composer
Geert van Keulen werd op 11 oktober 1943 in Amsterdam geboren.
Opleiding
Hij studeerde klarinet en basklarinet aan het Amsterdamse Muzieklyceum, compositie bij Robert Heppener, instrumentatie bij Hans Henkemans en orkestdirectie bij ...
related works
Fantasiestücke (Robert Schumann) : für Klarinette und Streichquartett / Geert van Keulen
Genre:
Chamber music
Subgenre:
Mixed ensemble (2-12 players)
Scoring:
kl 2vl vla vc
Samen sterk : voor basklarinet en ensemble / Roderik de Man, 2003
Genre:
Orchestra
Subgenre:
Clarinet and large ensemble
Scoring:
2fl(pic) cl 2sax 2h trp 2trb tb perc g g-b pf cl-b-solo
Transport to summer : [for] clarinet, 12 strings, percussion [and] piano, 1977 / Walter Hekster
Genre:
Orchestra
Subgenre:
Clarinet and large ensemble
Scoring:
perc pf 6vl 3vla 2vc cb cl-solo
Signals and echoes : for 11 players and bass clarinet solo, 1982 / Joep Straesser
Genre:
Orchestra
Subgenre:
Clarinet and large ensemble
Scoring:
fl ob cl h trp perc pf vl vla vc cb cl-b-solo
composition
Cors et cordes : pour cor de basset et orchestre de chambre, 1978 / Geert van Keulen
Description:
Program note (English): The basset-horn is a sporadic feature in music history, notwithstanding its characteristic sound, its technical possibilities being not inferior to those of the clarinet, and its range being larger than that of most other wind instruments. Mozart is the only great composer who used it frequently. The basset-horn's melancholic sound is coupled here with two English horns and two French horns, making a horn quintet, the "cors" in the title. The function of these winds, of which the basset-horn is primus inter pares, may be compared to some extent to the concertino of a concerto grosso. The strings and harpsichord mainly have an autonomous, chamber music-like character. Since there are also some string players acting as soloists there are five instrumental groups: 1. basset-horn; 2. the four other winds; 3. harpsichord; 4. solo strings; 5. the remaining strings. Twelve different combinations of these groups underlie the form of the piece. Most transitions of one section to the
next are so gradual that they are barely perceptible, resulting in a seemingly free form with a rhapsodic touch. Though the basset-horn really is a virtuoso instrument, its expressive qualities and special sound have been emphasized in this work. - GEERT VAN KEULEN