composer

Kunst, Jos

Jos Kunst was first and foremost a thinker; all of his work, whether music, poetry, essays, or research, revolved around the connection between the maker, the object and the observer.

related works

XXII: any two : woodwinds, 1975 / Jos Kunst

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Subgenre: Variable instrumentation; Variable instrumentation
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Calefactotum : for reed quintet / Jan Vriend

Genre: Chamber music
Subgenre: Wind Quintet
Instruments: ob cl cl-b sax-a fg

Enclosures : for winds and percussion, 1970 / Joep Straesser

Genre: Orchestra
Subgenre: Wind ensemble (9 or more players)
Instruments: 3333 2221 perc

Muziek III : opus 19-B, for wind instruments, percussion & piano, (1985), (revision 1987) / Peter-Jan Wagemans

Genre: Orchestra
Subgenre: Wind ensemble (9 or more players)
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Serenata I : (1964-herzien 1967), per 12 strumenti e percussione / Jan van Vlijmen

Genre: Orchestra
Subgenre: Wind ensemble (9 or more players)
Instruments: 2222 2200 perc xyl mar

 

composition

Elements of logic : IV - 72 / Jos Kunst & Jan Vriend

Publisher: Amsterdam: Donemus, cop. 1972
Publisher's number: 07627
Genre: Orchestra
Subgenre: Wind ensemble (9 or more players)
Instruments: 5076 9sax 6002
Remarks: Voor 3 fluiten (1e tevens piccolo), 2 altfluiten (2e tevens basfluit), es-klarinet, 2 klarinetten, 3 basklarinetten, contrabasklarinet, 4 fagotten, 2 contrafagotten, 6 hoorns, 2 tuba's, sopranino saxofoon, sopraansaxofoon, altsaxofoon, 3 tenorsaxofoons, 2 baritonsaxofoons en bassaxofoon. - Met voorw. - In opdracht van het ministerie van C.R.M.
Duration: 11'00"
Number of players: 35
Status: fully digitized (real-time delivery)

Other authors:
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

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