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
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
Lenteconcert voor fluit en orkest : 1993/2001, (op. 36) / Peter Schat
Genre:
Orchestra
Subgenre:
Flute and orchestra
Scoring:
3ob 3cl cl-b cl-cb 3fg h trp trb timp mar str fl-solo
Fluitconcert : (1956) / Henk Badings
Genre:
Orchestra
Subgenre:
Flute and orchestra
Scoring:
2121 2110 timp pf str fl-solo
Resurrecting Persephone : for flute and chamber orchestra, 1999, revision 2000 / Vanessa Lann
Genre:
Orchestra
Subgenre:
Flute and orchestra
Scoring:
fl fl(pic) ob eh 2cl fg cfg 2h 2trp 2trb tb 2perc hp pf str(8.6.5.4.2.) fl-solo
composition
Élégies : pour quatre flûtes et orchestre, 1967 / Hans Henkemans
Description:
Program note (English): (Première: 18-10-1967 - Utrecht - Marius Ruysink, Hans Bolland, Thom Reinders, Charles Havelaar, Utrechts Symphony Orchestra, Paul Hupperts, conducting) - The composition consists of four short movements, which flow continuously forward, while each in their own manner are, as it were, a comment on desolation. The construction of the whole work is very open, although near the end of the last fragment short reminiscences to the beginning appear, resulting in a certain entity. The first of the four elegies consists, by maintaining an atmosphere and tempo, of two parts (the first acting as an introduction to the entire work and is an important part of the usage of thematic material that will be heard); the orchestra has been entrusted to the brass and wind instruments (mainly brass). The following two elegies combine an agitated and slightly imminent string accompaniment with the sometimes plaintive, sometimes hard 'raging' playing of the four flutes. This fragment connects by
means of a general pause to the quiet and dark third movement, of which the accompaniment now rests with the whole (though generally playing in small groups) orchestra. A slightly contemplative fourth movement, in the most extreme of pianissimos, concludes the work.- HANS HENKEMANS