composer

Micháns, Carlos

Carlos Micháns komt op 18 augustus in Buenos Aires ter wereld. Op zeventienjarige leeftijd krijgt hij zijn eerste compositielessen van componist Roberto García Morillo en hij studeert harmonie en ...

related works

Le cortège d'Orphée : voor gemengd koor en accordeonorkest, 1993, revisie 1995 / Carlos Micháns

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Subgenre: Mixed choir and large ensemble
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Kotz : suite voor 11 instrumenten uit de gelijknamige muziektheaterproduktie [van Jean Paul Franssens], 1979 / bewerking Maarten Smit, Klaas de Vries

Genre: Chamber music
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Trio-sonate : fluit, violoncello, piano, 1934, opus 7 / Ary Verhaar

Genre: Chamber music
Subgenre: Wind and string and key instrument(s)
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Swimmingly sinking : for five instruments, [revisie] 1981 / Robert Rowe

Genre: Chamber music
Subgenre: Wind and string and key instrument(s)
Instruments: fl cl vl vc pf

 

composition

Ricorrenze : (Concerto per cinque no 2), for oboe, clarinet, violin, viola and piano, 1996 / Carlos Micháns

Publisher: Amsterdam: Donemus, 1996
Publisher's number: 08986
Genre: Chamber music
Subgenre: Wind and string and key instrument(s)
Instruments: ob cl pf vl vla
Remarks: Opgedragen aan het Valeriusensemble. - In opdracht van het Fonds voor de Scheppende Toonkunst. - Cop. 1996. - Tijdsduur: ca. 15'
Duration: 15'00"
Number of players: 5
Status: fully digitized (real-time delivery)

Contains:
Non troppo mosso
Molto calmo e uniforme
Moto (quasi) perpetuo alla toccata
Description:
Program note (English): Except for its concertante character and the number of players involved, this Concerto per cinque no. 2 differs from No. 1 not only in its instrumentation (trumpet instead of oboe, cello instead of viola), but also in number of movements, structure and treatment of the thematic material. For the rest, five-beat bars (first movement), three + two (second and third movement), five-note motives and, of course, five instruments, all justify the subtitle of the composition. The title of the work, Ricorrenze (recurrences), indicates a basic aspect of its construction, that is, the periodical return of motives, chords, different sorts of patterns, etc. Fragments of the opening row recur several times throughout the piece, sometimes unchanged, others in counterpoint between two instruments. Whole bars are slightly changed and allowed to reappear in other places, like the fast and short mirror-like reprise that closes the first movement and ends with the initial row on a different set
of instruments. Several themes and sub-themes are generated along the way and they, too, recur in turn. In other cases, a 'summary' of thematic material is left to one instrument, like the viola in the second movement (page 19, bar 9 and subs.): the first 32 bars of the viola part are pressed into a single line of semi quavers over six bars. At the same time, winds and piano provide a background of repeated three-note chords, one tone apart, while a new motif containing the remaining tones of a row is played on the piano by the left hand. The same motif reappears later in a cluster-like manner, this time played by winds and strings to a background of gently shifting octaves on the piano (pp. 22 and 23). - CARLOS MICHÁNS

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Product Description Price/piece Count
Score Download (B4), 44 pages EUR 22.66
Hardcopy, normal size (B4), 44 pages EUR 45.33
Hardcopy, study size (A4), 44 pages EUR 37.20
Parts Download (B4), 31 pages EUR 18.31
Hardcopy, normal size (B4), 31 pages EUR 36.62