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Cadenzas to piano concertos by W.A. Mozart : for solo piano, 1946-'47 / Hans Henkemans
Genre:
Chamber music
Subgenre:
Piano
Scoring:
pf
Sustained surprise : haydnsymphony94.remixed : for orchestra / Matthias Kranebitter
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
fl(pic) fl 2ob cl cl(cl-b) 2fg 4h 2trp 2trb tb timp perc pf str
Heartland : for orchestra, 1994 / Gerda Geertens
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
3fl 3ob 2cl cl(cl-b) 3fg 4h 4trp 2trb trb-b tb 6perc str
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
1111 0100 pf str(2.2.2.2.1.)
composition
Partita : per orchestra, 1960 / Hans Henkemans
Other authors:
Henkemans, Hans
(Composer)
Contains:
Alla marcia
Movimento brioso
Fantasia
Tarantella
Description:
Program note (English): The work consists of four movements, independent in spite of unmistakable thematic relationships but, as constituent parts of a totality, not to be separated.
The composition begins with an "alla marcia" which, in the framework of a free overall form, presents two contrasting motifs (as well as a number of subsidiary themes) in various guises: as thematic material of a more or less typical military march, as structural elements of a fugue, as melodic fragments in a cadenza-like episode for the whole orchestra, and finally as musical pillars of a funeral march.
The second movement -Movimento brioso- is, viewed as a whole, a very lively, here and there boisterous, piece. Structurally it may be said to have a free ternary form (A-B-A), in which the middle section is roughly twice as slow and moves above an ostinato bass derived directly from the main theme of A.
The third movement -Fantasia- proceeds for the most part at a very slow tempo. After an introduction -in which, among other elements, a triplet motif may be remarked wich turns out to be of great importance in the development of the movement- the violas embark on a long melody. Through the frequent use of unusual time-signatures and metrical units, this melody sounds very free in rhythm; the technique might properly be described as written-out rubato. The rather free structure of the movement is governed by the development of this principal theme, combined with elements from the introduction and interrupted only by a short, violent and somewhat quicker episode.
The final Tarantella conforms strictly in matters of tempo and rhythm to the requirements of this very fast Italian dance. After a short, vehement introduction, the first violins, accompanied by violas, cellos and basses, embark on the first theme. In the further course of the piece appear a songlike second theme, first introduced by the clarinet, and a third, light in character and capricious in contour. The interplay of these three motifs gives the movement a rondo-like structure. However, the Tarantella is by no means as simple in feeling as such a formal scheme might suggest: the shifting course of the musical argument endows this finale with clearly dramatic overtones. - HANS HENKEMANS