Sharman: At Dusk
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At Dusk (2003) was funded by Michael Sweeney.
solo bassoon | timpani | harp | strings
designation for Canadian broadcasters
Performance materials are in preparation and will be available through
the Canadian Music Centre.
Personnel heard on the mozart
and well beyond CD
June 9, 2003 - Glenn Gould Studio, Toronto - Michael
Sweeney and The Seiler Strings with harpist Erica Goodman and timpanist
has provided the following programme notes:
for solo bassoon, harp, timpani and strings, was written at the
request of soloist Michael Sweeney, to whom it is dedicated. It
is an adaptation of Nocturne for bassoon and piano, written
for Vancouver bassoonist, Christopher Millard.
"When I write for the bassoon
as a solo instrument, I am haunted by the words of a colleague:
'Ah, but the bassoon has a soul!' With its enormous range, and warm,
dark, somehow plaintive sound, I have no doubt his words are true."
Programme Notes from the mozart
and well beyond CD booklet:
began life as the first movement of Sharman's large-scale work for
voices and orchestra, Love, Beauty, Desire, composed in
2002 for the Vancouver Symphony Orchestra. While working on this
movement, which features a prominent part for solo bassoon, it occurred
to the composer to make an arrangement of it for bassoon and piano
for use on recital programmes. He dedicated this second version
to Christopher Millard, then principal bassoonist of the VSO (latterly, principal of the National Art Centre Orchestra), who gave
the première in recital at the Banff Centre (Canada).
For this recording, Sharman re-orchestrated
and reworked the second version, now accompanying the bassoon with
string orchestra, harp, and timpani. This third incarnation of the
work reclaims some of the lushness and colour of the full-orchestra
original while preserving the intimacy of the bassoon and piano
Composed in a Modernist idiom, Sharman's
work explores an atonal sound world devoid of any reference to pre-20th-century
compositional or stylist traditions. The miracle of modernist works
such as At Dusk is that they are able,
without referencing music before their time (that is, on their own
terms), to conjure something as ephemeral as the special quality
of the light and air just after sunset.
Critical comment on At
Rodney Sharman's compositions are registered with SOCAN.
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