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
Variaties op een Uilenspiegelthema / door 11 Nederlandse componisten
Genre:
Orchestra
Subgenre:
Violin and orchestra
Instruments:
3222 4330 timp perc (hp ad lib.) str 2vl-solo
Danses sacrées : for piano and chamber orchestra, 1989/90 / Ton de Leeuw
Genre:
Orchestra
Subgenre:
Piano and orchestra
Instruments:
2ob(eh) 2h perc str(8.6.4.4.2.) pf-solo
Piano Concerto Nº 1 / Guillermo Martínez
Genre:
Orchestra
Subgenre:
Piano and orchestra
Instruments:
pf-solo 2fl 2ob 2cl 2fg 4h 3trp 3trb tb 4perc 2hp str
Concert : voor twee piano's en orkest, op. 55 / Géza Frid
Genre:
Orchestra
Subgenre:
Piano and orchestra
Instruments:
3222 4331 timp perc hp str 2pf-solo
composition
Concerto no. 3 : per pianoforte ed orchestra, 1992 / Hans Henkemans
Contains:
Allegro non troppo
Vivace leggiermente
Adagio
Molto allegro
Description:
Program note (English): (Première: 9-7-1994 - Dr. Anton Philipszaal, The Hague - Garrick Ohlsson, piano with the Residentie Orchestra, Jac van Steen, conducting) - This third piano concerto - those preceding are youthful works from respectively 1932 and 1936 - consists of four movements. Although, according to the composer, they form a unity, there is no thematic affinity between the movements. One could perhaps say that the third, slow movement, due to its depth, is an interlude, which functions rather sharply against the dynamic qualities of the other movements. The first movement is notable by the alternation of (moderately) rapid episodes with slow passages (A-B-A-B-A), which, at the same time, sound as the main form (themes a and b; development from the given A). The second movement is a very complicated and metric scherzo; the slow middle part has a tempo exactly three times slower than the main given, which helps create the unity of this light piece. The third movement is an adagio, which
contrasts sharply by its 'sostenuto' nature with the remaining parts. Moreover this adagio also consists of a short and quick interlude. The fourth, final movement begins with a moving "molto allegro", whereupon a somewhat Spanish rhythm "allegro misurato", in 5/8 measures leads to the final attack. Briefly before the ending a large cadenza for solo-instrument is inserted. The piece concludes returning to the 5/8-tempo.- HANS HENKEMANS