Jolivet Bassoon Concerto Pdf Download
Melvin Amey
The opening Recitativo displays the large range of the bassoon[3] in a sparsely accompanied tirade by the soloist, beginning with quiet, tense and angular statements in the high range, but becoming more and more agitated, frenetic and declamatory, often running up and down the instrument vigorously. Frequent pauses in the bassoon's monologue and dry, harsh punctuation add to the effect of "recitativo", and the final and most vehement statement morphs over a protracted trill and flippant F major resolution into the second half of the movement, Allegro gioviale, which features syncopated rhythms[5] throughout. The orchestra plays a jazz-like chromatic theme and builds darkly towards the bassoon's entry, which in turn plays an acrobatic, ironically jocular theme, rejecting the first one heard in the orchestra. This manic and facetious character persists throughout the movement; the bassoon eventually reprising the expository theme before "breaking character" and distorting it greatly with jarring, angstful interjections (foreshadowing the next movement) and then performing a series of ascending scales, thematically inverting the descending string scales in the exposition, and runs up to a top F before the movement tumbles to a close.
The Largo cantabile has been described as haunting, lyrical and colourful[4][6] with some fine contributions of the solo violin and the harp.[5] The mood is humid, dejected, and desolate, with the bassoon's vocal top-octave lines creating a strained-voice effect of crying or wailing. The orchestra fades out, and the bassoon, alone, grimly proceeds into the last section.
The Fugato, the final section, belies its relatively austere title and includes some "enchanting" effects.[3][5] The plaintive mood from the prior section of the movement focuses and becomes sinister, and a tenebrous interplay of soloist and orchestra ensues, taking on characteristics of a danse macabre. The fugato structure is exploited to create dialogue between the soloist and orchestra, especially between bassoon and solo violin; the sentiments of the solo line and orchestra are in much greater accord here than in the Allegro Gioviale. The movement gains speed and power towards the finale, but at the end moves forcefully and unexpectedly into D major, the bassoon howling a final high D at the close.
Although a fairly short concerto, it calls for masterful levels of technique and control, and great variety and depth of character. It is one of the most difficult concerti in the bassoon's repertoire, and has been called a "delight for virtuosos".[3]
The Concerto in F Major no. 1 also contains 3 movements. It has a final movement of variations (there are provided highly virtuoso variations of two cadenzas) on the Austrian folk-song A Schüsserl und a Reinderl, a theme also used by Weber in his Variations for Viola and Orchestra, J. 49.The concerto is scored for pairs of oboes and horns, with strings, and was published in 1984 by Musikverlag Hans Sikorski in an edition by Joachim Veit. First performance, 20th January 1805 in Munich with soloist Franz Lang, a member of the Hofkapelle. =E4xB2N8P7ik
The Concerto in C Major is in three movements with a final Rondo. The varied repetitions of the principal rondo theme are a model of the tecnique of ornamentation. The concerto was published in 1982, in an edition by Joachim Viet, by Verlag Thomi-Berg (Leuckart) and is scored for pairs of oboes and horns, with strings. It was probably written for Munich. (There is a provided cadenza for the first movement). =F_E2P0zRXRc
Elements of virtuosity, dissonance and rhytmic drive feature in Fantasie-Caprice for flute and piano (1953), Serenade for two guitars and the numerous concertos (including two for cello and one for violin).
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