related works
String quartet II : (1964) / Ton de Leeuw
Genre:
Chamber music
Subgenre:
String quartet (2 violins, viola, cello)
Scoring:
2vl vla vc
Buch der Stimmen : for choir and ensemble, 1995 / text: Rainer Maria Rilke, Ton Lambij
Genre:
Vocal music
Subgenre:
Mixed choir and instruments
Scoring:
GK4 3cl 2h tb perc 2vc cb
Licht en Donker VI : Versie voor koor, solisten, saxofoonkwartet en drie orgels / Jan Welmers
Genre:
Vocal music
Subgenre:
Mixed choir and instruments
Scoring:
GK4 sax-s sax-a sax-ten sax-bar 3org
Improperia : voor contralto solo, dubbel gemengd koor en instrumenten / Karel Goeyvaerts
Genre:
Vocal music
Subgenre:
Mixed choir and instruments
Scoring:
contralto 2SATB fl ob/ca cl timp vla vc
composition
Transparence : for mixed choir and brass instruments, version for trumpet, 2 horns, 2 trombones and tuba, 1986 / Ton de Leeuw
Other authors:
Chibli
(Text writer/Librettist)
Halladj, Mansoer Al-
(Text writer/Librettist)
Ibn Abbad
(Text writer/Librettist)
Ibn Ata Allah
(Text writer/Librettist)
Rumi, Djalal Al-Din Muhammad
(Text writer/Librettist)
Leeuw, Ton de
(Composer)
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