related works

String quartet Nº 1 / Carlos Micháns

Genre: Chamber music
Subgenre: String quartet (2 violins, viola, cello)
Scoring: 2vl vla vc

Sextet : voor fluit, hobo, strijktrio en piano, 1985 / Jurriaan Andriessen

Genre: Chamber music
Subgenre: Wind and string and keyboard instrument(s)
Scoring: fl ob vl vla vc pf

Pastorale en scherzo : voor fluit, viool en piano, 1946 / Andries de Braal

Genre: Chamber music
Subgenre: Wind and string and keyboard instrument(s)
Scoring: fl vl pf

Sen : for sho, piano and string quartet, 1999 / Ron Ford

Genre: Chamber music
Subgenre: Wind and string and keyboard instrument(s)
Scoring: sho pf 2vl vla vc

composition

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

Other authors:
Micháns, Carlos (Composer)
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