composer
The composer Klas Torstensson has lived and worked most of his adult life in the Netherlands, but his music crosses borders – in all respects. Despite the abstract nature of ...
related works
Sönerna : for saxophone, trombone, guitar and percussion / Klas Torstensson
Genre:
Chamber music
Subgenre:
Mixed ensemble (2-12 players)
Instruments:
sax-a trb gtr perc
Stap verder : for female voice, tapdancer and big band / Vanessa Lann; text by Emma Lazarus
Genre:
Vocal music
Subgenre:
Voice and large ensemble
Instruments:
zang cl-b fg 2sax-a 2sax-t 5tpt 5trb tb 2perc pf tapdancer g-e g-b
Drag on... claustrophobia : for soprano and ensemble / Rafael Reina
Genre:
Vocal music
Subgenre:
Voice and large ensemble
Instruments:
sopr fl e.h vl vla vc cb 2perc
Genre:
Vocal music
Subgenre:
Voice and large ensemble
Instruments:
trio: sopr vla bando ensemble: 1121 1110 perc pf 2vl vc cb
composition
Urban songs : soprano, large ensemble, computers / Klas Torstensson
Other authors:
Torstensson, Klas
(librettist)
Description:
Program note (English): As a composer I feel attracted to writing series - or 'families' - of compositions, a method which enables me to concentrate, over a longer period of time, on a specific problem or on a specific definition of a problem. An example is my triptych Licks & Brains for saxophones and ensemble (1987-88). In the case of Urban songs, for soprano, large ensemble and computers, the 'family' is small; apart from this piece, the only other 'family member' is a composition for soprano solo, Urban solo (also written for Charlotte Riedijk). The traditional Libanese folksong Abu Zeluf - as sung by the Libanese singer Dunya Yunis - could perhaps also be considered as a part of this 'family'; Urban Solo as well as Urban Songs (first song) were partly inspired by this folksong. The song itself, however, is not quoted; similarities are rather to be found in certain kinds of ornamentation, and in the speech-sounds that are used (stripped of their semantic meaning!). Where the first part (song)
could - in spite of the title of the composition - in some ways be called 'rural', the second part (song) is definitely 'urban' in character. It not only refers to an urban style of music (no one can probably fail to notice which kind of music is meant), but also the 'montage'-like structure would be unthinkable without modern urban technologies such as the technique of sampling. - KLAS TORSTENSSON