al48 -
In response to your question, ?quaver (eighth not) = 144? is quite
standard for something marked scherzando. The other posters are indeed
right, that the term itself carries with it no implicit tempo marking,
but is an indication of the style of the playing which is to be
executed. If you listen to the Second Movement of Beethoven?s 8th
Symphony, and similarly, Bartok?s Concerto for Orchestra (both of
which are marked Scherzando), you will find that the quaver pulse in
both is near enough the tempo you have marked in your piece.
I would say therefore that the marking is correct as the crochet
(quarter) could not be getting the beat as it is in compound time and
it would have to be the dotted crochet that was getting the beat, in
order to make musical sense. It could only have the beat if it was in
3/4. Since this is the case, if it were ?dotted crochet = 144?, then
the individual quaver pulse would be far, far too fast.
Therefore, I would say that the marking is right, and just to lighten
it up a little; this said, though, the tempo marking is only there as
a rough guide anyway, and you would be quite justified in taking the
quaver pulse a little faster if you felt that it would improve the
feel of the piece.
Here is a list of all of Ton de Leeuw?s works. You will find in this
list that the Trio of 1952, and that of 1990 are not the same piece.
He doesn't appear to be very well recorded - who knows, perhaps you
could be the first to record the trio. I hope this answered you
question.
Dramatic
Alceste (TV op, 3, de Leeuw, after Euripedes), 1962, TV, 13 March 1963
De droom [The Dream] (op with ballet, 3 scenes, de Leeuw, after East
Asia legend, incl. Jap. haiku, trans. H.G. Henderson), 1963,
Amsterdam, Stadsschouwburg, 16 June 1965
De bijen [The Bees] (ballet), 1964
Krishna en Radha (ballet), 1964
Litany of Our Time (TV incid music), 1970
Antigone (music drama, 2 pts, de Leeuw, after Sophocles), 1989?91,
Amsterdam, Westergasfabriek, 25 June 1993
Orchestral and large ensemble
Conc. grosso, str, 1946; Treurmuziek in memoriam Willem Pijper, 1946;
Sym., str, perc, 1950; Sym., str, 1951; Plutos Suite, 1952; Vn Conc.
no.1, 1953; Suite, youth orch, 1954; Mouvements rétrogrades, 1957;
Nritta, 1961; Ombres, 1961; Vn Conc. no.2, 1961; Symphonies of Winds,
1963; Spatial Music I, 1966; Syntaxis II, 1966; Spatial Music IV, 12
insts, 1968; Music for Str, 1970; Music for Org and 12 players,
1970?71; Spatial Music V, 1971; Canzone, 10 brass, 1973?4; Gending,
gamelan, 1975; Alba, chbr conc., small orch, 1982, rev. 1986;
Résonances, 1985; Conc., 2 gui, str, 1988; Danses sacrées, pf, chbr
orch, 1989?90
Choral
Missa brevis, SATB, 1952; 4 koorliederen (anon., medieval Dutch),
SATB, 1953; Prière (Qur?an), SATB, 1953; Psalm 118, 3-pt mixed chorus,
2 trbn, org ad lib, 1966; Lamento pacis I-II-II (Erasmus), mixed
chorus, insts, 1969; The Magic of Music I (Indian music theory text),
2-pt chorus, 1970; Cloudy Forms (Shitao), male vv, 1970; The Birth of
Music (American-Indian myth), mixed vv/male vv, 1975; Car nos vignes
sont en fleur (Bible: Song of Songs), 12-pt mixed chorus; Invocations
(Lat., Pss), Mez, 4-pt mixed chorus, ens, 1983; Chimères (G. de
Nerval), 2Ct, T, 2Bar, B, 1984; Les chants de Kabir, 2Ct, T, 2Bar, B,
1985; Transparence (Fr., Arab mystics), 18-pt mixed chorus, (3 tpt, 3
trbn)/(tpt, 2 hn, 2, trbn, tuba), 1986; 5 hymnes (Kabir), mixed
chorus, 2 pf, 2 perc, 1987?8; A cette heure du jour (Old Sumerian, Fr.
