related works
Symphonische klankfiguren : (Symphonie nr. 12), (1964) / Henk Badings
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
pic 3fl 2ob eh 3cl cl-b 2fg cfg 4h 3trp 3trb tb timp 3perc cel hp pf str
Sinfonia super "Merck toch hoe sterck" : voor klein orkest, 1943 / Marius Monnikendam
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
0000 0220 timp perc pf str
Anagrammen : voor orkest, (1960) / Guillaume Landré
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
2222 4330 timp 2perc str
Quinglong - Azure Dragon : for symphony orchestra / Olga Victorova
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
picc 2fl 2ob eh cl-picc 2cl 2fg cfg 4h 2tpt 2trb trb-b tb 3perc str
composition
Symphonie nr. 10 : 1961 / Henk Badings
Other authors:
Badings, Henk
(Composer)
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