related works
Serie per sei strumenti : 1960 / Jan v. Vlijmen
Genre:
Chamber music
Subgenre:
Wind ensemble and keyboard instrument (3-8 players)
Scoring:
fl ob cl fg trp pf
Cuddly animals : for violin and ensemble (violin concerto no. 1) / Marijn Simons
Genre:
Orchestra
Subgenre:
Violin and large ensemble
Scoring:
2fl(pic) 2ob 2cl cl-b fg fg(cfg) 2h 2perc cb vl-solo
1st Violin Concerto : for violin with delay and ensemble, 1991/1992 / Hanna Kulenty
Genre:
Orchestra
Subgenre:
Violin and large ensemble
Scoring:
1010 2sax 2121 perc pf el.g g-b vl-solo
Violin concerto no. 1 : for violin and 15 instruments, 1990, revision 1998 / Micha Hamel
Genre:
Orchestra
Subgenre:
Violin and large ensemble
Scoring:
4rec-a 0300 0000 port 5vl 2vla vl-solo
composition
Omaggio a Gesualdo : per violino e sei gruppi strumentali, 1971 / Jan van Vlijmen
Other authors:
Vlijmen, Jan van
(Composer)
Description:
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