As a woman composer Henriette Bosmans found less recognition in Netherlands, except from colleagues and friends. Bosmans composed in a contemporary style, particularly inspired by Debussy and other pioneers in the field. However, she also managed to find her own way. From her teacher Willem Pijper she borrowed the use of polytonality, which gives her music a certain impressionistic tinge. She has a Sonata for cello and piano, Trios for violin, cello and piano, a string quartet, pieces for violin and piano and works for cello: 2 concertos for cello and orchestra, “French Melodies” Tone Poem, “Impressions” for cello and orchestra, etc. Cellist Marix Loevensohn frequently performed her Poème for cello and orchestra, while Louis Zimmermann, concertmaster of the Concertgebouw Orchestra, premiered the Concert Piece for Violin and Orchestra in 1935, conducted by Willem Mengelberg. Bosmans’s international breakthrough began in 1938, when violinist Willem Noske played this work, full of “Oriental moods,” in Prague and Paris. In October 1941 it was also performed several times in the United States with Ruth Posselt as violinist. However, the prospect of further international engagements became blocked by the war. Being half Jewish, Henriette fell into disfavor and the Nazi occupiers banned her from all activity. After the war, resuming her concert career, Henriette Bosmans again composed a number of works and published articles in several newspapers, driven by an extremely negative critical attitude. She became a member of the Association of Dutch Composers in 1947. He maintained a correspondence with her colleagues, including Benjamin Britten.