composer
Henk Badings is one of the great composers of the twentieth century, according to the musicologist Leo Samama. Samama describes him as “a versatile artist who apparently could effortlessly go ...
related works
Concerto : for viola and string orchestra, 1965 / Henk Badings
Genre:
Orchestra
Subgenre:
Viola and string orchestra
Scoring:
str vla-solo
Carrousel : concerto for orchestra, 2002 / Gerard Ammerlaan
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
pic 2fl 2ob eh(ob) 3cl 2fg cfg(fg) 4h 2trp 2trb trb-b tb timp 3perc str(14.12.10.8.6.)
De beweging : for orchestra / Oscar van Dillen
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
3fl(fl-a/picc) 3ob(eh) 3cl(cl-b) 3fg(cfg) 4h 4tpt 3trb(trb-t/trb-b) tb-b tmp 2perc 2hp cel/pf str
Geluckig is het land : concertstuk voor orkest / A. Bonsel
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
2222 4221 timp 2perc str
composition
Symphonische klankfiguren : (Symphonie nr. 12), (1964) / Henk Badings
Description:
Program note (English): (Première: 20-10-1964 - Scheveningen - Residentie Orkest, Willem van Otterloo, cond.). - A number of symphonic episodes, in which each time other instruments or groups of instruments come to the forefront in a cycle without interruption. The series opens with a slow introduction, in which tones of celesta, vibraphone, harp and cello harmonics appear above a dark murmuring context. A striking element forms thereafter with triplet rhythms in the timpani, which, as an introduction to the final moments, condense to a rinforzando-triplet in the full orchestra. The second episode is in a backdrop of nervous woodwind patterns and later comes briefly to the forefront, although mainly heard are woodwind and tympani patterns which have been combined to vibrating beats as a background to a development of brass motives but with string-glissandi at the punctuation marks. In the third episode the woodwinds patters combine to vibrating beats as backdrop for the development of the brass
motives. Openings arise in this tutti-sound, in which pianissimo harmonies are audible in the violins. The fourth episode presents a solo oboe-terzetto with an accompaniment of harp-glissandi and drum rhythms. In the fifth episode a lyrical horn melody appears against descending violin passages. This melody is taken over by a clarinet quartet. The sixth episode has a mobile backdrop of changing motives in woodwinds, percussion and strings. The forefront lies at first in three trumpets, later in three trombones. Thematically there is an affinity to the third episode. The seventh episode is a melodious Adagio, in which first a solo oboe is accompanied by celli divided into four groups. The melody is taken over by the flute, initially accompanied by the string orchestra, yet gradually more and more instruments take part in the accompaniment. The flute melody develops to brilliant solo passages, where a solo trumpet attains the melodic lead. The end of the extensive seventh episode is
characterised by a quartet of flutes, accompanied by dark timbre beats. The eighth episode is a fugue. The theme appears in the bassoon, whereupon all kinds of other instruments and instrumental groups take over (first violins, English horn, violas, double basses, celli, second violins, trumpet). Fugue-like voices become overpowered by fast woodwinds and string patterns. The thematic entries follow more quickly after each other, until there eventually is a 'stretto par contretemps'; this means: the theme slides in such a way, that the upbeat of the following voices is on the downbeat of the previous one. In spite of these counterpoint struggles this episode is playful and scherzo-like. Finally a group of related episodes follow, which are all characterised by canonical answered motives in the brass and in the oboes above an ostinato bass character. The maestoso-tempo is gradually raised in this final episode until the shining end sounds. - HENK BADINGS