trans. by P. Selk), 4-pt mixed chorus, 1991?2; Elégie pour les villes
détruites (Bible), 4-pt mixed chous, 1994
Chamber and solo instrumental
Str Trio, 1948; Introduzione e passacaglia, org, 1949; Sonata, fl, pf,
1949; Sonata, vn, pf, 1951; Trio, fl, cl, pf, 1952; 5 Sketches, ob,
cl, bn, va, vc, 1952; Sonatine, vn, pf, 1955; Str Qt no.1, 1958; The
Four Seasons, hp, 1964; Schelp [Shell], fl, va, gui, 1964; Str Qt
no.2, 1964; Nightmusic, fl, 1966; Music for Vn, 1967; Music for Ob,
1969; Reversed Night, fl, 1971; Spatial Music II, perc ens, 1971;
Midare, mar, 1972; Sweelinck-variaties, org, 1972?3; Music for trbn,
1973?4; Mo-du, amp clvd/hpd, 1974; Rime, fl, hp, 1974; Modal music,
accdn, 1978?9; Interlude, gui, 1984; Apparences I, vc, 1987;
Apparences II, cl qt, 1987; Hommage à Henri, cl, pf, 1989; Trio, fl, b
cl, pf, 1990; Music for Db, 1989?91; Fauxbordon, fl, cl + b cl, pf,
synth, mar, mand, vn, va, 1991?2; rev. 1993; Music for Mar, Vib and
Jap. Temple Bells, 2 players, 1993; Sax Qt, 1993; Str Qt no.3, 1994
Pf: Scherzo, 1948; Sonatine, 1949; Sonata, 2 pf, 1950; Variations sur
une chanson populaire française, pf/hpd, 1950; 4 Preludes, 1950; 5
études, 1951; 4 ritmische etudes, 1952; 3 Afrikaanse etudes, 1954; 6
dansen, 1955; Men Go their Ways, 1964; Linkerhand en rechterhand,
1976; Les adieux, 1988
Solo vocal
With pf: Berceuse presque nègre (P. van Ostaijen), medium v, pf, 1948;
Diablerie (J. Engelman), S, pf, 1948; Goden en zangers [Gods and
Singers] (A. Roland Holst), S, pf, 1948; Die Weise von Liebe und Tod
(R.M. Rilke), high v, pf, 1948; De ueren van de bittere passie Jesu
Christi (anon., medieval Dutch), medium v, pf, 1949; 5 liederen (F.
García Lorca), high v, pf, 1952; 2 liederen (G. Mistral), S, pf, 1953;
8 europese liederen, medium v, pf, 1954; Haiku (Eng. trans. by H.G.
Henderson), S, pf, 1963
Other: De toverfluit [The Magic Flute], S, fl, vc, pf, 1954; Brabant
(H. Laurey), medium v, orch, 1959; Haiku II (Eng. trans. by H.G.
Henderson), S, orch, 1968; Vocalise, solo v, 1968; 4 liederen, medium
v, 3 rec, 1955; And they shall reign for ever (Bible: Revelations),
Mez, cl, hn, pf, perc, 1981; Natasja (vocalise), B, 1990; 3
Shakespeare Songs, Mez, large ens, 1994?5
Electro-acoustic
Job (radio orat, Bible: Job), solo vv, mixed chorus, orch, elecs,
1956; Electronic Study, 1957; Antiphony, ww qnt, 4-track tape, 1960;
Syntaxis I, tape, 1966; Spatial Music III, 4 inst groups, tape, 1967;
Mountains, cl, tape, 1977; The Magic of Music II (Indian music theory
text), v, tape, 1977; Chronos, tape, 1980; Clair obscur, tape, 1982
Best wishes,
OT |