composer

Leeuw, Ton de

Ton de Leeuw was born on November 16, 1926 in Rotterdam. He died on May 31, 1996 in Paris (France). In 1949, after some years of composition lessons with Henk Badings, ...

related works

Neue Niederländische Klaviermusik : = Contemporary Dutch piano music, Heft 1 = Book 1 / mit Werken von = containing works by J. Andriessen, R. du Bois, G. Janssen ... [et al.], herausgegeben von = edited by Ton Hartsuiker

Genre: Chamber music
Subgenre: Piano
Scoring: pf

Faustus : "The last moments of Faustus" Christopher Marlowe, for mezzo-soprano solo, mixed choir and two wind quintets, 1982 / Roland Voortman

Genre: Vocal music
Subgenre: Mixed choir and instruments
Scoring: sopr-m GK4 2fl(picc) ob eh(ob) cl cl-b fg cfg(fg) 2h

De Bremer stadsmuzikanten : voor verteller, gemengd koor en vier instrumenten, 1990 / tekstbewerking door Wiet Kühne naar het bekende "Volksmärchen", Antoon Maessen

Genre: Vocal music
Subgenre: Mixed choir and instruments
Scoring: recit GK4 ob cl fg pf

De meyskens van de courtosye : (Op Brabants), voor gemengd koor en blaaskwintet, 1996 / op tekst van Pieter Roemer Visscher, Joop Voorn

Genre: Vocal music
Subgenre: Mixed choir and instruments
Scoring: GK4 fl ob cl h fg

composition

Transparence : for mixed choir and brass instruments, version for trumpet, 2 horns, 2 trombones and tuba, 1986 / Ton de Leeuw

Other authors:
Chibli (librettist)
Halladj, Mansoer Al- (librettist)
Ibn Abbad (librettist)
Ibn Ata Allah (librettist)
Rumi, Djalal Al-Din Muhammad (librettist)
Contains:
O toi, qui m'as enivré ... / tekst v. Halladj
Il se voile ... / tekst v. Ibn Abbad
Pourquoi ne veux-tu pas ... / tekst v. Rumi
a. O toi, qui m'as enivré ... / tekst v. Halladj b. Mon instant s'est éternisé / tekst v. Chibli c. O mystère que l'Etre apparaisse / tekst v. Ibn Ata Allah
Description:
Program note (English): (Première: November 15, 1986 - Vondelkerk Amsterdam - Dutch Chamber Choir, and the Dutch Wind Ensemble, Lucas Vis, conducting) - The four movements should sound of poems by Arab mystics from the tenth to the fourteenth century. These poems define experiences the mystics experienced in different conscience states on their divine route. These experiences find their result in this music, as a result of which each part having its own character. As with almost all my compositions 1980, Transparence can also be place in what I have called provisionally: 'widened modality'. This can be as a contemporary generalisation and build up of the large principles of the Asian and early Western modal systems. A description of this falls beyond the specifications of this program note. One aspect, which is worth touching on, is the spiritual dimension of making music, next to the aesthetic aspects, becomes increasingly meaningful. The title Transparence is taken from the second poem. This term
also plays a role in the Asian mysticism. Apparently the experiences of mystics are similar all over the world. The words 'transparence' and 'lumière' indicate, furthermore, the very important role of colour and symbolism in this work. - TON DE LEEUW