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
Symphonie no. 1 : for orchestra / Gerard Drieman
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
2fl 2 hb 3cl 2fg 3h 2trp 3trb tb perc pf vl vla vc cb
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
2222 4330 str
Valse Sacrée : for orchestra / Frédéric Devreese
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
picc 2fl 2ob 2cl 2fg 4h 3tpt 2trb-t trb-b tb timp perc hp str
composition
Symphonie nr. 10 : 1961 / Henk Badings
Contains:
Allegro
Presto
Adagio
Allegro molto
Description:
Program note (English): [Première: 29-1-1962 - Rotterdam - Symphonia, Louis Stotijn cond.] - The symphony is in four movements, with a third slow movement. The thematic material of the four parts reveals numerous relationships. One can even speak of the so-called cyclical principle, but the material is frequently transformed to a greater extent. The first part, allegro, has shortened main form. From a mixture of accompanying motives the martial-like theme first appears in the violins. Soon thereafter it appears once more in a tutti, played by trumpets. Following the flood of this tutti, the hobo plays elegiac second theme. An exhaustive development of the thematic material leads to a return of the first theme with the entire orchestra, on which the second theme, in a compressed form appears as an epilogue, also with the complete orchestra. The second movement is a scherzo in presto-tempo. The first theme, characterised by strong accents arises from a fugue played by the low strings. In the second
development the clarinet plays a countermelody. This melody develops further into a fugue in combination with the first theme, which labels this scherzo movement as a double fugue. The middle episode has trio-like intermezzi, where variations from the first movement become recognizable. In the last episode stretto combinations of the two themes appear; a quiet coda closes the scherzo. The third movement begins with an elegiac melody, carried by the violoncelli. A comprehensive development connects on this reminiscing to the previous thematic material. Near the end the main melody returns in bass clarinet and violas and a solo violin. The finale, allegro molto, has slight rondo-like main theme. First entered by the clarinet and then taken over by other instruments. A first alternative is the lyrical reminiscence to earlier movements, which develops into a strong rythmical pattern, to then again return to the rondo theme. This is followed by a more mobile development, a progress which
is shortly interrupted by an elegic melody in the English horn, but is quickly continued with a return to the rondo-motives, which dominate the end of the piece. - HENK BADINGS