componist

Bosmans, Henriëtte

Henriëtte Bosmans wordt beschouwd als één van Nederlands belangrijkste componisten uit de eerste helft van de 20e eeuw. Als pianiste en componiste maakt Bosmans deel uit van verschillende kamermuziekensembles in ...

gerelateerde werken

String Quartet / Henriette Bosmans

Genre: Kamermuziek
Subgenre: Strijkkwartet (2 violen, altviool, cello)
Bezetting: 2vl vla vc

Concert : voor cello met orkestbegeleiding / Theo Smit Sibinga

Genre: Orkest
Subgenre: Cello en orkest
Bezetting: vlc orchestra

Il ritorno d'Orfeo : violoncello solo, arpa, archi, 1977 / Jochem Slothouwer

Genre: Orkest
Subgenre: Cello en orkest
Bezetting: hp str vc-solo

Concerto Nº 5: The Forest in April : for cello and orchestra / Jan-Peter de Graaff

Genre: Orkest
Subgenre: Cello en orkest
Bezetting: vc-solo 2fl(picc/fla) 2ob(eh) cl cl-b sax-s(sax-a) 2fg(cfg) 4h 2tpt 2trb trb-b tb timp 2perc hp cel str

compositie

Second Concerto : for cello and orchestra / Henriëtte Bosmans

Overige auteurs:
Leo Smit Stichting (partner)
Toelichting:
The series 'Forbidden Music Regained' proudly presents works by composers who were persecuted during the Second World War. Performances of these works were forbidden during the war. Many composers were imprisoned, several did not survive and others went into hiding.
After the war a new generation took over. The pre-war composers were soon forgotten and their compositions remained hidden in closets and archives or fell otherwise into oblivion. In recent decades numerous works have been rediscovered through the efforts of the Leo Smit Foundation. Some scores were found in attics, others in a garden shed and a pile of music was found by young children next to a garbage can. These compositions are of a high quality and deserve to be performed again. The diversity of styles represents the entire spectrum of the first half of the Twentieth century: romanticism, impressionism, modernism, neoclassicism, jazz, and so forth. This project aims to encourage musicians, young and old, from across the globe to perform these compositions, and for concert audiences to (once again) become acquainted with this “unheard” music.