BURLESQUE (2000)
BURLESQUE (2000)
for orchestra
orchestra: 2*.2.2.2./2.2.1.0./timp/2perc/arp/10.8.6.4.2
duration: 12 minutes
première: October 12, 2000, Festival Hall Ljubljana, Slovenia
RTV Slovenia Symphony Orchestra
Conducted by Lior Shambadal
BURLESQUE
score preview
BURLESQUE
(excerpt)
October 12, 2000, Festival Hall Ljubljana (première)
RTV Slovenia Symphony Orchestra, Conducted by Lior Shambadal
Produced by Radio Slovenia
Additional performances
The Mediterranean Youth Orchestra
Conducted by Marko Letonja
The Mediterranean Youth Orchestra
Conducted by Marko Letonja
The Mediterranean Youth Orchestra
Conducted by Marko Letonja
VIDEO
July 20, 2016, Festival d’Aix, France
The Mediterranean Youth Orchestra
Conducted by Marko Letonja
July 20, 2016, Festival d’Aix, France
The Mediterranean Youth Orchestra
Conducted by Marko Letonja
ABOUT
BURLESQUE is work of a 20 years young composition student in Ljubljana, who decided to try his hand at classical orchestration before starting his long journey through the field of the 20th century’s composition techniques. BURLESQUE, one of Žuraj’s earliest compositions, is a light-hearted concert overture predominantly in triplet metre. With dashes of the early Stravinsky of Firebirds and Dukas’ The Sorcerer’s Apprentice, it makes for a suave and entertaining ten minutes. Already in evidence are Žuraj’s predilection for tone colours based on percussion, with prominent accents provided by trumpets and piccolo.
The prevailing carnival atmosphere is contrasted with a misterioso middle section which provides an inkling of the highly individual and inventive timbres that Žuraj was to conjure up in his output over the ensuing decades.
Alwyn Tomas Westbrooke
BURLESQUE is work of a 20 years young composition student in Ljubljana, who decided to try his hand at classical orchestration before starting his long journey through the field of the 20th century’s composition techniques. BURLESQUE, one of Žuraj’s earliest compositions, is a light-hearted concert overture predominantly in triplet metre. With dashes of the early Stravinsky of Firebirds and Dukas’ The Sorcerer’s Apprentice, it makes for a suave and entertaining ten minutes. Already in evidence are Žuraj’s predilection for tone colours based on percussion, with prominent accents provided by trumpets and piccolo. The prevailing carnival atmosphere is contrasted with a misterioso middle section which provides an inkling of the highly individual and inventive timbres that Žuraj was to conjure up in his output over the ensuing decades.
Alwyn Tomas Westbrooke