作曲家

Adriaansz, Peter

Peter Adriaansz werd in 1966 in Seattle (VS) geboren. Opleiding Hij studeerde orgel aan het Koninklijk Conservatorium in Den Haag bij o.a. Leo van Doesselaar, Bert Matter en Wim van Beek. Compositie ...

相关作品

Fast movement version B : (non-stop primal gestures), for organ, 1993, revision 1995 / Peter Stewart Adriaansz

体裁: 室内乐
子体裁: Organ
乐器: org

Three Shakespeare songs : for mezzo-soprano and instrumental ensemble, 1994-1995 / Ton de Leeuw ; on texts by William Shakespeare

体裁: 声乐
子体裁: Voice and large ensemble
乐器: sopr-m fl(pi,fl-a) ob cl sax 2h 2trb 2perc hp pf(synth, glock) 2vl 2vla 2vc

Liebe Freundinnen, chères amies : für Sopran, Mezzosopran und 16 Instrumente, 1992 / Texte: Briefe von Rainer Maria Rilke, Caroline Ansink

体裁: 声乐
子体裁: Vocal Ensemble (2-12) and large ensemble
乐器: sopr sopr-m 1121 1110 perc hp pf 2vl vla vc cb

The book of Indians : for soprano and ensemble, 1996 / [texts from The Indian's Book ; ed. by Natalie Curtis], Paul Termos

体裁: 声乐
子体裁: Voice and large ensemble
乐器: sopr 1111 1010 perc pf 2vl vla vc cb

 

作品

Chant ascendant : (Chants monotones part 4), for soprano (or two alternating sopranos) and ensemble, 1994/1995 / words: Jacques Prévert, adapted by composer, Peter Adriaansz

出版者: Amsterdam: Donemus, 1996
出版编号: 09040
体裁: 声乐
子体裁: Voice and large ensemble; Vocal Ensemble (2-12) and large ensemble
乐器: sopr/2sopr 1110 0000 2perc man g hp pf/cemb vl vla vc cb
注释: Instr. bez.: piccolo, hobo, klarinet, mandoline, gitaar, harp, 2 slagwerkers, piano (of klavecimbel), viool, altviool, cello en contrabas. - In opdracht van de N.P.S. voor het Nieuw Ensemble. - T.g.v. de Nederlandse Muziekdagen 1995. - Cop. 1996. - Tijdsduur: ca. 15'
时长: 15'00"
表演者数量: 14
成分年份: 1995
状态: 尚未数字化(预计递送时间为14天)

其他作曲家:
Prevert, Jacques (librettist)
描述:
Program note (English): 'Chant ascendant' is the fourth and most virtuoso part of the cycle 'Chants monotones' and deals, as the title infers, with ascension. Its text is a free adaptation of Jacques Préverts 'Cortège' , in which a basically nonsensical and enumerative text is gradually unravelled, set to rhyme, forgotten and dissected until the only adjective (formerly disguised as noun) remains at the ending of the piece. The dramatics of the 'Chant ascendant' are entirely determined by the speed and manner of text-recitation. Technically it is an exercise in 5-part counterpoint. The cycle as a whole deals with various aspects of minimal change explored in a maximal manner. Main inspiration lies in the quasi-non-eventfulness of recitative, the ritual of repetition in the dramatics of textual enumeration and the desire to say the maximum with a minimum of material. 'The title Monotone' does not betray a desire to make boring music but, rather, to investigate the possibilities of static surfaces. -
PETER ADRIAANSZ

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