Concerto for Bassoon and Orchestra by Ellen Taaffe Zwilich: Background, Analysis, and Performance Application

Home , Contrabass, C minor, Ellen Taaffe Zwilich, Minor third, Musical phrasing

D.M.A. DOCUMENT

Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University

Emily Ann Patronik, M.M.

Graduate Program in Music

The Ohio State University

2013

D.M.A. Document Committee:

Karen Pierson, Advisor

Robert Sorton

Dr. Susan Powell

Emily Ann Patronik

2013

Abstract

Ellen Taaffe Zwilich’s Concerto for Bassoon and Orchestra was commissioned by the Pittsburgh Symphony for their principal bassoonist, Nancy Goeres and premiered in 1993. While this piece has been gaining popularity in the bassoon world, there are still many musicians that have never heard of it. Contemporary music can be intimidating to a performer because it is not as easily understood as the traditional music that precedes it.

As a result, some performers shy away from it and quality pieces never get the notoriety they deserve. The background information, analysis, and performance applications included in this document are meant to help musicians understand this concerto in the hopes that it will be less daunting and will receive more professional performances.

Background knowledge of the piece was compiled through telephone interviews with Zwilich and Goeres, newspaper and magazine articles, and information contained with the CD recording. The background information included is comprised of biographies of Zwilich and Goeres, a description of the commission, collaboration, and premiere performance, and information about the recording, piano reduction, and percussion part.

When analyzing this concerto, an analysis of harmonic tendencies, scales used, and a list of motives were completed. After conversation with the composer, an in-depth look at motivic development, contrast in texture, and the use of key intervals, particularly

ii the combination of a major and minor third and the half step, was focused on in depth.

An understanding of the theoretical aspect of the piece helps guide a performer’s musical decisions and aids in greater awareness of ensemble pitfalls.

The chapter on performance application is comprised of suggestions about fingerings, phrasing, articulations, breathing, and critical orchestral parts. These suggestions are not meant to dictate to a performer how the piece should be played, but rather a starting point to help bassoonists execute a difficult piece of music. The considerations are based on conversations with Zwilich, analysis, the recording that

Goeres made with the Pittsburgh Symphony, and my own interpretation and performance of the concerto.

Knowledge of Zwilich’s compositional techniques and ideas about performance aids in making this piece more accessible to interested bassoonists and musicians.

iii

This document is dedicated to my parents, Frank and Denise.

Acknowledgments

First, I would like to thank my advisor, Karen Pierson. Without her, I would not be the bassoonist and musician that I am today. She has helped me grow in so many ways and I will never be able to give her enough thanks.

I am grateful to have also studied with Christopher Weait. He also contributed greatly to my development as a bassoonist and I owe him many thanks. He continues to be a source of inspiration and encouragement to me.

I would also like to thank Ellen Taaffe Zwilich for taking the time to speak with me about her concerto and for giving me new ways to think about analyzing it. Also, thank you to Nancy Goeres for allowing me to interview her about her life and the concerto.

Thank you to the rest of my committee, Professor Robert Sorton, Dr. Susan

Powell, and Dr. Lora Dobos for all of your support and assistance through my degrees at

Ohio State.

I would also like to acknowledge my parents and grandparents. Without their love and support, I would not have had the same opportunities to continue music as a profession. I would also like to thank my Uncle Rick for teaching me how to read music on the piano and playing the tuba. If he had not played the tuba and not taught me about

v music, I would not have developed my fascination for low range instruments and would not have become a bassoonist.

Thank you to Kristilyn Woods for introducing me to this concerto and sparking my interest in learning, performing, and studying it further.

I would also like to thank my good friends, Jared, Jackie, and Johnny, for always being willing to help and encourage me throughout this process. You are some of the greatest friends I could ever hope for and I admire each of you for your musicianship, character, and professionalism. I learn so much from interacting with you every day and

I am honored to call you my friends.

Lastly, I would like to thank all of my friends and family for being supportive and motivating me throughout my degrees and career.

Vita

February 20, 1985 ...... Born – Sugar Land, Texas

2003 ...... Jackson High School – Jackson, Michigan

2007 ...... B.M. Bassoon Performance, Magna Cum

Laude, The Ohio State University

2009 ...... M.M. Bassoon Performance, The Ohio State

University

2007 to 2012 ...... Graduate Administrative Assistant, The

Ohio State University

2012 to present ...... Adjunct Professor of Bassoon, Mount

Vernon Nazarene University

Recordings

Southern Harmony. Performed by The Ohio State University Wind Symphony; conducted by Dr. Russel C. Mikkelson. Naxos 8.572342, 2009, compact disc.

Winds of Nagaul. Performed by The Ohio State University Wind Symphony; conducted by Dr. Russel C. Mikkelson. Naxos 8.570244, 2007, compact disc.

