Everything I've Always Wanted
To Play and More
Kimberly Stevenson, Bassoon
Gail Novak, Piano
Rachel Messing, Oboe
Student Artist Series
Recital Hall I Friday, March 27th, 2015 15:00 p.m.

Program
Sonata for Bassoon and Piano ( 1981)
I. Prelude
II. Browning
III. Lament.

John Steinmetz
b. 1951

INTERMISSION

Sonata for Bassoon and Piano op .168 ( 1921)
I. Allegro Moderato
II. Allegro Scherzando
III. Adagio

Camille Saint-Saens
(1835-1921)

Felix Mendelssohn
(1809-1847)
Arr. Albie Micklich

Concert Piece No. 1 in F minor op. 113
for Flute, Oboe, and Bassoon ( 1832)

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Everything I've Always Wanted
To Play and More
Kimberly Stevenson, Bassoon
Gail Novak, Piano
Rachel Messing, Oboe
John Steinmetz, Sonata for Bassoon and Piano (1981)
Sonata for Bassoon and Piano is a highly emotive work that is sure to change the energy of the
room. Though called Sonata, this three movement piece is not in Sonata form. The first movement,
Prelude, explores pitch through the utilization of pitch bends. This movement shows the bassoon as a
"Strong-voiced instrument exploring powerful feelings ." The second movement is a theme and variations
on the William Byrd Renaissance English folk tune called "Browning (The Leaves Be Green)." This
version of Browning has four voices, three of which occurring in the piano part. Beginning very simply,
this movement grows and becomes brighter and more complex through the variations. The third and last
movement, Lament, explores rhythm as the performer is merely given pitches and is free to play them in
an improvisatory style over top of repeated chords. Played according to the mood and feelings at the
moment, this Sonata lends itself to be original and authentic to each individual performer and setting.
Though very technically accessible, this work requires much more from the performer and audience alike.
As Dr. Albie Micklich states, "To pull off this piece, you must bear a piece of your soul to the audience".
And the audience must be willing to receive it.

Camille Saint-Saens (1835-1921), Sonata for Bassoon and Piano op. 168 (1921)
Camille Saint-Saens was a French composer during the late Romantic time period into the 20th
century. Often compared to Mozart for his exemplary compositional skills, he produced a large output of
works in a variety of genres. The accessibility of his music makes him appreciated by performers and
audiences alike.
Saint-Saen's Sonata for Bassoon and Piano demonstrates his aptitude for his craft as well as his
expectation for virtuosity for the performers of his works. This sonata contains three movements. The first
movement, Allegro Moderato , captivates the audience by the sheer beauty of the growing melody
intertwined with the shimmering piano part. Saint-Saens follows this gorgeous first movement with the
playful and energetic Allegro Scherzando. The third movement is in two parts, Adagio and Allegro. The
Adagio, the longest section of this whole piece, demonstrates longing and restraint through the melody as
the bassoonist floats above a simple chord-like accompaniment. Tension builds and breaks as the
bassoonist soars into the extreme ranges of the bassoon during a short cadenza-like section before
transitioning to the Allegro. This fast paced ending brings about comic relief as it seems to not quite
belong. As the last piece composed by Saint-Saen before his death, this abrupt and hokey ending left
Camille Saint-Saen's outstanding career on an uplifting note (pun intended).

Felix Mendelssohn (1809-1847), Concertpiece No. 1 in F minor op. 113 (1832)
arr. Albie Micklich for Oboe, Bassoon, and Piano (World Premiere)
(originally titled: The Battle of Prague, Grand Duet for Dumpling and Pastry with cream, or Clarinet and
Basset Horn, composed and humbly dedicated to Barmann Junior by their very loyal servant, Felix
Mendelssohn-Bartholdy)
Though most frequently performed by clarinet and bassoon, this piece was originally written for
clarinet and basset horn. The style of this piece can most easily understood from the setting in which it
was composed. As Albie Micklich writes, "The father-son clarinet duo, Heinrich and Carl Barmann,
agreed to reward Mendelssohn with his favorite dish (dumplings and pastries with cream) ifhe managed
to composed a work for them by five o'clock in the afternoon the same day. The music was completed by
the designate time, leaving the composer with a full stomach and the clarinet repertoire with a significant
addition." Written in 3 movements, ConcertPiece No.I in F minor implores the performers to display
wide variety of flash and drama. This work, arranged for oboe and the bassoon, is charismatic, whimsical,
and vibrant. Though no dumpling feast will be served upon the conclusion of our performance, I am sure
the vivacity of this work will leave you equally satisfied.

Program notes compiled from the website of John Steinmetz and Oxford Music Online

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