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
Instruments:
3222 4330 timp perc (hp ad lib.) str 2vl-solo
Variazioni senza tema : per orchestra, (1967) / Guillaume Landré
Genre:
Orchestra
Subgenre:
Orchestra
Instruments:
3333 4330 timp 4perc hp pf str
In Ecclesiis A 40 : voor 8 ensembles / Daan Manneke
Genre:
Orchestra
Subgenre:
Orchestra
Instruments:
I: ob cl 2cl (2ssax) fg 2 bsax (bcl cl) bcl II: 5trp III: 4trb tba IV: 4hn V: 3trp VI: 3trb tba VII: 2fl (pic) 2asax cl VIII: hn trp 2trb tba perc
Réflexions sonores : pour orchestre, op. 99, oct. nov. dec. 1962 / Anthon van der Horst
Genre:
Orchestra
Subgenre:
Orchestra
Instruments:
pic 2fl 2ob eh 2cl cl-b 2fg cfg 4h 3trp 4trb tb perc 2hp str
composition
Partita : per orchestra, 1960 / Hans Henkemans
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