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
Variaties op een Uilenspiegelthema / door 11 Nederlandse componisten
Genre:
Orchestra
Subgenre:
Violin and orchestra
Scoring:
3222 4330 timp perc (hp ad lib.) str 2vl-solo
Symphonische triptiek : (Symphonie no. XIV), 1968 / Henk Badings
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
2fl fl(pic) 2ob ob (eh) 2cl cl-b 2fg cfg 4h 3trp 3trb tb timp 4perc cel str
Sonant : for orchestra, 1986 / Walter Hekster
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
2232 4431 3-4perc 2hp str
Maní sinfónico : for orchestra / Keyla Orozco, 2005
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
pic 2fl 2ob eh 2cl cl-b 2fg cfg 4h 3trp 3trb tb timp perc hp str(12.10.8.6.4.)
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