related works
Cadenzas to piano concertos by W.A. Mozart : for solo piano, 1946-'47 / Hans Henkemans
Genre:
Chamber music
Subgenre:
Piano
Scoring:
pf
Symfonie no. 2 : = Sinfonia n. 2, (Kl. 53a) / (ed. Karel Mengelberg), Willem Pijper
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
3333 4331 timp 3perc hp man pf(cel) 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
Triple Concertino : for three solo woodwinds and orchestra / Martijn Padding
Genre:
Orchestra
Subgenre:
Orchestra
Scoring:
eh-solo cl-b-solo cfg-solo 2fl(picc) 2ob 2cl 2fg 2h 2tpt timp 2perc str
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