related works
Serenata I : per 12 strumenti e percussione / Jan van Vlijmen
Genre:
Orchestra
Subgenre:
Wind ensemble (13 or more players)
Scoring:
2222 2200 perc xyl mar
Possible Places : for violin solo and ensemble / Dmitri Kourliandski
Genre:
Orchestra
Subgenre:
Violin and large ensemble
Scoring:
vl-solo fl-a fl-b eh cl-b cl-cb cfg 2tpt trb tb perc gt hp pf 2vn 2vla 2vc db
Roads to Everywhere : A concerto for violin and ensemble / Joey Roukens
Genre:
Orchestra
Subgenre:
Violin and large ensemble
Scoring:
vln-solo fl(picc) ob(eh) cl fg h trp trb 2perc pf cel/synth 2vln vla vc db
Just because you're not paranoid ... / M. Ciciliani
Genre:
Orchestra
Subgenre:
Violin and large ensemble
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