composer
Wim Laman is a largely self-taught composer. While he was at university, his first compositions were performed by student orchestras. His work later came to the attention of the professional ...
related works
Fleurs du mal : 1980/81 / [texte] (Ch. Baudelaire), Wim Laman
Genre:
Vocal music
Subgenre:
Voice and orchestra
Instruments:
sopr-m/alt fl(fl-a) fl(pic) ob ob(eh) 2cl cl-b fg fg(cfg) 2sax 4h 2trp 2trb tb 3perc str(0.10.8.0.) tape vl-solo
Violin Concerto : for violin and large ensemble / Klas Torstensson
Genre:
Orchestra
Subgenre:
Violin and large ensemble
Instruments:
fl (pic) ob (CA) cl (bcl) trp trb mand gtr hp synth perc vl solo vl vla vc cb
Concerto for electric violin : for solo violin and ensemble, 1992 / James Fulkerson
Genre:
Orchestra
Subgenre:
Violin and large ensemble
Instruments:
2010 2sax 2121 perc el.g g-b pf vl-solo
Cuddly animals : opus 13, for violin and ensemble / Marijn Simons, 1998
Genre:
Orchestra
Subgenre:
Violin and large ensemble
Instruments:
2fl(pic) 2ob 2cl cl-b fg fg(cfg) 2h 2perc cb vl-solo
composition
Syntagma : concerto for violin and small orchestra, 1989-1991 / Wim Laman
Other authors:
Bach, Johann Sebastian
(on a theme by)
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