Fields of Study

Major Field: Music vii

Table of Contents

Abstract ...... ii

Acknowledgments ...... v

Vita ...... vii

Table of Contents ...... viii

List of Tables ...... xii

List of Figures ...... xiv

List of Abbreviations ...... xvi

Chapter 1: Introduction ...... 1

Interest in this Study ...... 1

Need for Study ...... 2

Procedures ...... 2

Chapter 2: Background Information ...... 5

Biography of Ellen Taaffe Zwilich ...... 5

Biography of Nancy Goeres ...... 7

Concerto Commission ...... 10

viii

Collaboration ...... 11

Premiere ...... 14

Recording ...... 15

Other Performances ...... 15

Piano Reduction and the Percussion Part ...... 16

Chapter 3: Overview Analysis ...... 18

Instrumentation ...... 18

Form/Tonal Centers ...... 19

Use of Intervals ...... 23

Octatonic Scales ...... 24

Motives ...... 25

Contrast in Texture ...... 31

Orchestration ...... 33

Chapter 4: Detailed Analysis ...... 35

Movement 1 ...... 35

Movement 2 ...... 54

Chapter 5: Performance Application ...... 73

Movement 1: ...... 74

General Comments ...... 74

Measures 1 through 19: Maestoso ...... 75

Measures 20 through 39 ...... 76

Measures 40 through 61: Allegro ...... 77

Measures 61 through 75 ...... 79

Measures 76 through 85 ...... 80

Measures 86 through 102 ...... 81

Measures 103 through 112: Tempo I ...... 82

Measures 113 through 121 ...... 82

Measures 122 through 131 ...... 83

Measures 132 through 145 ...... 84

Movement 2: ...... 85

Measures 1 through 24: Allegro molto ...... 85

Measures 25 through 52 ...... 88

Measures 53 through 84 ...... 89

Measures 85 through 111 ...... 91

Measure 112a through 112k: Cadenza ...... 92

Measures 113 through 116: Conducted ...... 93

Measure 117a through 117s: Free ...... 94

Measures 118 through 133 ...... 96

Measures 134 through 158: Allegro molto ...... 97

Measures 159 through 188 ...... 98

Measures 189 through 197 ...... 98

Measures 198 through 211 ...... 99

Measures 212 through 230 ...... 99

Chapter 6: Conclusion ...... 101

Bibliography ...... 103

Appendix A: Nancy Goeres Interview Transcription ...... 105

Appendix B: Motive Chart ...... 127

Appendix C: Location of Motives ...... 129

Appendix D: Fingering Charts ...... 143

Appendix E: Cadenza with Identified Measure Letters ...... 150

List of Tables

Table 1: Movement 1, Section A, mm. 1 to 39 ...... 19

Table 2: Movement 1, Section B, mm. 40 to 102 ...... 20

Table 3: Movement 1, Section A', mm. 103 to 145 ...... 21

Table 4: Movement 2, Section A, mm. 1 to 108 ...... 22

Table 5: Movement 2, Section B, mm. 109 to 133 ...... 22

Table 6: Movement 2, Section A', mm. 134 to 230 ...... 23

Table 7: Motive Chart ...... 128

Table 8: Motive 1, Mvt. 1 ...... 129

Table 9: Motive 1, Mvt. 2 ...... 130

Table 10: Motive 2, Mvt. 1 ...... 131

Table 11: Motive 2, Mvt. 2 ...... 131

Table 12: Motive 3, Mvt. 1 ...... 132

Table 13: Motive 3, Mvt. 2 ...... 132

Table 14: Motive 4a, Mvt. 1 ...... 133

Table 15: Motive 4a, Mvt. 2 ...... 134

Table 16: Motive 4b, Mvt. 2 ...... 136

Table 17: Motive 5, Mvt. 1 ...... 137

Table 18: Motive 5, Mvt. 2 ...... 137

xii

Table 19: Motive 6, Mvt. 1 ...... 138

Table 20: Motive 6, Mvt. 2 ...... 138

Table 21: Motive 7, Mvt. 1 ...... 138

Table 22: Motive 7, Mvt. 2 ...... 139

Table 23: Motive 8, Mvt. 1 ...... 139

Table 24: Motive 8, Mvt. 2 ...... 139

Table 25: Motive 9, Mvt. 2 ...... 140

Table 26: Motive 10, Mvt. 2 ...... 141

Table 27: Motive 11, Mvt. 2 ...... 142

Table 28: Standard Fingerings ...... 143

Table 29: Alternate Fingerings ...... 145

xiii

List of Figures

Figure 1: Octatonic Scales ...... 24

Figure 2: Motive 1 ...... 25

Figure 3: Motive 2 ...... 26

Figure 4: Motive 3 ...... 26

Figure 5: Motive 4a ...... 27

Figure 6: Motive 4b ...... 27

Figure 7: Motive 5 ...... 28

Figure 8: Motive 6a and 6b ...... 28

Figure 9: Bassoon Solo, mm. 12 to 14 ...... 29

Figure 10: Motive 7 ...... 29

Figure 11: Motive 8 ...... 30

Figure 12: Motive 9 ...... 30

Figure 13: Motive 10 ...... 31

Figure 14: Motive 11 ...... 31

Figure 15: Bassoon and Contrabass, mm. 16 to 20 ...... 32

Figure 16: Bassoon (top) and Viola (bottom), mm. 43 to 48 ...... 32

Figure 17: Piccolo (top) and Bassoon (bottom), mm. 75 to 80 ...... 33

Figure 18: Movement 1, mm. 1 to 8 ...... 37

xiv

Figure 19: Bassoon, mm. 14 to 16 and Violin II, mm. 28 to 30 ...... 41

Figure 20: Violin II, mm. 31 to 32 and Oboe, mm. 49 to 51 ...... 44

Figure 21: Percussion (top) and Bassoon (bottom), mm. 79 to 83 ...... 48

Figure 22: Bassoon and Cello, mm. 139 to 140 ...... 54

Figure 23: Bassoon, Mvt. 1, m. 46 and Viola, Mvt. 2, mm. 24 to 25 ...... 58

Figure 24: Percussion, Bassoon, and Strings, mm. 226 to 230 ...... 72

Figure 25: Bassoon Fingering Octave Notation ...... 74

Figure 26: Bassoon Cadenza, m. 112 ...... 150

Figure 27: Bassoon Cadenza, m. 117 ...... 151

List of Abbreviations

b: contrabass bcl: bass clarinet bsn: bassoon bt: beat bts: beats ca: circa cl: clarinet in Bb clo: cello enhn: english horn fl: flute frhn: french horn m: measure mm: measures mvt: movement ob: oboe pic: piccolo tb: trombone tpt: trumpet

xvi vla: viola vln I: violin I vln II: violin II vlns: violins

xvii

Chapter 1: Introduction

Interest in this Study

I became interested in twentieth century music and theory during my sophomore year, while participating in the music theory sequence classes. My professor at the time,

Dr. Don Gibson, instilled a passion for analyzing and interpreting new music that was harmonically complex. My interest in this particular piece was sparked when I was searching for a concerto to play for the Doctor of Musical Arts concerto competition at

The Ohio State University. I did not want to play one of the standard bassoon concertos that are frequently performed and I wanted to choose a piece that had been composed recently. I began asking friends and colleagues about contemporary pieces that I could investigate. My friend, Kristilyn, told me to look up Concerto for Bassoon and

Orchestra by Ellen Taaffe Zwilich. I bought the music and recording and instantly fell in love with the piece. I subsequently won the D.M.A. concerto competition and was fortunate to perform the piece with the OSU Symphony Orchestra. Many people commented that they loved the concerto, but had never heard of it or Zwilich before. I decided that I wanted to delve deeper into the piece through analytical research and attempt to expose more people to this wonderful concerto.

Need for Study

Nancy Goeres, principal bassoonist in the Pittsburgh Symphony, premiered

Zwilich’s Concerto for Bassoon and Orchestra in 1993. While the concerto has been performed throughout the country, in my opinion, it has not received the professional recognition that it deserves. Most of the performances have been in an academic setting and very few have been with professional orchestras. Also, unlike many of Zwilich’s other wind concertos, her bassoon concerto has never been researched in depth.

Twentieth century music can seem overwhelming to a performer because it frequently uses atypical harmonic, melodic, and rhythmic techniques. The purpose of this document is to make Zwilich’s Concerto for Bassoon and Orchestra more accessible and comprehensible to bassoonists in the hopes that it will receive more recognition and performance.

Procedures

In the general analysis chapter, the instrumentation of the piece is included with the overall form of the concerto and identifiable tonal centers. When determining tonal centers, I observed the outlined chord in the accompaniment and then analyzed how the melodic lines fit within that chord. There are occasions where there is more than one tonal center occurring. In these instances, I listed both. I did not state the major or minor tonal center for the chords because most of the piece is a combination of both simultaneously. I also included recurring techniques that are used throughout the concerto. The concepts that I focus upon in this document are the use of the major and

2 minor third, half step, octatonic scale patterns, motives, contrast in texture, and orchestration.

While it is not absolutely necessary to have a score when reading this document, it is ideal to be able to reference the music. If an orchestral score is not available, then the piano reduction will suffice. In sections where the cadenza is described, letters were assigned to each of the submeasures to clarify the measures being discussed. These assigned letters are shown in Appendix E. When analyzing this piece, octave and pitch equivalency were assumed. First, I compiled an in-depth analysis of harmonic and intervallic tendencies, identified tonal centers, and identified some motivic use. I went through the piece measure by measure and tried to determine the harmonic techniques

Zwilich employed. After discussion with the composer, I decided to focus more on motivic development, how the entire piece relates to the opening of the first movement, contrast in texture, and the use of the half step interval. My final analysis was sent to

Zwilich for comments and approval.

Zwilich often uses a triad or flat seventh chord with both the minor and major thirds simultaneously. When referring to these chords, I identify them with the root along with either minor/major triad or minor/major flat seventh chord. For example, if the pitches being used are D, F, F#, A, and C, I would refer to this chord as a D minor/major flat seventh chord.

I used information gathered in my interview with Zwilich, the recording of Nancy

Goeres playing the concerto, and my own ideas based on my analysis and performance to formulate suggestions for a performer. The performance application chapter includes

3 notes about fingerings, phrasing, articulations, breathing, and significant orchestra parts.

They are suggestions meant to provide a bassoonist with a starting point for learning this concerto.

Chapter 2: Background Information

Biography of Ellen Taaffe Zwilich

Ellen Taaffe Zwilich was born on April 30, 1939 in Miami, Florida. She was adopted by Ruth and Edward Taaffe.1 Neither of her adoptive parents was musical.

Edward was an airline pilot and Ruth was a homemaker.2 Starting at a very young age,

Zwilich improvised and created pieces on the family piano. As she matured, she began to notate them.3 She began taking piano lessons at age five and preferred to write her own music for them.4 While in high school, she was the concertmistress of the school orchestra and a first trumpet in the band. She also made arrangements for the band and served as a student conductor for both the band and orchestra.5

Zwilich received a bachelor’s degree and a master’s degree in music from Florida

State University. During her undergraduate years, she was an active composer and performer. Once again, she worked her way up to concertmistress of the Symphony

Orchestra and first chair trumpet in the Symphonic Band.6 Her compositions were also performed by chamber ensembles, the Symphonic Band, FSU Symphony, and the

1 Jane Weiner LePage, Women Composers, Conductors, and Musicians of the Twentieth Century (London: The Scarecrow Press, Inc, 1983), 340. 2 Ken Terry, “Ellen Taaffe Zwilich,” BMI: The Many Worlds of Music no. 2 (1983): 47. 3 LePage, Women Composers, 340. 4 Peter Burwasser, “Ellen Taaffe Zwilich Talks About Her Music,” Fanfare 26 (2002): 19. 5 LePage, Women Composers, 341. 6 Ibid. 5

Tallahassee symphony. She was also the recipient of awards for some of the pieces that she composed while at Florida State.7 John Boda and Carlisle Floyd were her composition teachers and Richard Burgin was her principal violin teacher at Florida

State.

In 1964, Zwilich moved to New York City. She studied the violin with Ivan

Galamian and for seven years, she was a violinist in the American Symphony Orchestra, conducted by Leopold Stokoswki. Zwilich commented, “Playing in an orchestra was an immeasurably valuable experience for me as a composer, primarily because I don’t believe you can learn music in a passive way. There are so many things about music that a composer can only learn by performing. Then, too, we had many excellent conductors, so I had the opportunity to observe first-hand many different perspectives on music.”8

During her tenure with the American Symphony Orchestra, she performed under the batons of Ernest Ansermet, Karl Böhm, Eugen Jochum, Paul Kletzki, Aram

Khachaturian, Igor Markevitch, Yehudi Menuhin, André Previn, and Gunther Schuller.9

She later went to Juilliard to pursue a doctorate in composition. In 1975, she became the first woman to earn a Doctor of Musical Arts degree in composition, from Juilliard. Her composition professors were Roger Sessions and Elliott Carter.

She married Joseph Zwilich, a violinist in the Metropolitan Opera Orchestra. He died, suddenly, from a heart attack in 1979. This prompted Zwilich to compose her

Chamber Symphony in his memory. She became the first woman to win a Pulitzer Prize

7 Ibid. 8 Ibid, 341-342. 9 Ibid, 342. 6 in music composition, for her Symphony No. 1 (Three Movements for Orchestra) in 1983.

The American Composers Orchestra, conducted by Gunther Schuller, premiered this work in New York City, in Alice Tully Hall.10

Currently, she lives in New York City and continues her career composing music.

She most recently completed a piece for a cappella chorus and children’s chorus titled

Memorial. While she does not play violin professionally anymore, she plays through her compositions for strings on her violin. She is also a visiting professor at Florida State

University and travels there biannually to teach.11

Biography of Nancy Goeres

Nancy Goeres was born in Lodi, Wisconsin, a small city outside of Madison.

