gerelateerde werken

Atlantische dansen : voor piano en klein orkest, (1955) / Henk Badings

Genre: Orkest
Subgenre: Piano en orkest
Bezetting: 1121 1220 perc str pf-solo

Klee Sketches : for ensemble / Bram Van Camp

Genre: Kamermuziek
Subgenre: Gemengd ensemble (2-12 spelers)
Bezetting: cl/cl-b sax-a/sax-bar vn/vla pf

Aan de tijd : for tenor, lute/guitar/harp, piccolo, viola, cello

Genre: Kamermuziek
Subgenre: Gemengd ensemble (2-12 spelers)

Raaf : for alto saxophone solo with tape or alto saxophone, harpsichord and percussion, 2002 / Maarten van Norden

Genre: Kamermuziek
Subgenre: Gemengd ensemble (2-12 spelers); Saxofoon met multimedia; Elektronica met verschillende instrumenten; Gemengd ensemble (2-12 spelers) met multimedia
Bezetting: sax-a tape/sax-a cemb perc

compositie

Passacaglia : timpani, organo, 1958 / Henk Badings

Overige auteurs:
Badings, Henk (Componist)
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