related works

Sextet : for string sextet, 2000, revision 2003 / Jan van Vlijmen

Genre: Chamber music
Subgenre: Other combinations of string instruments
Scoring: 2vl 2vla 2vc

Phrases : for solo soprano, mixed choir, six instrumental soloists and orchestra, (1986) / texts by Arthur Rimbaud, Klaas de Vries

Genre: Vocal music
Subgenre: Mixed choir and orchestra
Scoring: sopr GK4 pic fl(pic) fl 2ob eh 2cl cl-b 2fg cfg 4h 3trp 3trb tb timp xyl(vibr) mar 3perc 2hp 2pf str fl(fl-a pic)-ob(eh)-cl-2h-trp-p-solo

Missa In honorem immaculati cordis beati Mariae Virginis : for mixed choir and chamber orchestra, 1961 / Jos van Amelsvoort

Genre: Vocal music
Subgenre: Mixed choir and orchestra
Scoring: GK4 1301 0000 (org ad lib.) str

Zang en tegenzang : voor gemengd koor en symphonie orkest / Kees Schoonenbeek; tekst: J.J.F. Jellema

Genre: Vocal music
Subgenre: Mixed choir and orchestra
Scoring: GK4 3232 3331 timp 2perc 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