related works
XXI:3 : No time at all, for bass clarinet and piano, '73 / Jos Kunst
Genre:
Chamber music
Subgenre:
Clarinet and keyboard instrument
Scoring:
cl-b pf
Genre:
Orchestra
Subgenre:
Large ensemble (12 or more players)
Scoring:
2fl 2ob 3cl 2fg 2h 2trp 3trb 4perc 2vl vla vc cb
Expedition : for large wind ensemble, 1996 / Willem van Manen
Genre:
Orchestra
Subgenre:
Wind ensemble (13 or more players)
Scoring:
3232 4sax 2321 4perc
Genre:
Orchestra
Subgenre:
Wind ensemble (13 or more players)
Scoring:
2fl(pic) fl-a(fl) 2ob eh(ob) heck(ob) 2cl cl(bh) cl-b cl-cb 2fg cfg 4h 3trp trp-b 2trb trb-b tb
Bach 2000 : voor ensemble en tape, 2000 / Simon Burgers
Genre:
Orchestra
Subgenre:
Wind ensemble (13 or more players); Large ensemble (12 or more players)
Scoring:
2222 2221 2pf tape
composition
Elements of Logic [IV-72] : for wind ensemble / Jos Kunst & Jan Vriend
Other authors:
Kunst, Jos
(Composer)
Vriend, Jan
(Composer)
Description:
Program note (English): In Elements of Logic comes another hobbyhorse into play: the phenomenon of ambiguity. Ambiguity plays a crucial role in every succesful work of art that exploits 'surprise' and double meanings. It requires a certain craftiness, that is, a dexterity of multidimensional thinking and insight, so that the slight-of-hand works in practice as well as in theory. An example: end = beginning is a commonly-used trick in classical music, where the last note/harmony of a phrase is the first note/harmony of the next, new phrase. But high = low, much = little, loud = soft, fast = slow, dynamic = startic, etc., are also effective musical double meanings. And let's nog forget the enharmonic link between keys, a textbook application of ambiguity. Elements of Logic has yet another facet to its history, one that comes from activities and experiments within ASKO itself. Briefly, it is the need, or the challenge, to make the compositional process as objective as possible. In a jointly-composed
work, choices and decisions must be motivated and justified in clear language. Just as the performers of a work, in order to come to an unanimos interpretation, need clear instructions to complement their musical intuition. With today's musical culture dominated by a sickly vagueness with regard to musical inspiration and musical feeling, this was an understandable reaction. The idea that music is a product of brains as well as intuition is difficult for the masses to digest, for they prefer to worship the divine hand of a mysterious rather than faces the banalities that composition as craftmanship demands. - JAN VRIEND