related works
Canzoni amorose del duecento : per soprano, baritono, pianoforte ed orchestra / Hans Henkemans
Genre:
Vocal music
Subgenre:
Vocal ensemble (2-12) and orchestra
Scoring:
sopr bar 3333 4000 timp perc hp pf str(18.18.14.10.6.)
Khayal : concerto for piano and ensemble/chamber orchestra, 1996 / Sinta Wullur
Genre:
Orchestra
Subgenre:
Piano and orchestra; Piano and orchestra; Piano and large ensemble
Scoring:
1121 1110 2vl vla vc cb / str pf-solo
Aria bravura : for soloist and orchestra, 1987 / Ronald Ford
Genre:
Orchestra
Subgenre:
Piano and orchestra
Scoring:
2222 2sax-a 2110 perc str 1 or more soloists (wind instr/pf)
Concerto : pour piano et orchestre, op. 17, (1951-1955) / Luctor Ponse
Genre:
Orchestra
Subgenre:
Piano and orchestra
Scoring:
2222 4231 timp perc cel str pf-solo
composition
Concerto no. 3 : per pianoforte ed orchestra, 1992 / Hans Henkemans
Other authors:
Henkemans, Hans
(Composer)
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