Henriette, was totally absorbed in her music making. A proud, independent and strong woman, she was beautiful and attractive, but also exacting and domineering.
Despite her Mum’s directions and numerous admonitions, it didn’t lead to a regulated and orderly existence for Henriette; she was a truly bohemian lady. Her mother Sara was somewhat distressed that her daughter didn’t bring a little more orientation in her life, that she didn’t marry and refused, despite many offers, to give lessons at the conservatorium. It fell on deaf ears, because all this would tie her up too much. While she was in need of solitude without any concessions, she was at the same time looking for warmth. Despite extensive relations with friends, she was still alone, but that changed when she started to live together with the 7-year younger cellist Frieda Belinfante, with whom she had an intimate relationship, (1922-1929). For that matter she was also close to cellist Marix Loevensohn. She made no secret of her bisexuality, but was not provocative with it; she just did her own thing, went her own way.
Henriette didn’t live her life easily; she often fell into sombre moods.
Once after Frieda had been playing cello for hours, Henriette remarked: ‘Heavens- are you still studying it. If you don’t know it now, you’ll never know it!’
(Ellen Looyenstijn in 'Zes vrouwelijke componisten')