Henkemans, Hans

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 ...

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Concerto : per violoncello ed orchestra, 1988/1989 / Hans Henkemans

Genre: Orchestra
Subgenre: Cello and orchestra
Scoring: 3333 4331 timp perc cel hp str vc-solo

Sous le pont Mirabeau : pour soprano, contr'alto, flûte, harpe et quatuor à cordes (ou orchestre à cordes), 1936 (nouvelle revision 1944) / musique de Daniël Ruyneman, paroles de Guillaume Apollinaire

Genre: Vocal music
Subgenre: Vocal Ensemble (2-12) and instrument(s); Vocal Ensemble (2-12) and orchestra; Women and instrument(s); Female choir and orchestra
Scoring: sopr alt / VK2 fl hp 2vl vla vc / 1000 0000 hp str(vl vla vc)

Londonsong : for soprano, baritone and orchestra, 1997 / on English traditional rhymes, Ron Ford

Genre: Vocal music
Subgenre: Vocal Ensemble (2-12) and orchestra
Scoring: sopr bar 2222 2110 perc hp pf str

Doppelgesang : für Tenor und Bariton mit Begleitung von Streichern, nach Paul Celans "Engführung", 1976/1977 / Jacques G. Goosen

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Subgenre: Vocal Ensemble (2-12) and orchestra
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Canzoni amorose del duecento : per soprano, baritono, pianoforte ed orchestra, (1972-'73) / Hans Henkemans

Publisher: Amsterdam: Donemus, cop. 1973
Publisher's number: 06014
Genre: Vocal music
Subgenre: Vocal Ensemble (2-12) and orchestra
Scoring: sopr bar 3333 4000 timp perc hp pf str(
Remarks: De tweede canzone (de enige van de drie voor sopraan en bariton; de andere zijn alleen voor sopraan en orkest) kan ook afzonderlijk worden uitgevoerd. - Tekst met Engelse vert. apart afgedrukt. - In opdracht van de Nederlandse regering. - Tijdsduur: ca. 13'30''
Duration: 14'00"
Number of players: 2
Year of composition: 1973
Status: not yet digitized (expected delivery time 14 days)

Other authors:
Rustico Di Filippo (librettist)
Partite, amore, adeo
Lo sparvero
Il farso / tekst v. Rustico di Filippo
Program note (English): I composed the three songs and brought them together under the above title in the winter of 1972-'73 as a result of a commission by the Netherlands Government. I had already been fascinated for some time by the double sonnet "Lo Sparvero" (the sparrowhawk), which I had been given a few years before by the translator, W. van Elden. It has become the central and main part of these Canzoni.
From the musical point of view the unusual thing about this cycle is undoubtedly the solo piano part which has been added. It has in the song "Lo Sparvero" (stress on the second-last syllable) a descriptive function: on the one hand the depiction of the bird of prey (namely the cadence between both poems), on the other as the musical "answer" to the concept of the sparrowhawk, a bird in Mediaeval poetry, including Villon, symbolised the lover.
A double sonnet such as "Lo Sparvero" is called a "tenzone" or a competitive poem. Two minstrels -supposedly at the court of Frederick II in Sicily- wrote their sonnets to the same, given rhymes. The present example is a curiosity in its own way, being a sonnet by a woman and the answer to it by a man. The content is briefly the complaint by the woman that her sparrowhawk has fled and settled down with "un' altra donna", and the amorous, but sharp answer by the man -the sparrowhawk- that this is a treacherous allegation.
The piano has likewise been accorded a solo role in the tender and languid "Partite, amor, adeo", although here it does not have a dramatic or symbolic function. In this song it was the sonority of the solo instrument, which, above all, determined the orchestration.
"Il Farso" (The shirt) is the musical setting of the amusing sonnet by Rustico di Filippi, a 13th century inhabitant of Florence. Here, a harp has been included in the orchestra instead of the piano, in order to create an as jaunty as possible image in sound. - HANS HENKEMANS

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