soloist (the piece has not been meant to be a concerto!) has received a special role; acting as an 'informant', a 'trendsetter', who works on and delivers the subject to the ensemble. Sometimes however the ensemble is quicker and the soloist runs behind the facts; in
short is there talk of a certain form of dialectic between soloist and ensemble. A very special manner of treatment of the musical material applies to the whole work, except for two 'melodies'. This special treatment is indicated in the title of the piece with used of the word 'echoes'. Each given that it is brought up leads immediately to an echo impact in other instruments and sometimes even, as in section 9, where in the ' Coda con candenza ', the same instruments play their own echoes. Again it is here where the bass clarinet introduces this 'new discovery', strings with piano and percussion follow with this gesture. The manner of composing is quite different to the way I composed in earlier in my career. Advanced planning lacks entirely; the composing process appears to develop from a certain idea, a chosen departure point without a clear-cut idea in advance. The 'language' of the piece is formed in the process, and of course classifies and leads to new consequences. For me an
adventurous and captivating way of working. Here'shoping that Signals and Echoes will also be captivating to the listener! JOEP STRAESSER