Andriessen - Rundell: Vermeer Pictures (2005) 30'
concert suite for orchestra from 'Writing to Vermeer'
Scoring
3(I,II,III=picc).3(III=corA).bcl.dbcl-2.3.0.0-perc(2):cel/vib/glsp/gongs/bell tree/BD/guiro/2lg tgl/chimes/2bongos/2lg cyms/xyl/2wdbl/2sm tom-t/castagnets/tam-t/lg sizzle cym/timp/lg gong/SD/hard metal/hard high metal/lg rattle/loud logdrum/lg wdbl/low metal tube-2pft-2hp-2gtr(amplified)-cimb-strings (6.6.4.4.2)
World Premiere
9/17/2005
Dr. Anton Philipszaal, Den Haag
Residentie Orkest / Clark Rundell
Press Quotes
“Andriessen has called the opera his ‘delicate, feminine daughter’, and it is true that, in the suite dubbed Vermeer Pictures, there is little sign of the punchy, splintery neo-primitivism that is his signature style. Instead the music is mostly lyrical, and the presence of cimbalom, two pianos and two amplified guitars reinforces the bewitching radiance of the harmony… [Yet] there is still a bracing, confrontational tone beneath the surface. Like his musical godfather Stravinsky, Andriessen renounces as much as he embraces, and it is this tendency that gives power and focus to his time-travelling journeys between late Renaissance and jazz.”
Daily Telegraph
concert suite for orchestra from 'Writing to Vermeer'
Scoring
3(I,II,III=picc).3(III=corA).bcl.dbcl-2.3.0.0-perc(2):cel/vib/glsp/gongs/bell tree/BD/guiro/2lg tgl/chimes/2bongos/2lg cyms/xyl/2wdbl/2sm tom-t/castagnets/tam-t/lg sizzle cym/timp/lg gong/SD/hard metal/hard high metal/lg rattle/loud logdrum/lg wdbl/low metal tube-2pft-2hp-2gtr(amplified)-cimb-strings (6.6.4.4.2)
World Premiere
9/17/2005
Dr. Anton Philipszaal, Den Haag
Residentie Orkest / Clark Rundell
Press Quotes
“Andriessen has called the opera his ‘delicate, feminine daughter’, and it is true that, in the suite dubbed Vermeer Pictures, there is little sign of the punchy, splintery neo-primitivism that is his signature style. Instead the music is mostly lyrical, and the presence of cimbalom, two pianos and two amplified guitars reinforces the bewitching radiance of the harmony… [Yet] there is still a bracing, confrontational tone beneath the surface. Like his musical godfather Stravinsky, Andriessen renounces as much as he embraces, and it is this tendency that gives power and focus to his time-travelling journeys between late Renaissance and jazz.”
Daily Telegraph
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