Sequenza21/The Contemporary Classical Music Weekly

Last Night in LA--Bassoons, Bassoons, Bassoons

Are you ready for a concert of bassoon music? Stravinsky would have loved the sounds last night, and the concert wasn�t just a musical oddity: it had real substance. Six works by six composers, played by four bassoonists, with two premieres, two other essentially-new serious works, and two chamber concertos for bassoon. The place of honor was deservedly given to Sofia Gubaidulina�s �Concerto for Bassoon and Low Strings� (1975), a work much bigger than its complement of bassoon, four cellos and three basses would indicate. This is a major composition.

Closing the first half was a near-concerto: �Huit pieces, pour basson et ensemble instrumental� by Philippe Hersant (1995), for bassoon and seven assorted instruments. Both works required virtuoso and advanced bassoon techniques, including multiphonic sounds, microtones, pitch blendings, and a range of voices and colors for the instrument.

Four of the composers were present for the concert. Opening the concert was a work by Marc Lowenstein, �T�shuvah� (2003) for bassoon and string quartet. This work had melodies and inflections from the Middle East, including some themes that danced in the ear. It was only slightly easier on the bassoonists than the two concertos.

The three remaining new works were for soprano, as well as bassoon, and the combination was a pleasant one. Mark Menzies, a CalArts man-of-all-talents, composed a quiet, contemplative work, �Adjure� (2004), to lyrics by Walt Whitman. A piano, played by Menzies, led the way, joined by the bassoon and then by a clarinet, until the singer voices quiet, firm resolution.

James Newton, whose name might be recognized as the Downbeat-winning jazz flutist, as well as professor and director of the jazz program at CalState LA, gave the premiere of �In a Moment, in the Twinkling of an Eye� (2004), to verses from First Corinthians. There were moments of jazz-like improvisational passages by the piano, bassoon and clarinet to leaven the deeply serious work.

The other premiere was David Roitstein�s �Five Poems by Mary Oliver� (2004) for soprano, bassoon, clarinet, and viola. People who program interesting new music, especially for festivals, should grab hold of this work. It doesn't have major technical challenges (you can imagine yourself picking up one of the parts), the lyrics are charming, and the music is very accessible.

REDCAT is the CalArts center for experimental and new works across the range of performing arts. It�s located in the Disney Hall complex and is a real asset to Los Angeles. Special notice is due to CalArts� professor and assistant Dean Julie Feves, a bassoon virtuoso herself, who organized this stimulating program and played the bassoon in the three works with soprano.

posted by Jerry Zinser 2/10/2005