composer
Henk Badings is one of the great composers of the twentieth century, according to the musicologist Leo Samama. Samama describes him as “a versatile artist who apparently could effortlessly go ...
related works
Concerto : for viola and string orchestra, 1965 / Henk Badings
Genre:
Orchestra
Subgenre:
Viola and string orchestra
Scoring:
str vla-solo
Scherzo : per pianoforte ed orchestra / Rudolf Perdeck
Genre:
Orchestra
Subgenre:
Piano and orchestra
Scoring:
3222 3300 timp perc str pf-solo
Concertstuk : voor piano en orkest, 1945 / Jan van Dijk
Genre:
Orchestra
Subgenre:
Piano and orchestra
Scoring:
2232 3230 timp perc str pf-solo
Delftiana : voor 2 piano's à 4 mains, strijkorkest en mirlitons slagwerk / Sem Dresden
Genre:
Orchestra
Subgenre:
Piano and orchestra
Scoring:
2pf4h str perc
composition
Atlantische dansen : voor piano en klein orkest, (1955) / Henk Badings
Contains:
Ragtime
Blues
Tango
Description:
Program note (English): The first dance, Ragtime, is developed from the peculiar, jerking rhythm of 3 + 2 + 3 eights, together forming a very regular and danceable quadruple time. After a short introduction it appears in the main theme and, in a shifted form, in the melancholy second theme. In the development the group of three eights stubbornly perseveres in the rhythm, but at the climax the main theme returns, now as an accompaniment to a new theme. The second theme also returns in a new sound pattern and the dance comes to an end with a rhythmically complicated pandemonium. The piano, as in the other dances, plays a solo part, explosing the themes or embroidering them in virtuoso passages, sometimes in the nature of a cadence. The second dance is a Blues, in which we find the customary 'basso ostinato', accompanied by the capricious, almost extemporizing arabesques in the melody. The third dance is a Tango which shows a gay musical abandon. Over the insistent rhythm of the tango the
wind-instruments - in a dialogue with the piano - play the main theme. A second theme unites the somber orchestral colours with virtuoso figures by the piano. A third theme, daring and gay, is exposed in the tutti. These three themes return in another instrumental form and lead to the final climax which is based on the main theme. All three dances have had to cross the Atlantic from their country of origin before they could attain the form in which they were made known by these names. This is what is meant with the title 'Atlantic Dances.' - HENK BADINGS