The French Smuggler: French Inspiration in Henk Badings’ Trois Chansons-Abstract
As part of my first semester in Graduate School, I had to enroll in a Graduate Research class supervised by Dr. Anita Hardeman. The abstract for my paper is the following:
After the end of the Second World War, Henk Badings, a Dutch composer, wrote his Trois Chansons Bretonnes. Seen as the continuation of the nineteenth century German composers equivalent to Brahms and twentieth century Hindemith, Badings, changes his composition style to accommodate Parisian techniques with a Romantic flair. In changing his composition style, Badings allowed his music accommodates textures, chord coloration, and text painting in his choral scores so that his compositions could be presented without interruption. With this style change, Badings’ choral compositions have a distinguishable Debussy, Ravel, and Poulenc influence, specifically. The purpose of this paper is to acquaint the reader to the Dutch composer, Henk Badings. Second, to cross-reference and identify inspirations from French compositions such as Claude Debussy’s Trois Chansons De Charles D’orleans and La Cathédrale Englutie: Profondément calme, Maurice Ravel’s Trois Chansons, and François Poulenc’s Un soir de neige. As a method of analysis, I will reference art vocabulary, specifically en plein air, divisionism, pointillism, and score analysis to enhance this study’s comprehension.
In comparison to the scores mentioned before, Badings’ Trois Chansons has many similarities and differences. For example, the piano accompaniment to one of Badings’ Trois Chansons: La nuit en mer is similar to Debussy’s piano prelude La Cathédrale Englutie: Profondément calme due to the use of arpeggiation and thematic development. Also, Bading’s chansons have a similar vocal exposition and development to Debussy’s chansons. In allusion to Poulenc’s Un soir de neige, Badings’ chansons have similar modulations and phrase structure. Regarding to Ravel, Bading’s structure is somewhat close, but it is not in tune with Ravel’s chord progression and form. By being influenced by these French composers, Badings differentiates himself from his contemporaries, and paved the way for new composers using Neo-Impresionistic art features in combination with his music.
The playlist for the eleven scores I had to analyze and compare is in the link below.
Posted on December 19, 2013, in Academia, gradschool, Musical Poetry, Research and tagged Anita Hardeman, Badings, Claude Debussy, Dutch composer, Graduate Research, Graduate school, Henk Badings, Maurice Ravel, Music, Paris, Trois Chansons Bretonnes, western illinois university. Bookmark the permalink. Leave a comment.