I. strong, deliberate II. Ebb and flow throughout III. flat out
The International Double Reed Society
Premiered by Ben Kamins, bassoon and Jason Hardink, piano at the International Double Reed Society Annual Conference at Brigham Young University, Provo, Utah on July 24, 2008.
Libby Larsen Publishing
In three movements, Concert Piece for Bassoon and Pianocasts the bassoon in the role of minstrel/poet—a Broadway Bard, if you will—who has gathered us for a Tell about our culture’s expressiveness.
Our expressiveness, the way we speak, move, and communicate, is a deeply lyrical narrative combined with a syncopated, percussive, multi-inflected, and driving nature. I composed the music from this perspective.
The first movement of Concert Piece for Bassoon and Piano uses inflection and articulation to define the bassoon’s lyric melody as it moves over and around the piano’s driving, jazz-articulated music. Time and forward motion are suspended in the second movement, allowing room for the bassoon’s broadly lyrical lines to sing freely and emotionally. Bassoon and piano come together in the third movement for syncopated interplay in an abstract call-and-response dance.
m.11: F#2 - diamond note head means to depress the key silently.
m.20: the last chord of the measure should be a half note.
m.30: remove dot from low D.
m.33: the low Ds should only be one quarter long, and the triplet 16ths should go on the second half of the second beat.
The 7/8 measure that appears at m.5, 28, 38, 44, and 50 should be the same, pitch-wise, each time. The last chord should have an A-natural and G-natural in it. Also, beat 6, LH, top note should be Db each time.
m.16: second last chord, left hand should be B-natural
m.33: last note of left hand should be an F
m. 55: RH, beat 2, top note should be Eb.