related works
Trimurti : trittico per quartetto d'archi, (1980) / Jan van Vlijmen
Genre:
Chamber music
Subgenre:
String quartet (2 violins, viola, cello)
Scoring:
2vl vla vc
Exodus : Oratorio based on Biblical legends for two narrators, choir and orchestra / Olga Victorova
Genre:
Vocal music
Subgenre:
Mixed choir and orchestra
Scoring:
2spreekstem GK4 picc 2fl(fl-a) 2ob eh 2cl cl-b sax-a 2fg cfg 4h 2tpt 3trb tb 4perc hp str
Genre:
Vocal music
Subgenre:
Mixed choir and orchestra
Scoring:
sopr alt 2GK4 2222 4331 timp 3perc str
Song of Enitharmon : gemengd koor en orkest / Joop Voorn; gedicht: William Blake
Genre:
Vocal music
Subgenre:
Mixed choir and orchestra
Scoring:
GK4 3333 4331 timp perc str
composition
Quaterni III/IV : canto per soprano, coro misto ed orchestra / Jan van Vlijmen
Other authors:
Pound, Ezra
(Text writer/Librettist)
Vlijmen, Jan van
(Composer)
Description:
Program note (English): The original idea, as the title suggests, was that my full-length work would be in four large movements. When conceiving the third and fourth movements I decided, after many rambles through the mysterious labyrinth of musical form, to include the original third movement (the shortest of the four) in the fourth movement, of which I tried to make it an integral part. I believe it fits better there than as a separate movement between the second and the fourth; this also made for an attractive form, thus the final conception of the last movement benefited from the modification. I would like to make the following comments on the form of 'Quaterni III/IV', which now, as a result of the change in conception, lasts about 50 minutes. As the subtitle indicates, it is scored for soprano, chorus and orchestra. The inclusion of vocal elements has had a considerable influence on the form of the work. I used the chorus in particular to delineate the various formal elements. There are seven
sections: four principal sections (discussed below) and three 'episodes' (in the literal sense). The three episodes mark the structure and serve both to separate and to link the principal sections. The scheme is: A - 1 - B - 2 - C - 3 - D. In accordance with the role of the chorus in Greek drama (where it formally separates the various dialogues) the chorus is used only in the three episodes, which are relatively short. The essence of this orchestral work is formed by the four principal sections, each of which consists of smaller subsections based on constantly changing mathematical ratios. - JAN VAN VLIJMEN