Simons, Marijn

Simons was born in The Netherlands on December 29, 1982. Education: He studied violin with Prof. Saschko Gawriloff, composition with Daan Manneke and James MacMillan and conducting with Ed Spanjaard, Jean- ...

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Lachesis : Kammeroper in einem Akt; Chamber opera in one act / Marijn Simons; libretto by Hermann Schneider

Genre: Opera, musical theatre
Subgenre: Opera
Instruments: 5zang picc fl/fl-a ob/eh cl/cl-b sax-bar fg/cfg h tpt/tpt-picc trb-t trb-b 2perc hp g-eb pf/keyb 2vn vla vc db tape

Visiting the angels : Concerto no 2, for trombone and orchestra, opus 25 / Marijn Simons, 2004

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Subgenre: Trombone and orchestra
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Robert asks for flowers : homage to Schumann, for 4 trombones and orchestra, 1999 / Otto Ketting

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Subgenre: Trombone and orchestra
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Cosmic Dancer : for tenor trombone and orchestra / Benjamin de Murashkin

Genre: Orchestra
Subgenre: Trombone and orchestra
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Concerto comique : pour trombone et orchestre, opus 17, 2000 / Marijn Simons

Publisher: Amsterdam: Donemus, 2001
Publisher's number: 09799
Genre: Orchestra
Subgenre: Trombone and orchestra
Instruments: 2222 2100 3perc acc str( trb-solo
Remarks: In opdracht van het Fonds voor de Scheppende Toonkunst. - Op verzoek van en opgedragen aan Jacques Mauger. - Cop. MuziekGroep Nederland, 2000. - Tijdsduur: ca. 23'
Duration: 23'00"
Status: fully digitized (real-time delivery)

Air cocasse (Fernandel)
Humour caché (Jacques Tati)
Mimique élastique (Louis de Funès)
Program note (English): On a concert tour in September 1999 Marijn Simons met the well-known French trombonist Jacques Mauger in Palermo. Both had come to Sicily at the invitation of the Orchestra Sinfonia Siciliana, Jacques appearing as soloist in the trombone concerto by Tomasi, Marijn in the second violin concerto by Darius Milhaud. Marijn had with him the almost finished score of the piano concert Concerto d'un bon Esprit commissioned by Jean-Bernard Pommier, which he was then working on. The two musicians became friends and Jacques was so enthusiastic about Marijn's work that he asked him to compose a trombone concerto. This commission was later spontaneously taken over by the Dutch Fund for the Creation of Music. A large part of the repertoire for trombone and orchestra easily tends to a sort of brass band orchestration, which Marijn wanted to avoid. His idea was to compose a really symphonic piece with the air of a great romantic cello concerto. The film comedians Stan Laurel and Oliver Hardy
were the inspiration for the now famous Capriccio for Stan & Ollie from 1996. This cinematographic source of inspiration turns out to be not nearly exhausted as evidenced by the Concerto Comique. The first part, air cocasse (funny face) is subtitled Fernandel. The character parts of this French master actor are interwoven in this part. Le boulanger de Valorque and the many Don Camillo films appealed to Marijn's musical imagination. The obstinacy, the bustle, the unforgettably ludicrous facial expressions and also the occasional fist fights were transposed into a stirring through composed opening part. After a fierce scuffle between soloist and orchestra the accordion - representing the French sound very prominently - comes in as a soothing third party. It brings peace and begins the second part with a low long sounding octave (e-e). Humour caché (quiet, hidden humor) is overflowing with melancholy and is dedicated to Jacques Tati. To compare this undisputed master of quiet humor with
Charlie Chaplin is obvious, but, however strange thismay sound, Marijn rather thought of a comparison with Mozart, one eye laughing, the other crying. Tati's acting is perhaps funniest in L' école des facteurs. He is more poetical in the satiric part of Monsieur Hulot in Oscar-winning Mon Oncle (1958), a film which inspires the harmonic structure of the almost transcendent middle part. Concerto Comique is fully through composed. The transition to the third part, inspired by Louis de Funès, mimique élastique, is made again by the accordion (octave e, with a diminuendo to silence). Then we hear an attacca start of the bongos and congas with fast spinning sixteenth notes, giving the final part a breathtaking ecstatic speed. In his unequalled way Louis de Funès is playing an egocentric little man who is never at rest. Think of Le gendarme de Saint Tropez and Les aventures de rabbi Jacob. There's no holding the orchestra and the trombone any more. - Aloys Simons

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