Even though Goeres’ parents were not involved with music professionally, her mother conducted the church choir and her father sang in it. They met in their college choir but that was the extent of their involvement in music. She has an older and a younger sister that are also still involved in music. Her younger sister attended Juilliard on the flute and is currently a freelance musician in New York City. Her older sister was a music education major at Northwestern University and is a collaborative pianist at the

University of Wisconsin in Madison. Her much younger brother used to play the trumpet but now runs their father’s business.12

At age seven, Goeres began playing the piano. Her family owned three pianos so that each sister could practice on their own piano. She began playing the bassoon at age

10 “Ellen Taaffe Zwilich Wins Pulitzer Prize,” International Musician 38 no. 3 (June/July 1987): 83. 11 Ellen Zwilich, telephone interview with author, March 7, 2013. 12 Nancy Goeres, telephone interview with author, Feb. 9, 2013. 7 eleven, during the summer, before her sixth grade year. Her older sister, a clarinetist, told her that there were not any bassoons in the band and “they had challenges and auditions every week for their chairs in the clarinet section, so she said play the bassoon.” Even though Goeres did not know what the bassoon was, she decided to take her sister’s advice and she instantly fell in love with it.13

In seventh grade, Goeres began playing in the Wisconsin Youth Symphony, in

Madison. She concurrently began studying with Richard Lottridge, the bassoon professor at the University of Wisconsin in Madison at the time, and former bassoonist and contrabassoonist of the Chicago Symphony Orchestra. She continued studying with him through the twelfth grade. During the summer before her junior year of high school, she attended the Tanglewood Music Center and met Sherman Walt, the principal bassoonist of the Boston Symphony Orchestra. Subsequently, Goeres decided that she wanted to study with him in Boston when she went to college. Goeres grew up in a small town and wanted the experience of a large university. At the time, Sherman Walt was the bassoon professor at New England Conservatory and Boston Conservatory, two very reputable but very small schools. Goeres was permitted to attend Boston University and still study with Walt. As well as a larger campus, Boston University also offered more academic classes. While there, she enjoyed classes on Shakespeare, literature, and linguistics, in addition to her music classes.14

The summer before her third year at Boston University, she won a principal bassoon position with the Florida Orchestra in Tampa. During her time with the Florida

13 Ibid. 14 Ibid. 8

Orchestra, she traveled back and forth between Boston and Tampa and completed her degree at Boston University. Some of her credits from Tanglewood were used for chamber music and orchestral requirements at Boston University.

After playing in the Florida Orchestra for a few years, she served for one year as principal bassoonist in the Caracas Philharmonic, in Venezuela. While in Caracas, she traveled to Cincinnati to audition for and won a one year principal bassoon position with the Cincinnati Symphony. In September of 1983, after playing with the Cincinnati

Symphony for a year, she won the principal bassoon audition for the Pittsburgh

Symphony Orchestra. The appointment with the PSO did not start until 1984, so that year she played with the Florida Symphony in Orlando. The 1984-85 season was her first as principal bassoon with the Pittsburgh Symphony, the position she currently holds.

In addition to playing with the PSO, Goeres also teaches the bassoon at Carnegie

Mellon University and performs and teaches at the Aspen Music Festival every summer.

She also regularly plays and teaches at the Sarasota Music Festival and the Santa Fe

Chamber Music Festival, in the summer. According to the PSO, “Goeres has also given master classes in Europe, Canada, Mexico, South America, and returns frequently to

China. In the U.S., she often works with the students of the New World Symphony in

Miami Beach, the Juilliard School, and the Curtis Institute of Music.” 15

In addition to playing Ellen Zwilich’s Concerto for Bassoon and Orchestra, with the Pittsburgh Symphony, Goeres has performed John Williams’ Five Sacred Trees,

Wolfgang Amadeus Mozart’s Concerto in Bb, K191, Gioacchino Rossini’s Concerto, and

15 “Goeres, Nancy,” Pittsburgh Symphony Orchestra, accessed Feb. 15, 2013, http://pso.culturaldistrict.org/pso_home/biographise/musicians/goeres-nancy. 9

Joseph Haydn’s Sinfonia Concertante on major subscription concerts.16 In June of 2011, she also premiered Alan Fletcher’s Bassoon Concerto.

Concerto Commission

Ellen Taaffe Zwilich’s Concerto for Bassoon and Orchestra was commissioned by the Pittsburgh Symphony Society with assistance from AT&T17 and dedicated to

Lorin Maazel, Nancy Goeres, and the Pittsburgh Symphony Orchestra.18

Maazel “instituted an annual commission for a concerto to be premiered toward the end of each season by one of the orchestra’s principal players.”19 When discussing the commissions, Lorin Maazel stated that,

I was doubly motivated in commissioning American composers to write concerti for soloists of the Pittsburgh Symphony: the music would celebrate the centennial season of a major American orchestra (1995-1996) and would provide vehicles for soloists selected among the forty-odd musicians. I had engaged as part of an eight-year restructuring program designed to place the PSO in the forefront of the baker’s dozen of the world’s top symphonic ensembles.20

The executive director of the Pittsburgh Symphony Orchestra, at the time, consulted with

Maazel and they decided to commission a concerto for Nancy Goeres, for the 1992-93 season. Friends of Goeres’ had written pieces for her, but since this was her first large scale commission, it served as a great opportunity. She was asked to choose the

16 Ibid 17 “Pittsburgh Symphony Orchestra Premieres,” Pittsburgh Symphony Orchestra, accessed March 4, 2013, http://www.pittsburghsymphony.org/announce10- 11/psopremieres.pdf. 18 Ellen Taaffe Zwilich, Concerto for Bassoon and Orchestra, (King of Prussia, PA: Theodore Presser Company, 1992), title page. 19 Robert Croan, “Concerto Comes to Life,” Pittsburgh Post-Gazette, May 14, 1993. 20 Howard Klein, liner notes for Lees: Concerto for French Horn and Orchestra, Leonardo Balada: Music for Oboe and Orchestra: Lament from the Cradle of the Earth, Ellen Taaffe Zwilich: Concerto for Bassoon and Orchestra, Pittsburgh Symphony Orchestra, World Records 80503-2, 1996, Compact Disc. 10 composer who would write her concerto. After considerable thought, Goeres decided on

Ellen Zwilich because she liked her music. Nancy stated, “We were lucky that it worked out,” as Zwilich had just won the Pulitzer Prize for music in 1983, and she was “a hot commodity.”21

Zwilich had never considered writing a solo piece for the bassoon and thought it was a wonderful idea since she had only written for it in an orchestral setting.22 When asked about writing a concerto for an uncommon instrument, such as bassoon, she said,

The bassoon is an instrument that I do not play at all. I feel ashamed to say this, but I don’t know why anybody would want to. It is a very temperamental instrument: all wood and cork. You have to make your own reeds, and it doesn’t like any kind of weather. But I love the sound of it. My interest is in the karma, the soul of the instrument, and I wanted to learn as much as I could, listen to the sound and talk to the soloist I was writing for. Then one day, I woke up and I felt that if I opened my mouth, a bassoon sound would come out. And I knew I was ready to go!23

Collaboration

After Zwilich agreed to compose a concerto for Goeres, they met in New York, in

Avery Fisher Hall, while Nancy was on tour with the PSO.24 Goeres played “all sorts of things for [Zwilich, while] she walked around to see how the bassoon sounded in the hall.”25 Many instruments sound different when on different parts of the stage and in different parts of the auditorium but Zwilich said, “The sound was not different with the

21 Nancy Goeres. 22 Ellen Zwilich. 23 Neil Swinkels, “Ellen Taaffe Zwilich: Composed Inspiration,” San Francisco Classical Voice, accessed March 4, 2013, http://www.sfcv.org/events-calendar/artist- spotlight/ellen-taaffe-zwilich-composed-inspiration. 24 Ellen Zwilich. 25 Nancy Goeres. 11 bassoon.”26 Zwilich asked Goeres questions about what she liked to play, what instrumentation she would like to have, and what music she liked. Since Zwilich did not play the bassoon, she also wanted to know, “What is the range, what is the comfortable range, about trills, about down slurs, about what is easy and what is hard.”27 While listening to Goeres play, Zwilich thought, “Her playing was remarkably vocal. It made me realize how wonderfully vocal the bassoon is. I wanted to emphasize that. The bassoon is tremendously agile. Like a string instrument, it can carry on more than one voice line at a time.”28

Zwilich faxed Goeres sections of the solo while composing, and in turn, Goeres provided her with advice and feedback. Zwilich originally wrote a high F in the cadenza, of the second movement and Goeres told her that if she left it in there “it would be known as the piece with a high F in it,” and she would “have to find a specialty bocal.”29 This was the one concession that Zwilich gave Goeres.

They met again in New York, in a room at Juilliard, and Zwilich played through the first movement on piano, and played the percussion rhythms on the piano lid.30 After completing most of the first movement, Zwilich asked Goeres if it was difficult enough

26 Ellen Zwilich. 27 Nancy Goeres. 28 Robert Croan, “Symphony to Premiere Special Concerto for its Bassoonist,” Pittsburgh Post-Gazette, May 13, 1993, C-4. 29 Nancy Goeres. 30 Ellen Zwilich. 12 and Goeres responded that it could be more difficult.31 Zwilich stated that, “This was like waving a red flag at a bull,”32 and then wrote the second movement.

