Word: bassoon
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...actually written by Haydn or by his student Ignaz Pleyel. Regardless of the nature of his piece's thematic roots, Brahms effectively unearthed a simple, hymn-like melody and molded it into an intricately layered set of variations. Even if the talents of the oboe, clarinet, flute and bassoon players did receive the spotlight in most of the theme's airy permutations, the constant alteration of the string players' style-from pizzicato to spiccato to longer, lyrical bowstrokes--carried the listener through the eight variations and finale, all executed with swift precision under Silverstein's direction...
...performance produced ample evidence of the artistry behind the fame and of their notoriety in classical music circles. The concert consisted of three wood-wind concertos, a Flute Concerto in G by Johann Joachim Quantz, a concerto for bassoon and orchestra called The Five Sacred Trees by Williams and the Pied Piper Fantasy by John Corigliano. A small highlighted paragraph in the program booklet introduced this program as an experiment in concerto styles, setting forth the traditional three-movement Quantz concerto as a "control" for the more contemporary programmatic styles of the last two concertos. Even in this small paragraph...
...next piece was Williams' bassoon concerto, The Five Sacred Trees. According to Williams' program notes on his piece, it was inspired by the writings of poet Robert Graves about the prayers that ancient Celtic tribes incanted before felling a tree. While each tree had its own prayer, Williams invokes five: the great oak, Tortan, yew, ash and the Dathi tree. The work was commissioned by the New York Philharmonic for bassoonist Judith LeClair. In this week-end's performance, the solo bassoon part was played by the BSO's principal bassoonist Richard Svoboda, who has been with the orchestra since...
...there was a music performance concentration, I probably would have concentrated in it," says Shasa R. Dobrow '97, a bassoon player in Harvard-Radcliffe Orchestra (HRO) who decided to concentrate in biological anthropology instead...
Some parts of the ballet are simple and lyrical, such as a pastoral-sounding flute solo; others, like the bassoon's aggressive blats, are humorous. The most characteristic and memorable passages, however, are those involving several different rhythms and themes played simultaneously in different parts of the orchestra. That HRO could remain crisp and confident in even the most jagged parts of the score is worthy of applause. Katherine Evans' trumpet solos had a gorgeous tone seldom heard from student brass players and won her a well-deserved ovation. Friday night proved once again how lucky we are to have...