Vlijmen, Jan van

Jan van Vlijmen writes chamber music, operas, songs and orchestral works. His compositions are strongly influenced by the serial music of Arnold Schoenberg. He is also attracted to the sumptuous ...

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Omaggio a Gesualdo : per violino e sei gruppi strumentali, 1971 / Jan van Vlijmen

Publisher: Amsterdam: Donemus, cop. 1971
Publisher's number: 06420
Genre: Orchestra
Subgenre: Violin and large ensemble
Instruments: 4344 4230 hp g 2vla 4vc cb vl-solo
Remarks: Instr.bez.: 4 fluiten (3e tevens piccolo, 4e tevens altfluit), 4 klarinetten (4e tevens basklarinet), 3 hobo's, 4 fagotten (4e tevens contrafagot), 4 hoorns, 2 trompetten, 2 trombones, bastrombone, 2 altviolen, 2 cello's, harp, gitaar en contrabas. - Opgedragen aan Theo Olof. - Tijdsduur: ca. 17'
Duration: 17'00"
Number of players: 32
Year of composition: 1971
Status: fully digitized (real-time delivery)

Program note (English): Apart from my preoccupations with Gesualdo's music, the title of this work is rather without foundation, since the material for my 'Omaggio' happens to have been borrowed from a non the less extremely ingenious chromatic structure in the madrigal 'Belta, poi che t'assenti' (6th book of madrigals). I imagine that something of this unorthodox, authentic and characteristic music can also be heard in my music - though of course in a transformed way - without pretending that I have performed an original act. This piece does in fact signify a new step for me. With serial and post-serial techniques behind me, it represents a step towards a new sort of "pantonal" music.
This does not imply music which quotes that of others - Gesualdo is scarcely quoted, merely obliquely in just the same way as Hitchcock appears in his own films - but it does represent tonality as a medium, alienated from its hierarchical implications or, in other words (in fact it can't be put words), tonality brought back to its most primitive form, i.e. a permanent, infinitely continuing, indeed complex tonic. The timbre in this work is, in contrast to my previous pieces, no longer a determining factor in form and content, in other words the instrumental potential serves merely the accentuation of the musical content (whatever this may be). In any case the very familiar instrumental effects, such as 'sul ponticelli' , double harmonics, glissandi etc. are not used.
It is in many respects a strict, ascetic and sober piece, avoiding an overstrained instrumental treatment. There are three movements with short linking passages between them. - JAN VAN VLIJMEN

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