On evidence here, Henk Badings (1907-87) was a composer of considerable substance. His Second Symphony, in three movements, has the feel of Honegger/Hindemith in its purposeful seriousness and compact form. The frequent use of march-rhythms points to the music’s inter-War-period origins and highlights the work’s affinity with pieces such as Honegger’s Third Symphony, Vaughan Williams’ Fourth, and Walton’s First. The Seventh Symphony, commissioned by Robert Whitney and his Louisville orchestra in 1954, is a flat-out masterpiece. Here the French influence is even stronger, particularly in the theme for muted trumpet in the first movement. Markedly less grim than the Second Symphony, the music manages to be tonal but also remarkably fresh in its harmonic language, and its four short movements are gorgeously scored.
The Twelfth Symphony, in one movement, incorporates aleatoric (that is, “chance”) elements, but as in Lutoslawski it does so within a finely judged structure containing ideas of striking color and, yes, melodic beauty. I certainly hope that this disc is the first in a complete cycle, for Badings is a composer whose music really deserves to be revived. David Porcelijn leads remarkably confident performances of this challenging music, and the orchestra, aside from some understandably stressed moments in the trumpets, responds with vigor and sensitivity. CPO’s sonics, typically, are rich and solid. If you want to hear some really good contemporary orchestral music, treat yourself to these three symphonies without delay. [12/21/2007]
