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Boundless (Homage To L.B.) For String Orchestra, Harp, Keyboards and Percussion Joey Roukens
Boundless (Homage To L.B.) For String Orchestra, Harp, Keyboards and Percussion Joey Roukens
(Homage to L.B.)
for string orchestra, harp, keyboards and percussion
2016
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Joey Roukens
Commissioned by the Royal Concertgebouw Orchestra, with financial support from the
Performing Arts Fund NL.
I. Manically
II. Glacially
III. Propulsively
Instrumentation:
Timpani
Percussion (5 players)
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• Perc. 5: Bass Drum (Gran Cassa), Snare Drum, Tenor Drum, 3 Tomtoms (Floor, Middle
and High Tom), Suspended Cymbal, Triangle, Tam-tam
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Harp
*) Any
synthesizer or electronic keyboard meeting the following requirements may be used:
1. The instrument should have touch sensitivity and a range of at least 5 octaves (C2 to C7),
and if possible also a sustain pedal.
2. The following patches must be available: Honky-tonk Piano, Electric Organ and Strings (or
Tremolo Strings). With most synthesizers/keyboards these patches are already pre-set.
Duration: c. 15’
D 15391
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Program Note
The instrumentation is basically the same as that of the Serenade, but without the solo violin
and with the addition of a keyboard player on celesta and synthesizer. The work is a kind of
mini-symphony in three short movements (fast, slow, fast) played attacca (i.e., without
breaks). It directly references material from two little piano pieces by L.B.: Nos. 5 and 13 from
his last (1988) cycle of Anniversaries - little piano pieces L.B. wrote throughout his life and
which he would often pick up and expand in other, larger works, most notably in his
Serenade. In my piece, however, the music often moves quite far from the source material, so
that most of the time, it is no longer recognizable.
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The first movement (Manically) is ceaselessly energetic, exuberant and explosive and should
be performed with an over-the-top kind of energy, almost as if the music sounds “too fast”at
times. The second movement (Glacially) is a small Adagio, chorale-like, with slowly
morphing harmonies; much of its material is derived from No. 13, a slow, little waltz, even
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though the waltz cannot be recognized until the end of the movement, when it appears as a
fleeting reminiscence, sounding as if played by a little music box. The last movement
(Propulsively) is fast and motoric, with pulsating, syncopated rhythms which should be
performed as tightly as possible. There are strong hints of popular music (rock, techno, jazz) in
this movement - one thing I’ve always admired about Bernstein’s music is the naturalness with
which he incorporated elements of popular music in his concert works - and it eventually
builds up to a relentless, frenzied ending.
Leonard Bernstein was a man of boundless energy and boundless musical interests. I have
tried to write a piece which captures some of that “boundlessness” (in a good way, I hope…).
Joey Roukens
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