related works
Genre:
Opera, musical theatre
Subgenre:
Music theatre
Scoring:
soloists 3GK4 rec 0340 3sax 0331 2g el.cemb cembalet clavinet pianet 5el.org 2pf 4vla 5vc cb electronics
Genre:
Vocal music
Subgenre:
Mixed choir and orchestra
Scoring:
ten 2recit GK4 3222 4331 3perc hp str pf-solo
Genre:
Vocal music
Subgenre:
Mixed choir and instruments; Mixed choir and orchestra
Scoring:
GK6 2vl 2vla 2vc / GK6 str(vl vla vc)
De vloed in klank : voor gemengd koor en orkest / Wim Franken
Genre:
Vocal music
Subgenre:
Mixed choir and orchestra
Scoring:
6recit sopr alt ten bas 2GK4 MK4 6rec 2222 4330 perc hp 3org str; wind-band: 1131 3sax 1202 3crt barh euph perc cb
composition
Quaterni III/IV : canto per soprano, coro misto ed orchestra / Jan van Vlijmen
Author(s):
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