BASSOON in Ensembles
Mixed Trios:
Flatiron Suite (6/26/20) for oboe, clarinet in A and bassoon – 11’00”. The work is a tribute to George A. Fuller, Father of the Modern Skyscraper, and the building built by his company and named in his honor. It is now known as The Flatiron Building because of its location and distinctive shape. It is in three movements: Skyscraper March, The Winds at Twenty-third, and City Life. MIDI recording.
Winds on the Ridge (4/10/17) for oboe, clarinet and bassoon – 4’20”. I live along the Florida Ridge, one that frankly has very little altitude. However, the winds along any ridge are almost constant, though they vary in intensity and type. Imagine morning winds that begin with short, repeated gusts that fade and then reappear. By noon, the winds are steady, providing coolness in the sunny landscape. Later, the winds begin to swirl, creating a canon of repeated patterns that dance among the trees like a melody passed between instruments. In late afternoon, the winds taper off into a gentle, rippling effect, but there are still occasional gusts. As the light fades, so do the winds. MIDI recording.
Embedded Counterpoint (3/20/17) for oboe, clarinet and bassoon – 11’15”. The first movement is a simple ternary form in which the B section is an extended fugue. The slow movement is quite chromatic and somber. Imitative passages alternate with more climactic interludes. The finale features several sections in quintuple meter. The first of these is a tense, energetic canon. The two subsequent sections are freely composed, bringing the close of the work to a more relaxed conclusion. MIDI recording.
Beyond the Café (1/19/13) for violin, bassoon and piano – 6’00”. This is a light-hearted work expressing activities observed from a seat at an open-air restaurant. The activities themselves are of little importance. It is simply the pace of life. MIDI recording.
Mixed Quartets:
Tonal Entanglement (4/27/19) for bassoon, violin, viola and cello – 9’15”. My recent interest in quantum entanglement influenced this work. The idea that an electron could function in two places at once, even separated by a considerable distance, fascinated me. For the first movement, Simple Pleasures in Multiple Places, I started with the idea that the accompanying string figures should embody C major, A minor, and the dominant of C major simultaneously. The second movement, Modal Chaconne, begins with a simple, four-measure phrase from the bassoon. In the manner of a chaconne, the phrase is repeated by each of the instruments, but it drifts through different pitches. Against this, there is a rhythmic figure that is at odds with the underlying rhythm, creating a sense of unease. The last movement, Racing to Where We’ve Been, is in G minor, but gives hints of many other keys, among them G major with flatted sixth and seventh scale degrees. The retro ending with its repeated G bring the case for entanglement full circle to the accompanying dominant of the first movement. MIDI recording.
Fantasy for Four (12/20/2013) for soprano sax, viola, bassoon and xylophone – 4’45”. This is a short, abstract work studying the interplay between various timbers and textures. While it is tonal, it violates established rules of tonality in various subtle ways. The expression of the work should be calm and contemplative. There is no obvious climax to the work, nor should there be. MIDI recording.
Mixed Quintets:
Little Symphonette (8/6/17) for flute, oboe, clarinet, bassoon and solo timpani – 10’30”. The piece consists of four short movements. Throughout the work, the timpani play a major role, somewhat akin to a soloist. To the extent that there is a program, the timpani player is its protagonist. “Arrivals” begins the story. There is an element of anticipation in the opening with its composite rhythm of nearly unrelenting sixteenth notes. A contrasting slow section begins with a dialog between winds and timpani. “Relationships” starts with quarter-note movement in the woodwinds and the timpani in the background. A timpani solo interrupts before the opening returns. “Dance” puts the timpani in charge again. The timpanist is challenged by frequent, fast pitch changes that require muscle memory tuning. “Finale” begins with a fanfare motive that is reinforced by the entry of the timpani. MIDI recording.