composer

Vlijmen, Jan van

Jan van Vlijmen writes chamber music, operas, songs and orchestral works. His compositions are strongly influenced by the serial music of Arnold Schoenberg. He is also attracted to the sumptuous ...

related works

Quintetto per archi : 1995-1996 / Jan van Vlijmen

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

To the moon : for a woman's and a mixed choir and orchestra, 1967-'68 / to a text by Bert Schierbeek, translated by Charles McGeehan, Nico Schuyt

Genre: Vocal music
Subgenre: Mixed choir and orchestra
Scoring: VK3 GK3 4222 2200 timp 6perc pf4h str

La vita fugge : for mixed choir and orchestra, 1999 / on a sonnet by Francesco Petrarca, Kees Olthuis

Genre: Vocal music
Subgenre: Mixed choir and orchestra
Scoring: GK4 2222 2000 str

Vier liederen : voor sopraan solo, gemengd koor en orkest / Martin Koekelkoren en Piet Kingma; orkestbewerking Piet Kingma

Genre: Vocal music
Subgenre: Mixed choir and orchestra

composition

Quaterni III/IV : canto per soprano, coro misto ed orchestra, 1984, (rev. 1985) / parole: Canto XLIX di Ezra Pound, Jan van Vlijmen

Other authors:
Pound, Ezra (librettist)
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