related works
Vijf jeugdwerken : voor verschillende instrumenten, 1954/61 / Jos Kunst
Genre:
Chamber music
Subgenre:
Piano; Cello; String trio (violin, viola, cello); Voice and instrument(s); String quartet (2 violins, viola, cello)
Scoring:
pf ; vc ; 2vl vc ; ten vl vc ; 2vl vla vc
La Guerra : for mezzo-soprano and baritone, mixed choir and symphony orchestra / Jan Vriend
Genre:
Vocal music
Subgenre:
Mixed choir and orchestra
Scoring:
GK4 2fl(picc) 2ob eh 2cl cl-b 2fg cfg 4h 2tpt 2trb trb-b tb perc hp str
Burla : per pianoforte, ottoni e percussione, 1948 / Fré Focke
Genre:
Orchestra
Subgenre:
Wind ensemble (13 or more players)
Scoring:
0000 3331 4perc pf
Into the earth : brass ensemble / David Porcelijn
Genre:
Orchestra
Subgenre:
Wind ensemble (13 or more players)
Scoring:
0000 4442 2perc
Electric-blue : strumenti a fiati, percussione, 1977, revisione 1980 / Chiel Meijering
Genre:
Orchestra
Subgenre:
Wind ensemble (13 or more players)
Scoring:
0222 sax-a 2221 2perc
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