The entire collaboration process took about a year and Goeres had the finished copy sixth months prior to the performance. The piano reduction was not yet made, so when Goeres received the entire orchestral score and solo, she had a pianist read through the score for rehearsal purposes. Goeres heard the actual orchestral accompaniment in the first rehearsal.33

Once the rehearsals started, Zwilich made very little adjustments to the score, mainly just alterations of dynamics and accents. When the orchestra initially played through the F# crescendo section, Zwilich told Maazel that it was not working and she would change it. He just asked for another chance. According to Goeres, “It’s supposed to sound continuous and that was one of the things Maazel was really great about creating and that doesn’t always work.”34

Goeres and Zwilich talked a lot about balance and the issues that can occur when balancing the bassoon with the orchestra.35 Zwilich stated that, “Sometimes the bassoon is like the mortar in a brick wall. It may bind and color the wind section but does not always register as a principal character.” She was determined that the bassoon would not have to fight to be heard and orchestrated the concerto appropriately. When composing a new piece, she designs an orchestra that is right for the piece and instrument she is

31 Nancy Goeres. 32 Ellen Zwilich. 33 Nancy Goeres. 34 Ibid. 35 Ibid. 13 writing for. The soloist is in front of the orchestra for a reason so they should not be lost in the texture during the piece.36

Premiere

The concerto was premiered on May 13, 1993. Also on this concert was

Gioacchino Rossini’s “La Gazza Ladra” Overture and Symphony No. 2 by Johannes

Brahms.

The concerto was well received at the premiere. According to Zwilich, “the audience had a beautiful reaction and all had a good time.”37 Robert Croan of The

Pittsburgh Post-Gazette, stated that,

The new 17-minute concerto has an opening movement that might be called Brahmsian in its majesty and emphasis on the low, dark sonorities. Once the solo instrument enters, Zwilich exploits the broadness of its range and lyrical potential. Echoes of Shostakovich come to mind, but the musical personality that emerges is very much Zwilich’s own.

It is in its livelier second movement that this concerto really comes to life, with a marvelous cadenza that shows just about every aspect of the instrument.

Goeres was simultaneously a master of her instrument but also an eloquent orator – singer with notes untouched by any human voice – and Maazel created a meaningful setting for her flights of expression and agility.38

The Cleveland Plain Dealer’s Donald Rosenberg stated that, the concerto is “a handsome, haunting work that should have no trouble finding its way onto orchestral programs for years to come.”39 He also said that, “at the end, Zwilich and Goeres won a

36 Ellen Zwilich. 37 Ibid. 38 Croan, “Concerto Comes to Life,” 6. 39 Donald Rosenberg, “Bassoon Concerto a Haunting Work,” Cleveland Plain Dealer, May 15, 1993, 4F. 14 warm reception and received large bouquets.” 40 Also, the concert was considered one of the top 10 performances in Pittsburgh, in 1993, by the Pittsburgh Post-Gazette.41

Recording

The concerto was recorded by Goeres and the PSO, in May of 1996, at the Heinz

Hall for the Performing Arts, in Pittsburgh, PA, and released under the New World

Records label.42 This CD represents a small portion of the concertos commissioned during Maazel’s time with the PSO. Included on this recording are the Concerto for

French Horn and Orchestra by Benjamin Lees, commissioned for William Caballero, principal horn of the PSO, and Music for Oboe and Orchestra: Lament from the Cradle of the Earth by Leonardo Balada, commissioned for Cynthia Koledo DeAlmeida, principal oboist of the PSO. There are no other recordings of Zwilich’s Concerto for

Bassoon and Orchestra at this time.

Other Performances

After the premiere, Goeres played the concerto at the International Double Reed

Society conference and at the Aspen Music Festival. She also brought the concerto to

Havana, Cuba for a cultural exchange program in 2004. While in Cuba, she gave master classes and performed the concerto with the Havana Symphony. In April of 1995,

Juilliard used the concerto as the required piece for the bassoon concerto audition. Albie

Micklich won the concerto audition and played the New York premiere of Concerto for

40 Rosenberg, “Bassoon Concerto a Haunting Work, 4F. 41 Robert Croan, “1993 in Review Top 10: Pittsburgh’s Classical Music Concerts,” Pittsburgh Post-Gazette, Dec. 26, 1993, E-3. 42 Howard Klein, Liner notes. 15

Bassoon and Orchestra, in Avery Fisher Hall.43 The concerto has since been performed by other bassoonists at the International Double Reed Society conference and with a couple of professional orchestras. Most of the performances have been in an academic setting.

Piano Reduction and the Percussion Part

The piano reduction was made by Zwilich in 1994. The reduction,

Was prepared to coach the bassoon soloist for orchestral performance. For this reason, some orchestral dynamics that cannot be observed by a pianist, and percussion cues, have been indicated. When performed in a recital, the pianist should feel free to adapt and simplify the piano part as needed.44

Due to thick textures and harmonies that Zwilich uses, the piano reduction is not ideal for recital performance. Most of her concertos do not work well with piano because she does not compose at the piano and then orchestrate.45 Goeres had students that were interested in performing the bassoon concerto, but when performed with the just piano, the piece seemed like it was missing too much and was not successful. She discussed with

Zwilich, the possibility of performing the piece with piano and the percussion part.

They agreed that the percussion part does help the piece to be effective with piano reduction.46 The percussion plays an important role in this concerto. Throughout the piece, the percussionist and bassoonist frequently engage in dialogue and it is not possible to replicate most of it with the piano. Currently, the percussion part is sold

43 “Arizona State University, “Albie Micklich,” Arizona State University, http://herberger institute.asu.edu/faculty/selectone.php?ID=282 (accessed Feb 3, 2013). 44 Ellen Taaffe Zwilich, Concerto for Bassoon and Orchestra, Solo Bassoon and Piano Reduction, (King of Prussia, PA: Merion Music, Inc, 1994), 2. 45 Ellen Zwilich. 46 Nancy Goeres. 16 individually and a bassoonist can choose whether to perform the piece with just piano or piano and percussion.

Chapter 3: Overview Analysis

Instrumentation

Piccolo

Flute

Oboe

English horn in F

Clarinet in Bb

Bass Clarinet in Bb

2 Horns in F

Trumpet (part in “C”)

Trombone

Percussion (1 player) Large suspended cymbal Sizzle cymbal Medium suspended cymbal Closed hi-hat Piccolo snare drum SATB tom toms, very high pitched, sounding more like bongos than tom-toms Small splash cymbal Medium and small pedal bass drums

Solo Bassoon

Strings47

47 Zwilich, Concerto for Bassoon and Orchestra, ii. 18

Form/Tonal Centers

Concerto for Bassoon and Orchestra is a two movement work. The overall form of this concerto strays from the typical concerto. In general, concertos are made up of three movements that follow the pattern fast, slow, fast respectively. In Concerto for

Bassoon and Orchestra, the first movement is mainly slow, with a quick middle section and the second movement is very rapid.

The first movement is written with the large scale form of A – B – A’. The first

A-section is marked “Maestoso” at quarter note equals ca. 60 and takes place from mm. 1 to 39. The A-section opens with a tutti portion that involves most of the orchestra. The tutti section is followed by sixteen measures of bassoon solo with minimal string and no wind accompaniment. The A-section closes with a twelve measure tutti phrase that once again includes the wind instruments. Table 1 shows the tonal centers of the A-section.

Measures Type Tonal Centers mm. 1 – 2: Bb mm. 3 – 6: A moving mm. 1 – 11 Tutti to D mm. 7 – 11: D mm. 12 – 13: D mm. 12 – 19 Solo mm. 14 – 19: F mm. 20 – 21: E to F# mm. 22 – 23: F# mm. 20 – 27 Solo m. 24: F mm. 25 – 27: E mm. 28 – 33: F# mm. 28 – 39 Tutti mm. 34 – 39: D Table 1: Movement 1, Section A, mm. 1 to 39

The B-section is marked “Allegro” at quarter note equals ca. 126 and takes place from mm. 40 to 102. The Allegro portion is made up, almost entirely, of bassoon solo 19 material with few tutti interjections. Table 2 shows a phrase breakdown and tonal centers of the B-section.

Measures Type Tonal Centers mm. 40 – 41 Percussion Intro F mm. 42 – 43: F mm. 42 – 51 Solo mm. 44 – 47: E mm. 48 – 51: C# mm. 52 – 61 Solo mm. 52 – 61: D mm. 62 – 65: C# mm. 62 – 69 Solo mm. 66: E and D mm. 67 – 69: E mm. 70 – 73: E mm. 70 – 75 Solo mm. 74 – 75: movement to C mm. 76 – 77 Tutti, Transition Material C to B mm. 78 – 79: Bb mm. 78 – 85 Solo mm. 80 – 83: A mm. 84 – 85: F mm. 86 – 89: Bb mm. 90 – 93: C# mm. 86 – 96 Solo mm. 94 – 96: movement to F Percussion solo with bsn solo mm. 97 – 102 F at end Table 2: Movement 1, Section B, mm. 40 to 102

The A’-section is marked “Tempo I,” returning to the opening tempo of quarter note equals ca. 60, and takes place from mm. 103 to 145. This is the first time the entire orchestra has played a prolonged melody since the end of the A-section. This passage begins with a tutti part that is similar to the opening of the movement with added bassoon interjections. The bassoon gradually becomes the main voice again and continues through the end of the movement. Table 3 shows the division of the A’-section.

Measures Type Tonal Center mm. 1 – 2: F mm. 3: movement to Tutti with bsn interjections E mm. 103 – 115 and bassoon takes role of mm. 4 – 11: E brass in mm. 113 to 115 moving to B mm. 112 – 115: B Solo with two measure mm. 116 – 118: B mm. 116 – 123 woodwind interjection in mm. 118 – 123: F/F# mm. 122 to 123 mm. 124 – 132: mm. 124 – 134 Solo D/D# mm. 133 – 134: D# mm. 135 – 138: D# mm. 135 – 145 Solo mm. 139 – 145: D Table 3: Movement 1, Section A', mm. 103 to 145

The second movement is also written with the large scale form of A – B – A’.

The A-section is marked “Allegro molto” at quarter note equals 168 and is made up of mm. 1 to 108. The bassoon and the orchestra alternate playing throughout this section.

