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 : (1929) / Piet Ketting
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
3343 sax-a 4431 timp 4perc hp cel str
Symphonie no. 2 : (1974) / Berend Giltay
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
2222 3200 timp perc str
Symphony Nº 1 "The Four Seasons" : for orchestra / Christian Blaha
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
2fl(picc) 2ob 2cl 2fg 4h 2tpt 3trb timp 3perc hp 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