Bassoon Quintet (Waterhouse)

Bassoon Quintet is the short name of a composition by Graham Waterhouse, which premiered in 2003. Waterhouse wrote the Quintet for Bassoon and String Quartet 2003 for the bassoonist Lyndon Watts.

History

Waterhouse wrote the Bassoon Quintet for a concert of his own works in the Gasteig on 5 October 2003. Chamber music for up to ten players, led by Yaron Traub, was listed in the Small Concert Hall, including the Piccolo Quintet. Lyndon Watts, first bassoonist with the Munich Philharmonic Orchestra, played the bassoon. The string quartet was formed by Odette bed, Kirsty Hilton, Isabel Charisius and the composer as a cellist.

A revised version was presented on March 14, 2011 in a chamber concert of the Bavarian Tonkünstlerverband. The soloist was again Watts, who also gave the world premiere of Bernd Redmann 's migrant for bassoon and string quartet and the first Finnish quartet of Jörg Duda. The strings were the members of the Munich Philharmonic Clément Courtin, Namiko Fuse and Konstantin Sell home.

On 11 November 2012, the quintet was performed in a concert for the 50th birthday of the composer, the Zimmermann Musikverlag hosted. In this publishing, the quintet will be published later.

Music

As in his Cello Concerto (1995 ) selected Waterhouse as a sequence of movements: slow introduction - fast - slow - fast. The introduction presents characteristic intervals and the wide ambit of the bassoon of three and a half octaves and into the mood of predominantly lyrical stance of the work. Restless energy (restless energy) determines the Allegro movement, a motif of four shades is thrown between cello and bassoon back and forth later figuration dominates the solo part.

The slow movement draws on memories of the composer of liturgical Armenian song, which he experienced at Easter 1996 in the Armenian part of Jerusalem. He describes: "A " wandering " line that always returns to itself, and the resonance of the massive, ancient stone walls are mirrored in the notation when fragments of song from instrument to instrument back and forth be enough."

The last sentence has more symphonic aspects. The strings and bassoons play arpeggiated motifs in open fifths and major sixth. The intervals of the introduction reappear in the strings. A virtuoso coda leads to the conclusion.