Table 4 shows the progression of the A-section. The B-section is mostly made up of a cadenza that occurs in the opening tempo, from the first movement. This segment takes place from mm. 109 to 133. The B-section ends with a tutti passage that is similar to material from mm. 28 to 39, of the A-section, in the first movement. Table 5 shows tonal centers for the B-section. The A’-section is also marked “Allegro molto” at quarter note equals 168 and mm. 134 to 230 make up this portion. This passage starts with material that is exactly the same as the opening of the movement raised a whole step. Additional material is added at the end to bring the piece to a close in the same tonal center it began.

The tonal centers of the A’-section are shown in table 6.

Measures Type Tonal Center mm. 1 – 4: D mm. 1 – 10 Tutti mm. 5 – 7: E mm. 8 – 10: Bb mm. 11 – 14: F# mm. 15 – 16: B mm. 11 – 23 Solo mm. 17 – 19: F# mm. 20 – 23: F mm. 24 – 26: D# mm. 24 – 39 Tutti mm. 27 – 34: D mm. 34 bt. 3 – 39: G mm. 40 – 43: G mm. 44 – 47: C mm. 40 – 52 Solo mm. 48 – 50: G to D# mm. 51 – 52: D# mm. 53 – 55: C mm. 53 – 61 Tpt/Tbn mm. 56 – 59: C# mm. 60 – 61: E to G# mm. 62 – 67 Tutti G/G# mm. 68 – 70: G mm. 71 – 78: C# mm. 68 – 84 Solo mm. 79 – 82: Bb mm. 83 – 84: C to D# Tutti with Bassoon growing mm. 85 – 108 out of texture starting at m. D 95 Table 4: Movement 2, Section A, mm. 1 to 108

Measures Type Tonal Center mm. 109 – 111 Solo, Transition to cadenza B mm. 112 (11 Cadenza, Free B to Bb to Eb to F submeasures) mm. 113 – 116 Solo with Vln. II, conducted D mm. 117 (19 Cadenza, Free submeasures) mm. 118 – 124: F mm. 118 – 127 Tutti mm. 125 – 127: C# mm. 128 – 133 Solo C# Table 5: Movement 2, Section B, mm. 109 to 133

Measures Type Tonal Center mm. 134 – 138: E mm. 134 – 144 Tutti mm. 139 – 141: F# mm. 142 – 144: C mm. 145 – 148: G# mm. 149 – 150: C# mm. 145 – 157 Solo mm. 151 – 153: G# mm. 154 – 157: G mm. 158 – 160: F mm. 158 – 173 Tutti mm. 161 – 167: E mm. 167 bt. 3 – 173: A mm. 174 – 177: A mm. 178 – 181: D mm. 174 – 188 Solo mm. 182 – 186: A to F# mm. 187 – 188: F# mm. 189 – 191: Eb mm. 189 – 197 Bsn/Tb mm. 192 – 195: E mm. 196 – 197: G# to B mm. 198 – 204 Tutti Bb/B mm. 205 – 207: G mm. 205 – 211 Solo mm. 208 – 211: C# mm. 212 – 216 Tutti C# mm. 217 – 221: D mm. 217 – 230 Tutti with bsn interjection mm. 222 – 230: Bb Table 6: Movement 2, Section A', mm. 134 to 230

Use of Intervals

Zwilich presents a minor third, a major third, and a half-step in the first two measures, of the first movement. These intervals are the building blocks of the entire piece. The first movement starts with a sustained Bb while a Bb and Db are arpeggiated.

The Bb is still held in the second measure, but the arpeggio pattern beneath is A – C# –

Bb – C#. This is a combination of a major and minor third and the A creates a half step against the sustained Bb. Since the minor third occurs more frequently in the first two measures, it becomes a dominant interval. The movement of a half-step from the Bb to

A, creates the major third. These intervals are often presented simultaneously, creating tension and release as the half-step is resolved. 23

Octatonic Scales

Like many contemporary composers, Zwilich does not always implement the use of traditional major and minor scales. One scale that she uses frequently is the octatonic scale. Octatonic scales are made up of eight pitches that alternate between a whole step and a half step. There are only three possibilities for octatonic scales. Figure 1 shows the three possible octatonic scales:

Figure 1: Octatonic Scales

While the octatonic scale can begin on various pitches, it will essentially be the same as one of these scales. The octatonic scale is also known as the diminished scaled because it is made up of two diminished seventh chords combined.48 A diminished seventh chord is made up of three minor thirds stacked on top of each other. These chords create a larger amount of minor thirds than other scale patterns.

48 Stefan Kostka and Dorothy Payne, Tonal Harmony Fifth Edition (Boston: McGraw Hill, 2004), 477. 24

Motives

Characteristic of Zwilich’s writing is the frequent use of motivic ideas. This technique is used often throughout her bassoon concerto. Many of the ideas for the piece are presented in the opening section, of the first movement. According to Kostka and

Payne, a motive is “the smallest identifiable musical idea,” and “it is best to use motive to refer only to those musical ideas that are developed.”49 When determining what constituted as a motive in Concerto for Bassoon and Orchestra, the following rules were applied:

1. The motive had to be concise

2. It had to occur more than once

3. It had to be recognizable when it returned

Motive 1 is a minor third arpeggiated. When this motive is presented, the root is on bt. 1, the minor third is on the second half of a bt. 2, and the higher octave of the root is on bt. 3. This motive is first exhibited in m. 1 by the viola, violoncello, contrabass, and horns. It returns in many transpositions throughout the piece. The rhythm is altered slightly at times, but generally, the roots are always on strong beats and the minor thirds are on weak beats or the second half of beats. Motive 1 is shown in Figure 2.

Figure 2: Motive 1

49 Ibid, 152. 25

The second motive that Zwilich uses is a figure made up of four sixteenth notes followed by a sustained pitch. The pattern moves up a whole-half octatonic scale and is utilized frequently in the second movement. This motive is first presented on bt. 2, of m.

6, in mvt. 1, by the first violins. Figure 3 displays Motive 2.

Figure 3: Motive 2

Motive 3 is first introduced on bt. 4, of m. 6, by the second violins and violas.

This first presentation is made up of the rhythm sixteenth, two thirty-second notes, an eighth note, and a dotted half note. When this motive returns, it is usually played in straight sixteenth notes followed by a sustained pitch. The second pitch is always a half step below the first pitch, the starting pitch is then repeated, and the next notes follow the whole-half octatonic pattern. This motive can be seen in the first movement but it is used more frequently in the second movement. Figure 4 shows motive 3.

Figure 4: Motive 3

In m. 7, Zwilich displays motive 4. The G# to A in the first violins creates an ascending interval of a half step that is manipulated throughout the piece. This half step is used generally to create a minor to major third or a tritone to perfect fifth. In the first movement, the ascending half step, motive 4a, is used frequently. In the second movement, Zwilich reverses the half step and starts with the pitches F# to F. The descending half step, motive 4b, will be used along with motive 4a, in the second movement. Figure 5 shows the first occurrence of motive 4a, in the first movement and figure 6 shows the first occurrence of motive 4b, in the first measure, of the second movement.

Figure 5: Motive 4a

Figure 6: Motive 4b

Motive 5, another idea that occurs repeatedly throughout the piece, is first presented in mm. 7 to 8 in the combined first violin and contrabass parts. This motive begins with motive 4a and is followed by a leap downward of a perfect fifth. In this

27 example the motive is split between the first violins and the contrabass however, it is usually played by the same instrument. Figure 7 exhibits motive 5.

Figure 7: Motive 5

Near the beginning of the bassoon solo, Zwilich states motive 6a. It is made up of m. 14 to the downbeat of m. 16. This motive is not always presented in its entirety. A common representation of this motive is just the two thirty-second notes followed by a dotted eighth note; this will be referred to as motive 6b. Figure 8 shows motive 6a.

Motive 6b is shown in the enclosed portion.

Figure 8: Motive 6a and 6b

Motive 7 is presented in mm. 31 to 32 in the oboe, English horn, violin II, and cello parts. This motive is made up of motive 4a combined with the main pitches of

28 motive 6b. These two motives are present in the first bassoon entrance. Figure 9 shows the bassoon solo with the identified pitches that make up motive 7. Figure 10 illustrates the first occurrence of motive 7.

1 2 3 4

Motive 4a Motive 6b Figure 9: Bassoon Solo, mm. 12 to 14

1 2 3 4

Figure 10: Motive 7

The eighth motive is a five note arpeggiated pattern made up of the pitches from a minor/major triad with a tritone. This pattern typically starts with a minor third that is established, aurally, as the tonal center. The first example of this motive starts with the pitches F, Ab, C#, E, G and then is repeated. The F and Ab establish F minor as the key, but the pitches, as a whole, can be rearranged to make a C# minor/major triad that also includes the tritone. Figure 11 shows the first appearance of motive 8, in the bassoon part, at m. 42.

Figure 11: Motive 8

In the second movement, Zwilich manipulates and embellishes some of the motives from the first movement to create new motives and uses the first movement motives in their original form.

The second movement begins with motive 9, a rhythmic motive in the piccolo snare drum. This motive is made up of four sixteenth notes followed by an eighth note.

At times, this motive decrescendos through the sixteenth notes and sometimes there is a crescendo to the next downbeat. When this motive is played by other instruments, the sixteenth notes are repeated on a single pitch or they are a single beat of four articulated, moving sixteenth notes. Motive 9 is shown in Figure 12.

