composer

Badings, Henk

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

Concerto : for baritone saxophone and wind orchestra, 2007, Bernard van Beurden

Genre: Orchestra
Subgenre: Saxophone and Wind Band
Scoring: pic 2fl 2ob 3cl cl-b 2fg 2sax-s 2sax-a sax-t sax-br 4h 4trp 4trb 2tb-t tb-b timp perc cb sax-br-solo

Mater dolorosa : for saxophone quartet & wind orchestra, 1999 / Henk Alkema

Genre: Orchestra
Subgenre: Saxophone and Wind Band
Scoring: pic 2fl 2ob 13cl cl-b 2fg 4sax 4h 3crt/trp 3trb tenh 3tb timp 3perc 4sax-solo

Quadrupelconcert : versie voor 4 saxofoons en harmonieorkest, 1984 / Henk Badings

Genre: Orchestra
Subgenre: Saxophone and Wind Band
Scoring: 2141 4sax 4232 2crt 2barh 2euph timp 4perc cb 4sax-solo

composition

Saxofoonconcert : voor harmonie-orkest, 1951 / Henk Badings

Contains:
Allegro
Notturno (Largo)
Rondo (Presto)
Description:
Program note (English): The Saxophone concerto was written in the summer of 1951 and a year later instrumented for a small symphony orchestra. It has the usual three-part concerto form with a tempo pattern of fast - slow-fast. The first movement, Allegro, has a main form of which the first thematic group develops from the antagonisms between a heavy, powerful playing orchestra and a more playful lyrical counter motive in the solo part. The second thematic group starts with a tuneful melody played by the soloist and is later taken over by the orchestra. In the final thematic group of the exposition, triplet motives arise from the swerving figures, and the saxophone plays a counterpoint in the exposition against alternatives of the other motives in the orchestra. A shortened and modified reprise concludes the first movement.
The second movement, Notturno, in a larghetto tempo, has a three-part form. After dodecaphonic introduction in which a somewhat improvising cadenza of the solo instrument is noticeable, the first part follows, characterised by a broad melody in the solo instrument, with an accompaniment of string orchestra. In the second part is a dialogue between solo instrument and several groups of the orchestra, especially with sonorous brass instruments. The third part is a variation of the first. The coda is a new form of the twelve-tone introduction melody. The third movement is a Rondo in Presto-tempo. The octotonic rondo theme is played following an introduction by the solo instrument. In the first couplet three muted trumpets play a counter motive.
From the counterpoints in the saxophone a return to the rondo theme develops. The alternative is a variation of the middle part of the Larghetto. A cadenza forms the progress to a modified reoccurrence of the rondo theme and of the first couplet. The coda shows a combination of the rondo theme - now in lydomixolydic - in saxophone and strings, with the alternative theme in trombones and horns and with the theme of the first couplet in three muted trumpets. - HENK BADINGS