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
Symfonie no. 1 : voor orkest, opus 27, 1978 (revisie: 1979) / Peter Schat
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
3fl(pic) 2ob(ob-am) ob(eh) 3cl cl-b 3fg cfg 4h 2trp trp(trp-pic) 3trb 2tb timp 4perc 2hp mouth-org str
Symphonie no. 4 : Les victoires, 1940-1941 / Matthijs Vermeulen
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
2fl 2fl(pic) 3ob 3h ob-bar 5cl 3fg cfg 2sax 4h 4trp 3trb tb 2timp 4perc str
Wilhelmus van Nassouwe / partituur voor symphonie orkest
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
2222 433(1) str
composition
Concerto : per orchestra, 1982 / Henk Badings
Author(s):
Badings, Henk
(Composer)
Contains:
Introduzione
Scherzo presto
Elegia passionata
Quodlibet
Description:
Program note (English): The Concert for Orchestra by Henk Badings was written in 1982, at the instigation of Ru Sevenhuysen and was intended for the 25th anniversary of the Regional Youth Orchestra. The skills of this orchestra are of such a nature, that the composer hardly needed to impose technical restrictions when composing. There are four movements. Part I is an introduction. From an allegoric mixture of mobile string motives, a bass-outlined and woodwind harmony resounds, while developing rhythmically to a significant middle-episode. These disappear with crossing sounds in an allegoric mixture, which then evaporates. Part II is a scherzo presto. Against an ostinato rhythm a capricious theme develops into a contra-fuga. Later this is enlarged, sounding as a cantus firmus. Also this part fades away at the end in so-called Fawcett-harmonics. Part III: elegia passionata is the slow main movement. A widely sung elegiac melody is played by all strings, and mainly accompanied by horns. The melody
becomes gradually more mobile and leads to a dynamic peak, where in the tumult, horns and tuba, and later trombones and trumpet, come to the foreground as an exclamation. Then the atmosphere of the beginning returns. Part IV: The finale is Quodlibet. All kinds of themes and rhythmical figures appear alternatively against and next to each other, polyrhythmic, frequently, also forming a latent polymetric structure. In spite of all these complications the finale has a playful character. - HENK BADINGS