Figure 12: Motive 9

In mm. 5 to 6, Zwilich introduces motive 10 in the oboe part. This motive is made up of four pitches that descend the octatonic scale, move up the same scale, and then descend once more. Figure 13 shows motive 10. 30

Figure 13: Motive 10

Motive 11 is the last motive that Zwilich uses in this concerto. It is a combination of motives 2 and 3 with embellishment. Motive 11 is presented, starting on the second half of bt. 3 in mm. 18 through 20, in the bassoon solo. This motive starts with motive 3 and ends with motive 2. Pitches from an octatonic scale fill in the time in between.

Figure 14 shows motive 11.

Motive 2 Motive 3

Figure 14: Motive 11

Contrast in Texture

In conversation with Zwilich, she brought up the concept of using contrast in texture when composing her pieces. When the bassoon has a lyrical line made up of notes with longer note values, Zwilich tends to use an accompaniment line that is separated and uses notes of smaller values. An example of this takes place in the first movement from mm. 16 to 20. The pizzicato bass line adds contrast to the lyrical bassoon solo. This is shown in figure 15. 31

Bassoon

Contrabass

Figure 15: Bassoon and Contrabass, mm. 16 to 20

Figure 16 shows another example from the Allegro section, of the first movement.

In mm. 43 to 48, the bassoon has pitches with longer note values and full length quarter notes. When the violas enter with the eighth note accompaniment, the eighth notes are marked “staccato” to create contrast.

Figure 16: Bassoon (top) and Viola (bottom), mm. 43 to 48

Subsequently, when the bassoon has active lines with smaller note values and more separation, the accompaniment tends to be made up of longer note values with few breaks in the sound. An example of this is found in mm. 76 to 80, in the second movement. The piccolo and flute have an elongated line, while the bassoonist has mostly separated eighth notes and triplets. Figure 17 shows the piccolo and bassoon lines.

Figure 17: Piccolo (top) and Bassoon (bottom), mm. 75 to 80

Orchestration

When composing a new piece, Zwilich scores the orchestra advantageously for that particular work. In the case of her bassoon concerto, considerable thought went into the issues of balancing a bassoon with the orchestra. The bassoon can be easily buried in the texture and contemporary composers do not always take this into consideration.

Zwilich did a brilliant job of making sure this does not happen in performances of her bassoon concerto.

In the A-section and the A’-section, of the first movement, the wind instruments do not play during the bassoon solo. When the bassoon is playing, there is also very little string accompaniment. Generally, no more than three of the string sections are playing at the same time, and they are marked at a very low dynamic, enabling the soloist to project comfortably. It also becomes easier to communicate musical ideas when a soloist does not have to worry about constantly playing at a full dynamic. When the soloist is not playing during the tutti sections, Zwilich uses the winds and full string section. This creates a dramatic change in timbre between the solo and the tutti sections. When the bassoon has interjections during the tutti portion of the A’-section, the orchestra does not play at all. In the B-section of the first movement, Zwilich adds the woodwinds 33 intermittently during the bassoon solo. The string accompaniment is also kept at a minimum. The brass section is saved for tutti passages and is used infrequently while the bassoon is playing.

During the second movement, the bassoon plays more frequently and the tutti sections are shorter. In the A-section and the A’-section, the tutti measures tend to have a thinner texture than the tutti portions from the first movement. The orchestration is very similar to that of the B-section, of the first movement. It consists of minimal string accompaniment with one or two woodwind instruments added on occasion. When the bassoonist has technical passages, the accompanying instruments generally rest or play sustained pitches at a low dynamic. This allows the bassoonist to play with ease without having to force the technical passages dynamically. The brass instruments are reserved for the tutti sections and are avoided during the bassoon solo due to the possibility of overpowering the soloist. The accompaniment during the bassoon solo is very limited, usually made up of one or two sections of instruments. The B-section consists of a cadenza and material that is similar to the A’-section of the first movement.

Chapter 4: Detailed Analysis

Movement 1

As previously stated, the first movement consists of three large sections. The first section is marked “Maestoso” and takes place from mm. 1 to 39, the second section is marked “Allegro” and is made up of mm. 40 to 102, and the third is marked “Tempo I” and occurs from mm. 103 to 145. The third section is very similar to the first but with added material.

The Maestoso section is marked “quarter note equals ca. 60.” The entire orchestra except solo bassoon and percussion enters on the first measure. Material from the first eight measures is used throughout the entire piece. Figure 18 shows mm. 1 through 8. The orchestra enters on a Bb. The sustained Bb in the violin parts, in the first two measures, helps to establish Bb as a tonal center. The violas, celli, basses, and horns introduce motive 1, an arpeggiated minor third. This opening minor third interval sets up the movement to aurally sound as if it is in a minor key though much of the movement is shifting between major and minor tonalities simultaneously. Zwilich’s use of the A, C#, and Bb in the second measure, is the first example of a major third combined with a minor third. This combination occurs throughout the entire piece as well. The ascending interval of a half step, between the A and Bb in m. 2 also occurs frequently during the piece. In m. 3, the held Bb and C# are shifted down a half step. The second violin and

35 cello lines continue as the moving voice and the basses and violas sustain a C. The winds play a dotted quarter note A instead of a Bb as in m. 1. The horns are divided and also play a dotted quarter note C as well as an A. Zwilich keeps the third held in m. 3 and shifts the moving line down a half step to outline a perfect fifth, made up of Ab and Eb, which creates a major triad with the C. The moving line then outlines a D major third against the sustained C. In the first six measures, the composer uses chromatic relationships and octatonic patterns to move towards D as a tonal center. She starts with a Bb and moves chromatically down to F#, the major third of D, using the lower pitches of the cello line. Zwilich also uses downward chromatic motion that starts with the C# in m. 2, and then continues after the contrabass C in mm. 6 and 7, ending on an A, the fifth of D. The first violin line moves up to a D in m. 5 and continues with motive 2 culminating on a G#. This is the tritone above D that will be resolved to an A using motive 1 in m. 7. The second violins and violas have a line with more movement than the other string instruments. They start out by moving between pitches in the D minor/major flat seventh chord before sustaining an F for two beats in m. 6. On bt. 4 of m. 6, motive 3 is used to move the second violin and viola parts to hold an A.

In m. 7, the brass instruments enter on the second half of bt. 1, with repeating staccato eighth notes, on a D minor/major flat seventh chord. This solidifies the harmonic movement in the first six measures, to D as a tonal center. The horns play the root, D, and the flat seventh, C, while the trumpet plays the minor third, F, and the trombone plays the major third, F#. The staccato eighth notes create a stark contrast to the sustained lines that the strings have been playing. Most of the strings are holding an

A, the fifth of the chord, with the exception of the first violins, which are still sustaining the G# before moving to an A on bt. 3. This is the first representation of motive 4a. The brass eighth notes start fortissimo with a sforzando, and then diminuendo into the next measure, at which time the violas and second violins assume the repeated eighth note D minor/major flat seventh chord in m. 8. The contrabass and bass clarinet move to a D in m. 8 to reaffirm D as the tonal center.

Figure 18: Movement 1, mm. 1 to 8

In m. 9, Zwilich continues utilizing the half-step interval by using motive 4a. The brass section enters on an F and then moves to an F#. The bass clarinet and contrabass move to an Eb from a D in mm. 9 and 10. During these two measures, an A is still sustained by the first violins and cellos; the second violins and violas continue playing the repeated D minor/major flat seventh chord in eighth notes. Motive 4a is used to emphasize different chord qualities and consonances/dissonances. The brass section first emphasizes the minor portion of the repeated eight notes and then the major portion. The contrabass moves from creating a perfect fifth with the A, to producing a tritone. The Eb in the bass also creates a minor third against the F# sustained in the brass.

Zwilich takes care to thin out the orchestration before the bassoon solo enters in m. 12. The instruments with continuous pitches fade to pianissimo in m. 11, while the repeated eighth notes, which have been playing sempre forte, begin to diminuendo in mm. 11 and 12. As the string texture gets thinner, the violins drop the F and are only playing a D flat seventh chord. The bassoon enters poco forte, is marked “molto cantabile,” and grows out of the orchestral texture. The bassoon repeats the line that the brass played three measures earlier, motive 4a, moving from an F to an F#. The F in the bassoon keeps the simultaneous minor and major tonality even though the strings are no longer playing an F in the repeated eighth notes. Once the bassoon moves to the F#, the violas repeat a line that was first presented in m. 5, reinstating D as the aural tonal center.

Starting in m. 14, Zwilich utilizes the half step relationship by moving between F,

F#, and E as tonal centers. She also toggles between these tonal centers being major and minor. In mm. 16 and 17, the cello plays the active material from the first two measures

38 of the movement, starting with an F minor third instead of a Bb minor third. The cello and bass play an ascending, pizzicato F natural minor scale, while the bassoon starts on the fifth and comes down the scale. The pizzicato notes create a contrast to the melodic line in the bassoon. The natural and raised seventh, D# and E, are both included in the F minor scale. They are a representation of motive 4a and create a major and minor third against the sustained G, in the bassoon. This introduces the E minor interval in the next measure.

The celli then play a repetition of mm. 3 and 4 down a perfect fourth, in mm. 20 to 21, starting with an E minor third that turns into an Eb major triad. First the bassoon line has motive 6b with the pitches G and F# in sixteenth notes, the major and minor third of Eb. The bassoon line then moves down a half step to play motive 6b on F# and E#, which sets up the F# minor triad in the next measure. The bassoon plays an F# minor third on bt. 1 of m. 22 and then has motive 4a starting on A. It moves to Bb on the second half of bt. 3, the minor and major third of F#. The accompaniment also outlines an F# minor triad. The violas imitate the bassoon line by playing motive 4a beginning on an F# on bt. 3, and moving to the G on the second half of bt. 4. This movement is imitative of the bass line from mm. 9 and 10. The G creates a minor third with the sustained Bb in the bassoon. In m. 23, the basses play an F# minor third, while the bassoon moves from the major third, Bb, to the minor third A. Zwilich uses motive 6b, with the pitches A and G#, in an effort to bring the tonal center back to F.

