related works

...e'l vento tace... : for mezzo-soprano, large wind ensemble and 6 percussionists, 1998/1999 / text: Francesco Petrarca, Wim Laman

Genre: Vocal music
Subgenre: Voice and large ensemble
Scoring: sopr-m fl(pic fl-a) fl(pic) 2ob eh 2cl cl-b 2fg fg-cb 2sax 2h 2trp 3trb tb 6perc

Rhapsodie pour violon et ensemble : opus 21, 1994 / Arne Werkman

Genre: Orchestra
Subgenre: Violin and large ensemble; Violin and string orchestra
Scoring: cemb 6vl 2vla 2vc cb vl-solo

Echoing purple : for violin and ensemble / Calliope Tsoupaki

Genre: Orchestra
Subgenre: Violin and large ensemble
Scoring: fl ob cl-b fg h trp trb 2perc pf vl vla vc 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

composition

Syntagma : concerto for violin and small orchestra, 1989-1991 / Wim Laman

Author(s):
Bach, Johann Sebastian (On a theme by)
Laman, Wim (Composer)
Description:
Program note (English): (Première: 25-4-1991 - Concertgebouw, Amsterdam - Isabelle van Keulen with the Concertgebouworkest, Riccardo Chailly, conducting). Syntagma has two departure points: on the one hand the principle of antagonism and the combined action of solo-instrument and ensemble, and on the other hand, term 'integration' (Greek for syntagma); both points have already been master for about four centuries to the 'concerto' as compositional form (...), the musical material arose from a few measures from a more or less unknown work by J.S. Bach. One of these elements is enlarged in the slow movement of syntagma to an ostinato motive in the strings, which dominates the composition for a considerable amount of time. Scales (modi) are composed of respectively 6, 8 and 12 tones - each with their own harmonious and melodic characterisations. These modi form together the targeting principles which achieve an interaction between soloist and ensemble by integration. In the composition several musics
are used, which are presented in the very first measures - as a sort of explosion in slow-motion. Gradually these musics are split up in elements, which in different ways are joined or set against each other. Thus a progression which is alternatively multi-layered (heterogeneously, complex), or in a straight line and homogeneous, arose. Of course the solo violin is here the main character - as an exponent of the traditional virtuosity. But at the same time it is possible for the ensemble as a whole, or the individual groups out of that to perform as soloists. - WIM LAMAN