composer
Hans Henkemans, one of the leading Dutch pianists and composers of the 20th century, wrote orchestral, vocal and chamber music, and an opera. For twenty-five years he performed as a ...
related works
Concerto : per violoncello ed orchestra, 1988/1989 / Hans Henkemans
Genre:
Orchestra
Subgenre:
Cello and orchestra
Scoring:
3333 4331 timp perc cel hp str vc-solo
Symfonie 9 : voor orkest, op. 150 / Herman Mulder
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
3343 4431 timp perc 2hp str
4 sonatas voor orkest : (1971) / Daniel Manneke
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
4201 0300 timp perc str(6.6.3.2.0.) (or other instr)
Another World : for symphony orchestra / Chiel Meijering
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
2ft ob 2cl fg FH trp-Bb trp-C trm perc vl1 vl2 vla vc cb
composition
Barcarola fantastica : per orchestra, 1962 / Hans Henkemans
Description:
Program note (English): The Barcarola Fantastica was the result of a commission received on the occasion of the centenary of the Northern Philharmonic Orchestra, Groningen, The Netherlands.
The composition has been scored for normal large orchestra, to wich has been added an alto-flute as only unusual instrument. On the steady rhythms of 6/8 and 9/8 beats -the rhythms of the Barcarola, the Venetian gondola-song- the composition develops as a fantasia on the two principal motives of themes, the first of which is heard, after some introductory bars, in the flute and alto-flute; the second, immediately following upon the first, is played unisono by 'cellos and bass-clarinet.
It is in no way important to try and follow the formal and technical developments in order to appreciate the composition. A thorough-going elucidation would, therefore, seem redundant.
The only aspect of the structure, worth mentioning, is perhaps the relation between the rhythm pattern and the "undulating" course of the dynamics: the composition might, without much effort, be subdivided into five dynamic episodes, of which the the second and fourth are "summits", while the first, third and fifth proceed in a sound-volume not exceeding mezzo-piano.
All other, more artistic observations, are left to the listener, guided by his own fantasy and intuition. - HANS HENKEMANS