Jolivet Bassoon Concerto Pdf Downloadl
Malka Crickenberger
The bassoon is often regarded as rather grotesque in character, sometimes even earning the nickname of "clown of the orchestra". On the contrary, to me, this instrument has always seemed to possess tremendous untapped dramatic potential.
As I was about to start this work, I heard from my native Poland about the torture and murder by the secret police of the Catholic priest, Father Jerzy Popieluszko. I immediately decided to compose my concerto as a memorial to his martyrdom, to pay homage to this noble young man, who devoted his short life to upholding truth and love, preaching that "...we should be free from fear, intimidation, but above all from the desire for revenge or violence".
As regards the structure and musical language, the brief Prologo and Epilogo, both marked allegro con spirito, are organically similar, both based on one 3-note cell with its perpetual reflections and transpositions (a device that I have used in almost all my works composed since 1968).
Both Recitatives also include 3-note cells, but purely as the harmonic backgrounds providing contrast to the solo part. In the first, andante religioso, the melodic line played by the soloist is based on six notes of a minor scale. In the second, allegro drammatico, the solo part is based on two dominating intervals: a minor second, and a fourth. This same fourth is also the main interval featured in the Prologo and Epilogo.
The design of these Recitatives both contain a geometrical element. In Recitativo I, in contrast to the bassoon's descending melodic line, the harmonic background played by the woodwinds starts in the lowest register, ascending very gradually in a progression of long-held 3-note cells. In Recitativo II, the bassoon begins its melodic journey in its lowest register, gradually moving upwards. Meanwhile the harmonic background, played by the strings, moves downwards, from highest to lowest register, in a succession of abrupt chords made up from a distorted version of the 3-note cell in the previous movement.
The Aria (adagio laroentoso) is the central and most extended part of the Concerto. It is a kind of elegy, for which I composed a long melodic line in the spirit and character of Polish rustic music, perhaps evoking Father Jerzy's peasant origins. The intended climate of utter simplicity and directness of this song is broken twice by sections constructed with the 3-note cell musical material of the outer movements.
The reason that this composition ends with a short, dramatic Epilogo (allegro con spirito) rather than with a lament as in the Aria, is that I wanted to express musically the symbolic significance of Father Jerzy Popieluszko's martyrdom: I wished to positively assert my faith that, though his earthly frame had been captured and tortured to death, his spirit would live on indefinitely; and would unquenchably continue to influence the Polish people in their heroic struggle for truth and basic human rights.
Vivaldi: Concertos for bassoon: In her professional life, which has taken her around the world as a soloist and member of the Vienna Philharmonic Orchestra, Sophie Dervaux enjoys the good fortune of being surrounded by music in all its facets. However, she has had a special love for baroque music since childhood: "It is the greatest thing for me." So it is hardly surprising that the bassoonist began thinking some time ago about expressing her fondness on disc and recording an album of concertos by old masters from Telemann to Handel. Sophie Dervaux had no idea that this exciting idea would develop into a project of mammoth proportions. "Somehow, over time, this baroque project developed into the plan to record all of Antonio Vivaldi's bassoon concertos," she says without shying away from her own courage. Given her impressive biography, it cannot be said that she would shy away from challenges anyway. How else would it have been possible for her to climb so many career peaks at such a young age - not only as an instrumentalist, but more and more frequently at the conductor's podium in recent times. With her complete Vivaldi recording, Sophie Dervaux has set her sights on a very special eight-thousander: a sacred mountain, if you like, which is surrounded by a mystical aura, and not just from the bassoonist's point of view. It marks the core creation of a man who can justifiably be counted among the most astonishing phenomena.
Sophie Dervaux, bassoon
La Folia Barockorchester
Born in Palermo, Italy in 1990, Riccardo Terzo began taking bassoon lessons at the age of 7. At the age of only 20 he won the principal position with the Salzburg Mozarteum Orchestra. In 2012 he completed his master's degree at the University of Salzburg Mozarteum with Marco Postinghel before doing his post-graduate studies with Dag Jensen at the Hochschule fr Musik und Theater Mnchen. In 2017 he won the principal position with the Gewandhaus in Leipzig. As a guest principal, Terzo has worked with such renowned orchestras as the Munich Philharmonic Orchestra, Tonhalle Zrich Orchester, Vienna Philharmonic (Vienna State Opera), and Berlin Philharmonic. He has performed in festivals including Zagreb, Spring Prague, the Kanazawa Gargan Festival, BBC Proms in London, and Easter Festival in Salzburg. He won first prizes at the International Chamber Music Competition in Grosseto in 2003, the International Competition for Bassoon Citt di Chieri in 2004, the Rossini International Bassoon Competition in Pesaro in 2006, and the International Double Reed Society (IDRS) competition in 2016, subsequently returning to IDRS in 2017 as Guest of Honor. Terzo has performed as a soloist and taught at universities in cities across the globe. In 2020 he recorded the Mozart, Weber, Rossini, and Jolivet concerti with the Camerata Salzburg, with whom he performed the Mozart concerto for Mozartwoche 2023.
This is his first appearance at PMF.