composer

Leeuw, Ton de

Ton de Leeuw was born on November 16, 1926 in Rotterdam. He died on May 31, 1996 in Paris (France). In 1949, after some years of composition lessons with Henk Badings, ...

related works

Linkerhand en rechterhand : for piano, 1976 / Ton de Leeuw

Genre: Chamber music
Subgenre: Piano 1 hand
Scoring: pflh pfrh

Repelsteeltje van de Lavenlots : opera voor kinderen, voor 3 acteurs, 3 stemmen en klein ensemble, 1994 / tekst: Imme Dros, Bernard van Beurden

Genre: Opera, musical theatre
Subgenre: Opera
Scoring: sopr sopr-m bar 3actors sax(perc) trp-p(trp bug perc) keyboard(perc) acc(perc) hp(perc)

Los heraldos : a chamber opera, for actor, five singers and instrumental quintet, 1993 / libretto by Armando Bergallo and Hector Vilche, Ilse van de Kasteelen

Genre: Opera, musical theatre
Subgenre: Opera
Scoring: recit 2sopr alt ten bas-bar cl sax trp perc vc

Thijl : dramatische legende in een proloog, drie bedrijven en een epiloog, naar "De heldhaftige, vroolijke en roemrijke daden van Uilenspiegel en Lamme Goedzak in Vlaanderenland en elders" van Charles de Coster / muziek van Jan van Gilse, libretto van Hendrik Lindt

Genre: Opera, musical theatre
Subgenre: Opera
Scoring: soloists 2recit GK4 3343 4431 timp 3perc hp pf str dancers

composition

Antigone : muziekdrama, naar een vrije bewerking van Sophocles door de componist = drame musical, d'après une interpretation libre de l'oeuvre de Sophocle par le compositeur, 1991 / Ton de Leeuw

Other authors:
Leeuw, Ton de (librettist)
Sophocles (librettist)
Description:
Program note (English): Rather than an expressionistic approach, there is lucid, reserved intensity, sober vocal line with a nearly liturgical character, and - despite the apparent simplicity - strict modal cyclicity (as has been outlined for example in the doctoral thesis written by Dr R. de Groot: "Compositie en intentie van Ton de Leeuws muziek" [Composition and intention in the music of Ton de Leeuw], University of Amsterdam).
Rather than being set as a confrontation between individuals, three of the four roles are interpreted by choirs. The only soloist is Antigone but neither does her role dominate.
A stylised approach rather than realism. To give an example, in the dialogue between Antigone and Ismene, the characters sing their thoughts simultaneously rather than in alternation with each other. - TON DE LEEUW