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
La malinconia : for saxophone and piano, 1949 / Henk Badings
Genre:
Chamber music
Subgenre:
Saxophone and keyboard instrument
Instruments:
sax-a pf
Genre:
Orchestra
Subgenre:
Orchestra
Instruments:
2322 2210 timp 2perc str
Symphonie no. 23 in c-moll : for orchestra / Julius Röntgen
Genre:
Orchestra
Subgenre:
Orchestra
Instruments:
pic 2fl 2ob 2cl 2fg 4h 2trp 3trb timp perc hp str
Suite Hôtel de Pékin : for symphony orchestra / Willem Jeths
Genre:
Orchestra
Subgenre:
Orchestra
Instruments:
2fl(picc) 2ob(eh) 2cl 2fg(cfg) 2h 2tpt 2trb(trb-b) tb timp 2perc str
composition
Concerto : per orchestra, 1982 / Henk Badings
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