related works

Midare : for marimba, (1972) / Ton de Leeuw

Genre: Chamber music
Subgenre: Percussion
Scoring: mar

We travel like other people : for clarinet in B flat, bass clarinet, vibraphone and mixed choir / Hijmans, Rita; text: Mahmoud Darwish

Genre: Vocal music
Subgenre: Mixed choir and instruments
Scoring: GK4 cl cl-b vibr

Mexitli : opus 1, voor gemengd koor en instrumentaal ensemble, 1981/82 r / tekst: Theun de Vries, Gerda Geertens

Genre: Vocal music
Subgenre: Mixed choir and instruments
Scoring: GK4 cl-b sax-s 2trp 2trb 3perc pf

Im Gestein : a cycle of six choral songs on poems by Paul Celan, for mixed choir, percussion and string quintet, 1992 / Robert Heppener

Genre: Vocal music
Subgenre: Mixed choir and instruments; Mixed choir and orchestra
Scoring: GK4 2perc 2vl vla vc cb / GK4 2perc str

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