Gordon Jacob: Bassoon Partita (1970)
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- เผยแพร่เมื่อ 23 ก.ค. 2024
- 00:00 - I. Preludio: Allegro molto
00:32 - II. Valse: Tempo di valse animato
01:34 - III. Presto: Presto assai
02:17 - IV. Aria antiqua: Andante
03:15 - V. Capricietto: Allegro molto
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Bassoon: Gabriel Beavers
Year of Recording: 2011
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"By the time the Partita for Solo Bassoon was written in 1970, the German system bassoon was now certainly the favored instrument in England, as well as in every other major country besides France, which remained biased toward the French bassoon. As a student of Archie Camden, Waterhouse agrees with his teacher’s description of the French bassoon tone as “reedy, and rather nasal” with more obvious differences in tone between high, middle, and low registers. The German bassoon, however, is described as sounding “full, round and even throughout." Jacob continues to employ compositional techniques in the 1970 Partita similar to those found in his 1947 Concerto for Bassoon and Strings. However, given the likelihood that the German bassoon was the instrument for which that work was written, it is clearly less important for the performer to observe the tendencies of the French bassoon in preparing a performance.
The Partita consists of five short movements, each exhibiting its own unique character. While the movements are unaccompanied, they seem to be more accessible to the listener due to the high number of recognizable patterns found within each movement. Some movements focus on pitch-class set patterns, others more on intervallic or melodic patterns, and then others contain clearer rhythmic patterns. Additionally, the short length of each movement contributes to the listenability of the work, given that none of the five movements are much longer than a minute, resulting in an entire work that is just over five minutes long.
The movements of the Partita contain segments that hearken back to the techniques and characters Jacob used in the bassoon concerto. Throughout the Partita, Jacob continues to employ complex compositional techniques that normalize the tritone interval. This is achieved in a slightly different manner in each of the Partita’s movements. Compositional forms in several of these movements are similar to typical forms of classical music, but are often compressed into shorter versions. This type of compression of form is typical in the works of other twentieth−century composers and fits into Jacob’s neo-classical style. The movements reference traditional suite forms, dance styles, and character styles, including a prelude, a waltz, and capriccio. Alongside these more traditional forms and memorable melodies, Jacob incorporates 20th-century harmonic devices such as the use of pitch-class sets and Neo Riemannian transformation-related chords and key areas. Rather than all of the movements being connected by pitch-class sets, they each contain their own unique personality and musical elements. Jacob does, however, continue his trend of writing music that maintains accessibility to the listener while employing complex compositional techniques." (Lindsey Wiehl)
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Elephant valse ?,Rush- hour traffic , a visitor of historical, archeological places, a small talk during the tea-time....etc..humorous pictures of
the life?
places
0:12 mistake on G sharp - it should be G natural
Third part, measure 18 - wrong notes
Second part, measure 12 - it should be played B flat, not B natural