componist
Henk Badings is een van de grootste componisten van de twintigste eeuw, volgens musicoloog Leo Samama. Hij roemt hem als "een veelzijdig kunstenaar die ogenschijnlijk moeiteloos omschakelt van de ernstige ...
gerelateerde werken
Concerto : for viola and string orchestra, 1965 / Henk Badings
Genre:
Orkest
Subgenre:
Altviool en strijkorkest
Bezetting:
str vla-solo
Piéton de Hauterives : for ensemble, 2002 / Martijn Padding
Genre:
Kamermuziek
Subgenre:
Gemengd ensemble (2-11 spelers)
Bezetting:
fl cl trp trb perc harm vl vc
Genre:
Kamermuziek
Subgenre:
Gemengd ensemble (2-11 spelers)
Bezetting:
g cemb
Invention : for alto saxophone, electronic organ and percussion, 1982 / Mathieu Geelen
Genre:
Kamermuziek
Subgenre:
Gemengd ensemble (2-11 spelers)
Bezetting:
sax-a perc el.org
compositie
Passacaglia : timpani, organo, 1958 / Henk Badings
Toelichting:
Program note (English): This work was composed in 1958 for the American organist Claire Coci. It is based upon a slow ground bass of twelve notes, with a symmetrical arrangement in the contour of two times six notes, whilst every six-tone-group consists of two three-tone-germs of a semitone and a major third rectus and mirrored retrograde. The passacaglia theme, introduced by the organ brings this ground bass four times respectively rectus and retrograde, separated by sustained notes. In these interpunctions the timpanist plays rhythmical motifs using the tones 3, 4, and 5 of the ground bass. This slow introduction is followed by seven variations with the rhythmically changed passacaglia theme in the bass and with fragments of it developed in the counterparts. Introduction and variations are linked together without breaks. The first variation in a 3+3+3+4 measure develops the three-tone-germ in a lyric way. The second variation in a 9/8 measure has more dramatic accents. In the timpani the
three-tone-germ is expanded by interval-augmentation. The third variation in a 20/16 measure for organ solo has light transparent staccato motifs against the ground bass. The fourth variation, con moto, opposes full organ chords and marcato timpani-motifs with high organ passages. The fifth variation in a variable metrum is an energetic solo piece for the timpanist. The sixth variation is a cantabile adagio in 3/4 measure for organ solo. The seventh variation, a vivace in a 12/8 measure is introduced by a timpani-stringendo. Here the two instruments are again combined. Two other timpani-strigendi lead to the full expansion of the dynamics in the coda. - HENK BADINGS