componist
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
Quatre morceaux (from the Trio opus 27) : for piano, violin and cello / Géza Frid
Genre:
Kamermuziek
Subgenre:
Pianotrio (piano, viool, cello)
Bezetting:
vn vc pf
Departures from the romantic agony : for piano trio, 1993 / Roderik de Man
Genre:
Kamermuziek
Subgenre:
Pianotrio (piano, viool, cello)
Bezetting:
pf vl vc
Albumblätter : for violin, cello and piano / Mateo Soto
Genre:
Kamermuziek
Subgenre:
Pianotrio (piano, viool, cello)
Bezetting:
vn vc pf
compositie
Trio : for violin, violoncello and piano / Henriette Bosmans
Overige auteurs:
Leo Smit Stichting
(partner)
Bevat:
Allegro con brio
Andante moderato
Andante
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.