Zwilich returns to F minor in m. 24 before transitioning to E, for the next three measures. The viola, cello, and bass lines have repeated quarter note E’s on bt. 1, the

39 second half of bt. 2, and bt. 4 in m. 25. These E’s correspond, rhythmically, with the movement of the bassoon line in this measure. The bassoon plays an E with the strings on bt. 1 and then plays motive 4a with the pitches G and Ab respectively, with the other

E’s in the low strings. This creates a minor and then a major third against the E’s. The violins hold an E during the measure and then restart the note on bt. 5 with the bassoon E minor arpeggio. The bassoon plays a dotted quarter note C in m. 26, followed by a dotted quarter note C#, and ends on a Bb dotted half note in m. 27. These pitches create movement from a minor third to a major third with the E’s, in the strings, before the bassoon ends on a tritone, with the Bb. The violins then use motive 4a to move to an F, creating a perfect fifth that gets louder into the tutti section.

The full orchestra enters in m. 28. This is the second time the winds are used in the piece. There are four instrumental lines in mm. 29 through 33. The first line is made up of an F# minor/major flat seventh chord on bt. 1 and then again on bt. 4. The chord is then sustained through m. 30 and rearticulated on m. 31. and bt. 2 of m. 33. The second line is a representation of motive 6a that was first presented by the bassoon in m. 14. The violins continue sustaining an F for two beats and later are joined by the flute and clarinet on bt. 3. Motive 6a starts on bt. 3 of m. 28. These instruments play the motive a half step lower than the bassoon did and with a slightly altered rhythm. In m. 30, the B-natural, is the first pitch that differs from the original motive. Figure 19 shows the original statement of motive 6a, in mm. 14 to 16, in the bassoon solo, and the motive played by the violins in mm. 28 to 30. The flute, clarinet, and first violins then sustain the B-natural before moving to a G on bt. 2 of m. 32. The movement from Bb to B is on occurrence of

40 motive 4a. These pitches create a tritone and a fifth against the instruments with an E.

The third line is in the oboe and English horn part. This line has rearticulated whole note

E’s and the cello plays an E in the same rhythm as the instruments in line one. In m. 31, these instruments are joined by the second violins, introducing motive 7 and a partial representation of the end of motive 6b, ending on an F on bt. 2 of m. 32. The fourth line is made up of the brass section. The horns play F# and C# whole notes and the trombone plays Bb whole notes, resulting in an F# major triad. The trumpet plays motive 4a in each measure. In m. 28, the trumpet plays the minor third for F# to the major third, A to

Bb, then in m. 29, the tritone to the fifth, C to C#, and in m. 30, the sixth to the flat seventh, Eb to E. The brass section then continues to sustain the F# flat seventh chord through m. 33.

Figure 19: Bassoon, mm. 14 to 16 and Violin II, mm. 28 to 30

The contrabass and bass clarinet, which have not played in the tutti section, enter in m. 33 with a C# and play motive 4a, moving to a D in the next measure. This helps the

41 transition to a D minor/major flat seventh chord that is played in whole notes, by the entire wind section, except the trumpet, in m. 34. The strings play the same chord, but rearticulate every other measure instead of every measure, like the winds. The chords start forte and diminuendo to piano in m. 38. The trumpet has the only moving line throughout these measures. The trumpet plays a combination of motive 7 followed by the end of motive 6a, before ending on an F, the minor third, and sustaining with the rest of the orchestra. The orchestra then crescendos to fortissimo through mm. 38 and the fermata on m. 39. The suspended cymbal is added in m. 39 to create a color change and to aid the crescendo into the next section.

The second major section begins in m. 40 and is marked “Allegro” at quarter note equals ca. 126. The transition into this section is seamless. The trumpet holds the F a quarter note longer than the rest of the orchestra, which releases on bt. 1. The first violins release after the fermata and restart on a sustained F, at a dynamic level of mezzo forte.

Zwilich uses the percussion part to set the tempo and character of the allegro section by writing arpeggiated-like patterns on four SATB tom-toms, which are later imitated in the bassoon solo. The percussion part also has two pedal bass drum notes, which will be imitated by the upcoming eighth note accompaniment line in the violas

The solo bassoon answers the percussion in m. 42, introducing motive 8, an arpeggiated pattern made up of a C# minor/major triad with a tritone. The first violins are still sustaining an F, accompanying the bassoon, and the first two notes of the bassoon arpeggio are F and Ab. This, along with the sustained Ab in m. 42, aurally creates F minor as the tonal center of the first four measures of the allegro section. In m. 43, the

42 percussion then responds to the bassoon by playing four eighth notes starting on the second half of bt. 3.

In m. 44, most of the strings play an E on bt. 1 and the violas play an E and then a

G on repeated eighth notes, taking over the percussion eighth notes from the measure prior. The Ab sustained in the bassoon, then becomes the major third in relation to the

E’s in the strings. This creates a new tonal center of E minor/major. The movement from F to E as a tonal center, is another example of the half step relationship seen throughout this piece. Additionally, F and E become the major and minor third of the next section, when C# becomes the tonal center. In m. 45, the bassoon reiterates motive

6b. Measure 46 begins with downward chromatic movement from C to Bb that is followed by an interval of an ascending minor third. The Bb and C# are followed by an

A and C#. These are all pitches and intervals that have been brought back from the first two measures of the movement.

In m. 48, the bassoon plays another variation of motive 8, starting with a C# minor third, resulting in a composite chord of an A minor/major triad with a tritone. This establishes C# as the next tonal center. In mm. 49 to 50, the violas, celli, and contrabasses play an eighth note pattern that outlines a C# diminished triad. The oboe and piccolo play motive 7 containing the same pitch material from mm. 31 to 32, when the motive was first introduced, however, here the rhythm is augmented. Figure 20 shows the original representation of motive 7 from mm. 31 to 33 and the augmented piccolo and oboe line from mm. 49 to 51.

Vln. II

. Figure 20: Violin II, mm. 31 to 32 and Oboe, mm. 49 to 51

Beginning in m. 52, the first violins have a quarter-note D, followed by half note

D’s on bts. 2 and 4, while the second violins play the same rhythm on a C, the flat seventh of D. Both sections hold the D and the C starting on bt. 2 of m. 55 and release on bt. 3 of m. 56. This helps to create D as the tonal center of mm. 52 to 54. The bassoon outlines pitches from a D minor/major triad with a tritone in mm. 53 and 54. The trumpet plays a line imitative of the bassoon solo from mm. 49 to 52 that is condensed and embellished. After playing motive 7 the measure before, the piccolo and oboe continue with an octatonic pattern that is followed by a sustained A, the fifth of D. After the held

A, the piccolo and oboe play two occurrences of motive 4a. The final representation of motive 4a is made up of the pitches D to Eb, which anticipates the D# minor intervals in m. 56.

In mm. 57 through 61, the piccolo, oboe, violins, and violas play repeated D minor/major flat seventh chords. The chords are rearticulated on bts. 1 and 3 in mm. 57 to 59. The bassoon starts on an F# in m. 57, and moves to F on bt. 4. The bassoon then plays a line made up of the recurring motive 4a, similar to what the trumpet played in mm. 28 to 30, of the second tutti section, of the opening. The bassoon changes on bts. 2

44 and 4, opposite from the orchestra, playing F to F#, the minor to major third, G# to A, the tritone to fifth, and B to C, the sixth to flat seventh of D. The B and C also create chromatic movement to the C# in m. 62. Beginning in m. 59, the percussion part imitates the accompaniment line from the strings in mm. 49 to 50. In m. 61, Zwilich writes eighth notes in the tom-toms on bts. 1 and 2. The pedal bass drums are added on bt. 2 and a splash cymbal eighth note is played on bt. 3. These percussion eighth notes build to a forte dynamic and are answered by the bassoon entrance on bt. 4.

The accompaniment line in mm. 62 to 65, is made up of pizzicato eighth notes that alternate between a C# minor third and a C major third. The C# minor third is played more frequently than the major interval. The bassoon solo has a contrasting lyrical line that is seemingly in F minor. When the solo is analyzed with the accompaniment, motive 4a is used to move between the major and minor third of C#, F and E, and the tritone and fifth of C#, G and Ab.

Starting on bt. 4 of m. 65, the first violins begin holding an E major third, and the second violins begin holding a D major third. The oboe plays the F# of the D major third. The flute and piccolo start a half step higher than the oboe on a G, the minor third of E, and then move to an F in m. 66, the minor third of D. The trumpet and violas enter in m. 66 with motive 1 played with a B minor third.

In mm. 67 to 73, E minor/major is established as the tonal center. The string accompaniment begins with an E minor third in eighth notes and then a G#, the major third, is added in m. 72. The bassoon solo enters again at the beginning of m. 67, with motive 3, on the pitches Ab, G, Ab, Bb, and B. These pitches emphasize the major third,

45 minor third, major third again, tritone, and perfect fifth of E. The bassoon continues to move in and out of the E minor/major chord tones. In m. 70, the upper woodwinds and violins enter with an E minor/major flat seventh chord dotted half note. The bassoon plays motive 8 in m. 71 with the pitches of E minor/major and a pattern that emphasizes

E minor in m. 72, by beginning with an E minor third. The bassoon rests on bt. 3 of both measures. While the bassoon is resting in both measures, the violins, horn, and upper woodwinds play an E major triad quarter note. The trumpet plays Ab to G in eighth notes at the same time the trombone plays G to Ab in eighth notes. G and Ab are the minor and major third of E and this creates more of the major/minor tonality clash. The bassoon line in mm. 74 and 75 starts on an E and moves the tonal center to C to set up the next section.

