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Reflections (Badings)

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Henk Badings

Henk Badings


Subtitle: Three Movements for Symphonic Band


General Info

Year: 1980
Duration: c. 14:00
Difficulty: VI (see Ratings for explanation)
Publisher: Molenaar Edition
Cost: Score and Parts (print) - €20000   |   Score Only (print) - €40.00


Movements

1. Impressions
2. Interplay
3. Evolutions


Instrumentation

Full Score
C Piccolo
Flute I-II
Oboe I-II (II optional)
Bassoon I-II(II optional)
Contrabassoon
E-flat Soprano Clarinet
B-flat Soprano Clarinet I-II-III
E-flat Alto Clarinet
B-flat Bass Clarinet
E-flat Contra Alto Clarinet
E-flat Alto Saxophone I-II
B-flat Tenor Saxophone
E-flat Baritone Saxophone
B-flat Cornet I-II-III
B-flat Trumpet I-II-III
Horn in F I-II-III-IV
Trombone I-II-III
Euphonium I-II
Tuba I-II
String Bass
Piano
Timpani
Percussion I-II-III-IV, including:

  • Side Drum
  • Tam-Tam
  • Vibraphone
  • Xylophone


Errata

None discovered thus far.


Program Notes

Reflections has been composed for the Congress of the American Bandmasters Association in 1981 in Washington D.C. and is dedicated to Colonel Arnald Gabriel and the United States Air Force Band.

The title Reflections refers to different meanings of this word, reverbation, mirroring or reflex as well as consideration. Musically speaking reflex is possible in pitch and in course of time. Reflections in pitch are known in the musical terms "inversion" and contrary motion. Reflections in time are musically known as "retrograde motion." In this composition the mirroring point is very often also marked by an elimination of the former, mostly six, tone-qualities and the introduction of other tone-qualities also mostly six. This change of tone qualities combined with change of melodic motion takes place, for instance, in the first movement after the first five bars and plays a role in all the movements.

In the slow first movement, "Impressions," however, consideration and meditation are the predominant facet. Changing impressions of timbre, melodic contour and rhythm form a series of developments and contrasts. The mobile second movement, "Interplay," is exclusively for percussion instruments. The interaction expressed in the title refers to the percussion with and without different pitches, on the one side timpani, xylophone, vibraphone, etc. There are three sections to this movement: a rhythmic introduction, a playful bitonal middle-section and an aleatoric final section. The partly complicated rhythmic structures (i.e., additive rhythms) anticipate motives of the last movement.

The quick finale third movement "Evolutions" shows many reflection effects. The title refers to the fact that motives from the two former movements are developed. So for instance the beginnings of the first and the third movements are related. An episode with evident mirror-effect follows. The ponderous middle episode leads to a scherzando in the woodwinds which is interrupted by the rhythm of 3+3+2 so often used in the Interplay. The partly aleatoric coda is dominated by the sound of the trombones.

- Program Note from WASBE


Awards


Commercial Discography

  • Audio CD: Brabants Conservatory Tilburg, Netherlands (Jan Cober, conductor) - 1989


Media


State Ratings

None discovered thus far.


Performances

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Works for Winds by This Composer


Resources

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