Marjan
Mozetich: Concerto for Bassoon and Strings with Marimba
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FUNDING
| ^
Concerto for Bassoon (2003) was
funded jointly by The Ontario
Arts Council and Michael Sweeney.
INSTRUMENTATION
| ^
solo bassoon | marimba | strings
PERFORMANCE MATERIALS
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The solo bassoon part with
piano reduction is available for purchase through the Canadian
Music Centre.
Orchestral performance materials
are also available for rental through the CMC.
OR phone:
1 (416) 961-6601
OR fax:
1 (416) 961-7198,
OR write to:
Music Services
The Canadian Music Centre
20 St. Joseph Street
Toronto, Ont. M4Y 1J9
Canada
PERSONNEL
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Personnel
heard on the mozart and well beyond
CD.
PREMIÈRE
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June 6, 2003 - Glenn Gould Studio, Toronto - Michael Sweeney and
The Seiler Strings with percussionist Graham
Hargrove.
PROGRAMME
NOTES
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Marjan
Mozetich has provided the following programme notes:
"Concerto for Bassoon
and Strings with Marimba
was a joint commission from The
Ontario Arts Council and Michael Sweeney. Since it had long
been my goal to compose a concerto for each of the orchestral instruments,
Michael's request for a bassoon concerto presented me with an ideal
opportunity.
"Though the bassoon concerto
repertoire is large, relatively few examples composed after the
Baroque era have permanently entered the repertory. Because of this,
I wanted to take up the interesting challenge of writing something
that would be not only attractive and compelling, but enduring.
I think I've met my first two goals, and as for the last, only time
will tell.
"The piece is in one continuous
movement that can be subdivided into an introduction, allegro, adagio,
allegro, and a return to the introductory material. The entire work
is derived from the initial melodic line of the bassoon. Overall,
it is a voyage beginning with an entreating bassoon solo that invites
the orchestra to participate in a journey of the pleasures and pains,
joys and sadness of music." - M.M.
Programme Notes
from the mozart and well beyond
CD booklet:
While I was a member of the bassoon
quartet, Caliban, my colleagues and I decided to expand
our repertoire by commissioning a new composition. We were assisted
in this endeavor by the Canadian
Music Centre who made recordings and scores from a wide selection
of composers working in a variety of styles available for our perusal.
It was during this phase of our project that we first encountered,
and became captivated by, Marjan Mozetich’s El Dorado
for solo harp and string orchestra (played by the esteemed Erica
Goodman). We quickly and easily agreed to ask Mozetich for a new
bassoon quartet.
Having long had a keen interest in
tonal modern music, I was thrilled at the prospect of working with
a composer whose music spoke to me not only intellectually, but
on a deeply satisfying emotional level as well. Once I had immersed
myself in Mozetich’s recorded output,
I realized that I would not be content with just the commissioned
bassoon quartet, but that I wanted a concerto from him to play as
well. To my great joy, after the première of the bassoon
quartet, he agreed to my commission.
In preparation for composing a large-scale
work for bassoon and ensemble, Mozetich asked for recordings and
scores for the important works from the solo bassoon repertoire.
I supplied him with materials for concertos from both the 20th century
(Jolivet,
Françaix, and John Williams) and from before (Vivaldi,
Mozart, Weber, and Hummel). While he was very
impressed with the technical demands of the modern work, he was
most taken with the concertos of Antonio Vivaldi.
Perhaps in homage to Vivaldi, Mozetich
chose to accompany his bassoon soloist with string orchestra and
marimba, using the marimba somewhat as the harpsichord was used
in ensemble music in Vivaldi’s day - to provide forward propulsion,
and most particularly, to add articulation and colour to an otherwise
homogenous string ensemble. Beyond this reference to Baroque-era
"continuo" practice, one can also hear Vivaldi’s
influence in Mozetich’s use of fast repeated notes and sequences
of florid arpeggios for the bassoon. These superficial similarities
to the music of Vivaldi are, however, only departure points for
Mozetich. Both his basic musical materials, and the methods by which
he transforms and develops them would have been inconceivable to
Vivaldi and his contemporaries.
Herein lies the key to a contextual
understanding of Mozetich’s music: while he composes using
a 20th/21st century sound palette, his compositions are driven by
decidedly pre-20th century aesthetic values including the primacy
of melody, the functionality of comprehensible harmony, and recognizable
proportions of form. This quality of inhabiting two musical worlds
at once - modern sound idiom/pre-modern aesthetic values - is a
chief characteristic of the so-called Romantic Postmodern school
of composition, of which Mozetich is Canada's foremost exponent.
Concerto for Bassoon
and Strings with Marimba is an emotionally compelling,
lyrical, and virtuosic postmodern work that journeys into a sound
world at once invitingly familiar, and intriguingly new.
© 2004
Michael Sweeney
REVIEW
| ^
Critical
comment on Concerto for Bassoon and Strings with
Marimba
RIGHTS
| ^
Marjan Mozetich's compositions
are registered with SOCAN.
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