Program Notes
Sarabande Et Cortege for Bassoon and Piano
At last, a composition from the French Conservatoire has arrived!
Studying music his whole life, Dutilleux carried on the legacy of other
composers such as Debussy, Ravel and Messiaen. Dutilleux wrote a
total of four pieces for the Conservatoire that were meant to be a part
of the annual Concours, which is the annual concerto competition that
are still being performed today. Sarabande et. Cortege, was
specifically written as a competition piece for the bassoon in 1942.
What makes this piece challenging is combination of abandoning
tonality and inventive textures. A Sarabande is a slow dance in triple
meter with emphasis on beats one and three. On the other hand, a
Cortege is also known as a Death March and is noticeable when
harmonies suddenly become dissonant with constant banging of
diminished chords in the piano. With the absence of individual
movements, the Sarabande section goes right into the Cortege
section making the two contrasting sections into one exquisite
masterful piece of music.

Trio for Piano, Oboe and Bassoon

Henri Dutilleux (1916-2013)

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Francis Poulenc (1899-1963)
Growing up in a musical household Poulenc was taught
piano by his mother at a very young age. He was exposed to
the works of Debussy at the age of eight and forever fell in
love with his music. Not only being a successful pianist,
Poulenc made his debut as a composer in 1917. This trio
was written in 1926 and is one of Poulenc's most notable
works because it reflects his true personality. Poulenc was
often considered to be light-hearted, yet comical at times and
these emotions are expressed together in three well-crafted
movements. Isn't it interesting that the title lists piano as the
first instrument? What makes the piece so fun is the amount
of conversation that occurs in the music between the
oboe/bassoon and the piano. It's done in such a way that
feels like the texture and color of all three instruments
compliment each other that if one part was removed, the
piece would feel incomplete.

Program Notes
Sonata No. 1 in F Major

Michel Corrette ( 1709-1795)
Only outliving Mozart by four years, Corrette is most known for his work
and performances as an organist in France. Additionally, Corrette was
also an advocate for music education, writing numerous instructional
methods regarding performance practice for a variety of instruments.
Corrette's style of music reflects the norm of most classical music in the
Baroque period called, Hausmusik, which are concerts that are played in
one's house and Corrette commonly held weekly concerts in his own
house. This piece is divided into three separate movements: fast, slow
and fast, giving a good mix of lively-enthusiastic energy and warm-gentle
sounds.

Colored Stones for Solo Bassoon

Jenni Brandon (b. 1977)

Colored Stones tells the story of three stones: smoky quartz,
lapis lazuli, and tiger's eye. Some cultures and spiritual
practices believe these stones have powerful qualities such as
the ability to heal, protect, and offer spiritual guidance. The
bassoon explores these beautiful stones' unique qualities.
Smoky Quartz is a smoky brown stone that transforms and
diffuses negative energy. Lapis Lazuli is this deep blue stone
that was used by kings and queens in paintings and ceremonial
robes as a bringer of peace. Tiger's Eye is a golden brown to
deep red stone; very grounding, it can bring luck and ward off
evil.

Concertpiece Op.2

Franz Berwald (1796-1868)
Making his living as a Swedish orthopedic surgeon, Berwald was born
into a family with four generations of musicians. Unfortunately, most of his
works were not appreciated until the 1840s when Berwald moved to
Vienna. This piece was written in 1827 and was originally for bassoon
and orchestra. Unlike other bassoon concertos written around this time,
this piece features five continuous movements including a theme and two
variation movements in the middle; therefore, the piece really brings out
the versatility of the bassoon such as utilizing the full range of the
instrument. Other elements that bring the piece to life are the constant
changes in playing styles. The way the piece is written enables the
performer to bring his/her personality into the music allowing for an even
bigger contrast between movements. One moment it could sound like a
composition written by Mozart and another moment it could sound like a
Paganini caprice.