related works
Poème : voor violoncel en orkest / Henriëtte Bosmans
Genre:
Orchestra
Subgenre:
Cello and orchestra
Scoring:
vc-solo pic 2fl 2ob 2cl 2fg 4h 2trp 3trb tb timp perc hp str
In transii : for chamber orchestra and narrator, 1983 / text: Joanne Griebel, Rodney Sharman
Genre:
Vocal music
Subgenre:
Speaking voice and orchestra
Scoring:
recit 2122 2211 perc pf str(6.4.4.3.2.)
Markýz z Karabasu : for narrator and orchestra / Robert Groslot
Genre:
Vocal music
Subgenre:
Speaking voice and orchestra
Scoring:
picc fl 2ob cl cl-b 2bsn 2h 2tpt 2trb 2perc hrp str narrator
Henric van Veldeke : voor orkest, zang en declamatie / Herman Strategier
Genre:
Vocal music
Subgenre:
Vocal ensemble (2-12) and orchestra; Speaking voice and orchestra
Scoring:
bar(recit) 2recit 2222 4330 timp perc cel hp str
composition
Doodenmarsch : for spoken voice and orchestra / Henriëtte Bosmans, words by Clara Eggink
Other authors:
Eggink, Clara
(Text writer/Librettist)
Leo Smit Stichting
(Partner)
Bosmans, Henriëtte
(Composer)
Description:
The series 'Forbidden Music Regained' proudly presents works by composers who were persecuted during the Second World War. Performances of these works were forbidden during the war. Many composers were imprisoned, several did not survive and others went into hiding.
After the war a new generation took over. The pre-war composers were soon forgotten and their compositions remained hidden in closets and archives or fell otherwise into oblivion. In recent decades numerous works have been rediscovered through the efforts of the Leo Smit Foundation. Some scores were found in attics, others in a garden shed and a pile of music was found by young children next to a garbage can. These compositions are of a high quality and deserve to be performed again. The diversity of styles represents the entire spectrum of the first half of the Twentieth century: romanticism, impressionism, modernism, neoclassicism, jazz, and so forth. This project aims to encourage musicians, young and old, from across the globe to perform these compositions, and for concert audiences to (once again) become acquainted with this ‘unheard’ music.