related works
Syntaxis II : voor symphonieorkest / Ton de Leeuw
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
3fl fl(pic) 4ob 4cl 4rfg 4h 4trp 4trb tb 3perc hp pf(cel) str
Genre:
Vocal music
Subgenre:
Mixed choir and instruments
Scoring:
sopr KK GK fg vn 2vla vc db pf/cemb(ad lib)
Psalmus CL : for mixed choir, brass quintet and timpani / Christian Blaha
Genre:
Vocal music
Subgenre:
Mixed choir and instruments
Scoring:
GK4 2tpt h trb tb timp
Cinq hymnes : for mixed choir, 2 pianos and percussion, 1987/88 / Ton de Leeuw
Genre:
Vocal music
Subgenre:
Mixed choir and instruments; Mixed choir
Scoring:
GK4 2pf ; GK4 ; GK4 2pf 2perc ; GK6 ; GK4 2pf 2perc
composition
Lamento pacis I : for choir and instruments / on texts of Erasmus, Ton de Leeuw
Other authors:
Erasmus, Desiderius
(Text writer/Librettist)
Leeuw, Ton de
(Composer)
Description:
Program note (English): (Première: June 14, 1969 - NCRV Vocal Ensemble and Percussion Group Amsterdam, Marinus Voorberg, conducting - Holland Festival) -
Erasmus completed Querela Pacis in 1517. This complaint of peace provides us with a striking view of the restless political situation in those years. It contains a large number of protests against nearly all the leading persons and institutions from political, social and religious life, and culminates in a call for true peace, which in its failure is just as pathetic as corresponding pleas from our time. Nothing than the works in Erasmus' oeuvre can better function as a bridge to our own time. This text was the foundation of a composition for a 16 voiced choir and eight instrumentalists. Only some selected fragments were used from the original text. I was more concerned about the moral aspects of the contents and the direct understanding of it. . This comprehension is nearly excluded because the choir sings the original Latin version, and by the complex manner of textual treatment. The composition has three movements, which greatly differ in character from each other (they can be also
be performed separately). The first movement characterises itself by large, monolithic block-systems, which are opposite to each other. For that purpose the performers are separated into two spatial groups. These passages are interrupted by smaller, more transparent fragments, which have an entirely different character, among others due to the multiple use of microtones. Microtones are in our time what chromaticism was in the time of Gesualdo da Venosa. For this reason this movement is a homage to this Italian master. - TON DE LEEUW