gerelateerde werken
Concert Piece : for flute and chamber orchestra / Henriëtte Bosmans
Genre:
Orkest
Subgenre:
Fluit en orkest
Bezetting:
fl-solo picc cl fg sax-s sax-a/sax-t h tpt trb perc pf vn vla vc db
Maria zart, von edler Art : mezzo-sopraan, strijkorkest, 1953 / Hendrik Andriessen
Genre:
Vocaal
Subgenre:
Zangstem en orkest
Bezetting:
sopr-m str
Four Songs : for mezzo-soprano and small orchestra / Erik Lotichius; texts: Native American poetry
Genre:
Vocaal
Subgenre:
Zangstem en orkest
Bezetting:
Mezzo-soprano and Small Orchestra: Flute; Oboe; Clarinets in B-flat; Bassoon; Horn in F; Trumpet in C; Timpani; Cymbals; Strings
Blessing : Version for soprano and orchestra / Maxim Shalygin, text Isaac Watts
Genre:
Vocaal
Subgenre:
Zangstem en orkest
Bezetting:
sopr-solo 2fl 2ob 2cl 2fg 2tpt 2h 2trb tb str
compositie
Lead, kindly light : for soprano and orchestra / Henriëtte Bosmans; words by Cardinal J.H. Newman
Overige auteurs:
Leo Smit Stichting
(Partner)
Bosmans, Henriëtte
(Componist)
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.