related works
Concert : voor harp en klein symphonieorkest, 1967 / Henk Badings
Genre:
Orchestra
Subgenre:
Harp and orchestra
Scoring:
2fl 2ob cl cl-b 2fg 4h 2trp 2trb timp 2perc cel str hp-solo
Apertures : for orchestra / Einar Torfi Einarsson
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
2fl(pic) fl ob(eh) cl cl-b cl-cb 2fg cfg 4h trp 2trb tb timp 3perc cel hp pf str
Symphonie 01 : for amplified orchestra, 2001 / David Dramm
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
2100 5sax 2440 3perc drums hp 2el.g el.g-b pf(keyb) str
Mikhail (Who is like unto God?) : for violoncello and symphony orchestra / Katia Tiutiunnik
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
2fl 2ob 2cl 2bsn 4h 2tpt 2trb tb perc hrp vc-solo vl1-2 vla vc db
composition
Concerto : per orchestra, 1982 / Henk Badings
Other authors:
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