Concerto for Bassoon and Chamber Orchestra

This essay will discuss several factors pertaining to the "Concerto for Bassoon and Chamber Orchestra." It will highlight some of the inspirations for the work; it will briefly analyze some of the harmonic and melodic material used in the piece and it will discuss the form of the piece; both movement-to-movement and on a smaller scale within each of the three movements. I was fascinated with the bassoon's potential since scoring for it in my first chamber opera, Devkino Road. The idea for this piece came to fruition due to the need for music for a particular instrument; in this case, 20th century bassoon concerto repertoire. I strived to contribute an accessible − yet challenging − piece for the professional bassoonist's repertoire. Aside from works by Jolivet and Gubaidulina, bassoonists have few contemporary solo options with orchestra. The variety of timbres and moods the instrument can produce make it ideal for a solo concerto rôle. A unifying harmonic element is the frequent use of split member triads. These harmonies still have some functional qualities, but are rich enough to provide an interesting tonal palette for the 21st century listener. They are especially prominent in the 2nd movement and in connecting motives found in 1st movement. Another recurring structural element in the work is the initial theme, first heard in the strings at the opening of the first movement. This chromatic line is loosely based on an octatonic scale which produces melodic material for split-member harmonies (chords that contain either two thirds or two fifths separated by a semitone). The form of the piece is fairly traditional but each of the three movements deviates somewhat from standard concerto form. Roughly twenty-one minutes in length, it is divided into three movements (fast-slow-fast). The first movement is in sonata-allegro form. The second is ternary form in which a scherzo serves as the B section surrounded by calm, slow A and AI prime sections. The third movement is a five-part rondo. Classical form stipulates that a double exposition should open the first movement of a concerto. I decided to expand on this concept and combine it with the opera overture, thus providing the listener with the thematic material that is later employed in the piece. The bassoon then enters with a short cadenza at measure 33. From measure 28 to measure 32, the orchestra plays six of the primary concerto themes. As the bassoonist completes this cadenza, the orchestra establishes the first accompaniment texture, comprised of superimposed uneven 4ths. This theme is derived directly from the content of the opening chromatic line. As is traditional with first and second themes, the initial theme is lively and active while the secondary theme group (beginning at measure 82) is more lyrical. (See Figure 2) The development (mm. 117-202) explores both themes and their respective harmonic palettes. When the orchestra enters after the cadenza, one expects to hear a recapitulation; however, in this movement, the cadenza (m. 203) segues immediately to the coda. The second movement is a large scale ternary structure with a small scherzo serving as the B section. The primary theme in this movement (mm. 1-55) is carried by the solo oboe and relies heavily on split-root third and/or fifth triads. The contrasting scherzo theme (mm. 55-105) abandons split member harmony, focusing instead on added tone constructions. As the primary material returns at the AI prime of the ternary form (mm. 105-124), the solo bassoon plays the melody previously introduced by the oboe. On the last statement of the theme, the clarinet joins the bassoon with a soaring countermelody. The last movement, a five-part rondo, re-engages the harmonic split-member idiom and the theme from the very beginning of the first movement. The refrain (mm. 1-42) re-captures both of these in each section. The B theme of the rondo (mm. 43-74) also employs split-member harmony; this time with two roots. Fragmented versions of the are exchanged between the soloist and the orchestra. When the refrain returns at measure 74, it is re-harmonized in G-flat Lydian. The secondary portion is truncated (scored in 7/8 instead of 11/8). The C theme of the rondo (mm. 96-119) is the shortest section, functioning like a short development. Similar to the conclusion of the first movement, the final statement of the refrain (mm. 120-134) doubles as the coda. The bassoon's tendency to blend created with almost every member of the orchestra presents one of the greatest challenge when composing a concerto for this instrument. For this reason, I chose to score for a chamber orchestra. It was necessary to isolate the register where the bassoon was playing from other sections of the orchestra to guarantee clarity and balance.

Grantor dc:publisher

University of Kansas

Year dc:date.issued

2010

Author dc:creator

• Musselman, Daniel Timothy

Advisor dc:contributor.advisor

• Barnes, James

• Music
• bassoon
• chamber
• concerto
• musselman

Statement dc:rights

• Copyright held by the author.

Language dc:language.iso

en

Dc Identifier Other

http://dissertations.umi.com/ku:10935

OAI identifier oai:identifier

oai:kuscholarworks.ku.edu:1808/36973