# Henk Badings 1907-1987



## starthrower

HENK BADINGS
by
Dr David C F Wright
Herman Badings was born at Bandung, Java on 17 January 1907 when Java
was still a part of the Dutch Indies. He lost his parents suddenly in 1915 when
he was very young and was brought up in foster care being an orphan. He was
attracted to music at an early age and had lessons and guidance from the violinist
Alexander Lyvovich Schmuller who taught 
at the conservatory in Amsterdam.
However he did advise young Henk that he should pursue a safer profession
which had more security. To have a profession or trade would bring in a better
and regular income. Badings did not heed this advice but had lessons with
Wilhelm Pijper who, when he entered Henk for a successful exam, said that he
had mastered all aspects of music except that he should take further instruction
in orchestration. It may be true to say that Badings was largely self-taught as a
composer.
Badings was an avid learner and his success is largely due to his application and determination.
He composed his Symphony no. 1 in 1930 when he was still a student of Pijper and studying geology at
Delft. This work brought him success and public praise. In 1932 there appeared the Symphony no. 2 cast in
three movements, dedicated to Edward van Beinum and the Symphony no. 3 appeared in 1934.
As I have indicated, Schmuller's advice had influenced Badings to study geology at Delft Technical College
and he became an assistant in the geology and palaeontology department graduating in 1931. His geological
research included many extended tours across Europe. He also developed an interest in electronic music at
this time.

He admitted early in his career that his music had several influences including Bartok, Hindemith, Honegger
and Milhaud. He confessed that his symphonic works were influenced by Bruckner. That is not easy to
assimilate but his music does show some influences of music from the far East and the micro-intervals of
Javanese music.
For about ten years from 1934 he worked at various music conservatories. He was lecturer in composition
and theory at the Holthaus Conservatory in Rotterdam and became co-director of the Amsterdam Music
Lyceun in 1937 ending this part of his career at The Hague Conservatory from 1941-1945. The Nazis renamed
these conservatories the Reichs Conservatories. Badings had this last appointment because the previous
incumbent Sam Dresden was a Jew.
Badings was popular in Holland during World War II. It was said that he was working for the Reichs
Conservatory and therefore was supporting the Nazis and a collaborator.
After the war Badings gave himself over to composition encouraged by the many commissions that came his
way. In the 1930s he was well served by Dutch orchestras and other musicians so much so that one work
finished meant another begun almost immediately. Some of the conductors who gave premieres of his work
were Mengelberg, van Beinum, van Otterloo, Goldberg and Cor de Groot.
During the war he had become popular outside of Holland. He was commissioned to write an orchestral
work for the 100th anniversary of the Vienna Philharmonic Orchestra in 1942 and the result was his Symphonic
Prologue.
The Americans took an interest in him in the early 1950s and he composed a vast amount of music for Robert
Boudreau's American Wind Orchestra and the Louisville Orchestra commissioned the splendid Symphony
no. 7 in 1954. Funds were provided from the Rockefeller Foundation in 1953. The premiere took place on 26
February 1955 with the Louisville Symphony Orchestra under Robert Whitney. It is hugely attractive and nstantly enjoyable piece and the brief finale is a real joy.
In 1956 he set up an electronic studio for Phillips which was relocated to Utrecht University in 1960. He was
professor of acoustics and information theory there from 1961 to 1977. He was also professor of music at the
Staatliche Hochschule for Musik in Stuggart from 1952 to 1972 and was a guest lecturer at the University of
Adelaide in Australia and Park Point College, Pittsburgh, USA.
He was a prolific composer with about 600 compositions to his name, most of which are for
conventional resources. He won many prizes including the Netherlands prize for his String Quartet
no.1 in 1935, the Dutch Government Prize in 1950 for his Symphony no. 5, Hilversum Radio prize in
1950 for his Symphonic Variations, the Radio Diffusion Francaise Prize in 1951 for his Java en
poemes for unaccompnaied mixed choir and Trois Ballades for unaccompanied female voices, the
Jef Denijn Prize in 1951 for his Suite for carillon no. 2, the Academia Chigiani Prize, Siena, in 1952
for his Quintet no. 5, first and second Paganini prizes for his Sonatas no 2 and 3 for solo violin, the
Malines Prize of Belgium for his Suite no. 3 for carillon in 1954, the Prix Italia prize in 1954 for
Orestes, the Dutch Government prize in 1955 for his Overture no. 5, the Salzburg Award of 1959 for
Salto Mortale, the Premio Marzoto Prize, Venice, 1964 for the Double Concerto no. 1 for two pianos,
the Australian Film Festival prize in 1965 for Sound and Images and the Prix Italia in 1971 for
Cantata no. 7.
He was such a sought-after composer that almost all of his works was commissioned.
His work in electronic music was extensive. He was always interested in originality as all great composers
should be. In 1924 he invented the octatonic scale which consists of eight notes alternating tones and
semitones. In 1931 he built up the 31 note scale and his first composition in that form appeared in 1952.
Five sonatas for solo violin dating from 1963 -1984 were written in this style. Electronic sound was also
used in his opera Martin Korda D. P., the opening work of the Holland Festival in 1960. His Toccata no. 1 and 2 are based on a computer-generated series.
Many honours were bestowed on him. He was awarded the Rembrandt prize in 1939, the Unesco Rostrum of
Composers declared his Double Concerto no. 1 for two violins to be the outstanding composition of 1959.
He was appointed foreign member of the Royal Academy of Sciences, Literature and Arts in Belgium in
1949 and given honorary citizenship of New Martinsville, West Virginia, USA in 1965. He was given the
Johaan Wagenaar prize in 1967, the Sweelinck prize from the Dutch government in 1972, the medal of Arts-
Sciences-lettre de l'Acadamie Francaise in 1981, the prize of the Dutch Winds in 1984 and the Medale of the
Jeunesses Musicale of the Northern Netherlands in 1985.
He was awarded the prize for the best European choral composition, the Missa Antiphonica, and this awarded
was granted posthumously in 1988.
Henk Badings died at his country home, Hugten near Maarheeze on 26 June 1987 where he had lived for the
last fifteen years of his life.
His list of composition is vast and so I have only listed major works and other works of interest:
Piano Works
Sonatas 1 to 6 (1934-1947)
Sonatinas 1 to 4 (1936 to 1958)
Concertino for piano with electronic sounds (1967)
Instrumental solos
Sonatas 1 to 3 for solo violin (1940-1951)
Sonatas 1 and 2 for solo cello (1941-1951)
Sonata for harp (1944)
Sonata for accordion (1981)






electronic






For the more traditionally oriented listener.


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## starthrower




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## arpeggio

I have always liked the music of Badings.

Some of my favorite works:

_Saxophone Concerto_: 




_Concerto for Bassoon, Contrabassoon & Wind Orchestra_: 



_Flute Concerto_: 



_Symphonie XV-Conflicts & Confluences_ Could not find on YouTube. I have a recording
_Symphony No. 2_ 



_Symphony No. 7_ 



_Symphony No. 12_ see above


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## starthrower

Will definitely give those wind pieces a listen. Thanks! The harp concerto is beautiful!


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## joen_cph

A really great and interesting composer. I hope that CPO will finish their series of Badings´ complete symphonies.


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## Casebearer

Starthrower, incredible that you revive interest in Badings and know so much about him. As a countryman I know him a little from my youth but not really well. I think I should listen to him now.


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