In m. 76, Zwilich brings back a quote from the opening measure of the movement, in the horn, trombone, and viola part. This time, motive 1 is presented as a C minor third with the second occurrence of the C being held. The trumpet sustains the C the entire time. On bt. 4 of this measure, the upper woodwinds and violins play an Eb minor third in eighth notes and then continue the Eb creating a sustained minor third with the C. The bass clarinet and low strings then play two beats of a G# minor third, in eighth notes, before sustaining the B. This creates two and half beats of a sustained major and minor third, C, Eb, and B with the Eb being the third.

Zwilich moves the B chromatically down a half step to a Bb and the C chromatically up a half step to a C#, to create a Bb minor third in m. 78. The celli play the C# and the basses play the Bb in isolated eighth notes that are pizzicato and accented

46 on the second half of bt. 1, bt. 3, the second half of bt. 4, and bt. 2 of the following measure. The piccolo holds an F above this accompaniment creating a Bb minor triad.

The bassoon plays a line that begins with a Db quarter note followed by a Bb eighth note.

The line then moves down a half step and follows the pitch pattern from mm. 1 and 3 and moves to a C quarter note followed by an A eighth note. The pattern is then shifted down another half step to a B quarter note. The composite rhythm of the accompaniment in the low strings and the bassoon line is straight eighth notes in m. 78. In m. 79, the same pitch material is repeated in the bassoon, in eighth notes, without the B-natural. The tom- toms respond to the bassoon on bt. 3 with sixteenth notes in a similar pattern to the previous eighth notes in the bassoon. The bassoon then starts motive 8 with an A minor third but with a composite chord of an F minor/major triad with a tritone. On bts. 3 and

4, the bassoon plays the pitches from the previous two measures in scale order, Db, C,

Bb, and then A. The piccolo continues to play an F in this measure. This creates a measure of F minor/major, the fifth of Bb, but with emphasis on the A minor third. The

A minor third interval anticipates the movement to A as a tonal center, through the pitches F#, G#, and A in m. 81, in the piccolo and violin I. The piccolo then begins to sustain an A through m. 83. On bt. 4 of m. 82, Zwilich adds the tom-toms once again, imitating the eighth notes from the bassoon solo in m. 79. Figure 21 shows the tom-tom imitation and answer to the bassoon solo. The celli and basses play the accompaniment pattern from mm. 78 and 79 on the same pitches. However, the bassoon line has been shifted chromatically to begin on A. The bassoon plays motive 8, beginning on an F in m. 84. The chord outlined on bts. 1 and 2 is a C# minor/major triad with a tritone. The

47 downward arpeggio pattern on bts. 3 and 4 outlines a D minor/major triad with a tritone and ends on the major seventh C#. The descending arpeggio is then repeated in m. 85 with an added Bb and C# to bring the tonal center back to Bb for the following measures.

Figure 21: Percussion (top) and Bassoon (bottom), mm. 79 to 83

In m. 86, most of the orchestra plays a sforzando quarter note Bb or Db on bt. 1 and the violins and violas sustain the Bb and Db at a dynamic level of piano. The bassoon enters on bt. 1 of m. 87 with an eighth note pattern that is made up of a lower voice and an upper voice. The lower voice moves the interval of a half step, from Bb to

B. The upper voice plays an A minor third in eighth notes after the Bb and a Bb minor third in eighth notes after the B. The Bb and A minor thirds are the same minor thirds introduced at the beginning of m. 1 and 3. Zwilich continues this pattern in the next measure without the Db of the Bb minor third. The occurrence of the Db is delayed until the downbeat of m. 90. Also in m. 90, the lower voice plays a C# and an E, a minor third while the upper voice is transposed up a minor third from the previous pattern creating a

C minor third and a C# minor third. The first pitches of the C# pattern are repeated in m.

91 and then played in sixteenth notes in m. 93. The pitches F and G are added in the lower voice, the major third and the tritone of C#. The sixteenth note pattern ends with a sustained G#, the fifth of C#. Motive 4a is then used to move from G# to A. The 48 sixteenth note pattern is then repeated starting on G# and ending on a B. The movement from B to C in m. 96 is another representation of motive 4a. The pitches G# to A, and B to C in longer note, values are reminiscent of the bassoon solo from mm. 59 to 60. In each instance, the bassoon stops playing and the strings rearticulate the material from m.

86 on the next downbeat.

The percussion part in mm. 90 to 102, engages in conversation with the bassoon solo. The tom-toms answer the bassoon with sixteenth notes, while the bassoon rests in mm. 90 to 92. This dialogue is continued in m. 94, when the bassoon sustains the C#, a suspended cymbal roll is added on bt. 2, and the bassoon changes pitches on bt. 3. Both instruments crescendo together in the next measure. The bassoon then plays two measures of solo that is answered by a percussion solo containing similar material to the beginning of the allegro section but is embellished. After the percussion solo, the bassoon responds with the same sixteenth note pattern, motive 8, reminiscent of m. 42, only continuing to the C# and sustaining that pitch instead of the Ab. The bassoon crescendos through the C# into the return of the maestoso material. The suspended cymbal is added once more, as both crescendo into the next section.

Measure 103 marks the return of material from the opening of the movement.

The material in mm. 103 and 104 is very similar to mm. 1 and 2. It is a perfect fifth higher making F the tonal center instead of Bb. The instrumentation is slightly different at the return of the opening section material as well. The entire string section plays motive 1 along with the Bb clarinet and bass clarinet instead of just the violas and cellos.

Also, the piccolo and flute have the sustained F instead of the violins. In the first two

49 measures, the horns and contrabass play only the first part of the opening melody, but the trombone takes this role in the A’-section and the horns and trumpet play the dotted quarter note, exclusively. This creates a fuller orchestral sound in the A’-section.

Zwilich adds a bassoon interjection starting on bt. 5 of m. 104. The bassoon has five quarter notes that are marked “singing, but declamatory”50 and include the pitches of part of a C major scale. Measures 106 and 107 are similar to mm. 3 and 4 and are still a perfect fifth higher. The instrumentation is altered again by the addition of first violins and bass clarinet to the moving line and the oboe and English horn are left out of the first dotted quarter note. Instead of m. 107 being a 3/4 measure, like m. 4, a beat is added and the bassoon plays another interjection on bts. 3 and 4.

Measures 108 through 111 have three different lines occurring. Line one is made up of the piccolo, flute, oboe, and clarinet. Line two is made up of the English horn, bass clarinet, and violins. The last line is made up of the violas, celli, and basses. Line one starts out imitating the first bassoon interjection from mm. 104 and 105 in half notes and a perfect fifth higher. In m. 111, these instruments play an augmentation of motive 7 and end on a sustained B. Line two continues the moving line from the previous measure joined by the oboe and bass clarinet. Measure 108 follows the same pattern as m. 5 but differs beginning in m. 109. Beginning on the second half of bt. 3, this line imitates the second bassoon interjection, a major second higher. The second line then plays motive

4a in m. 110 and 111, ending on a sustained B. In m. 110, the movement from A to Bb creates the intervals of a minor third to major third against the F# in line one. The

50 Zwilich, Concerto for Bassoon and Orchestra, 24. 50 movement from Bb to B in m. 111 helps to establish B as the tonal center of the following measure. The Bb acts as a leading tone to the B. At first, line three moves in contrary motion to line one, starting on G and then moving to F# when line one moves from F# to G. Motive 4a is then used in line three to move back to G on bt. 2 of m. 109.

The line then moves down chromatically to a half note F before moving to a sustained Eb on bt. 3. The three lines end up sustaining a B major third.

In m. 112, the upper woodwinds continue sustaining a B, while the brass section and most of the strings begin repeated eighth notes on a B minor/major flat seventh chord. The bass clarinet and contrabass reemphasize the sustained B by entering at a fortissimo dynamic on bt. 2. The upper woodwinds and brass fade out before the bassoon entrance on bt. 2 of m. 113. The strings and contrabass/bass clarinet diminuendo to a mezzo forte before the bassoon entrance. The solo bassoon enters on bt. 2 with motive 4a starting on D, the minor third of the B chord, and then changing to a major third, D#, on bt. 2 of m. 114. The strings stop playing the D eighth notes upon the bassoon entrance.

All of the instruments decrescendo to piano during the first two beats of m. 115 and only the cello continues the eighth notes, playing a B flat seventh chord as the violas play the minor third. The bassoon assumes the minor third and plays motive 4a once again at a softer dynamic.

The bassoon solo in mm. 116 to 121 is similar to the first bassoon entrance of the movement in mm. 12 to 16. This time, the solo is a minor third lower with B minor/major acting as the tonal center. Instead of finishing the phrase in m. 120, Zwilich adds another representation of motive 4a. The cellos play the accompaniment line by

51 themselves instead of playing with the violas. This section is more reminiscent of the A- section because of the softer dynamic level and it is written in a lower tessitura. While the bassoon is playing motive 4a in mm. 120 to 121, moving from F to F#, the strings, except contrabass, enter on bt. 3 of m. 120 with a sustained A in unison. The strings play only three on a part and are marked, dynamically, at “sempre pianissimo.” In this variation of motive 4a, the bassoon creates a major third and then a minor third, against the A, with the held pitches.

In mm. 122 and 123, the oboe and flute play two measures of transitional material while the bassoon is resting. The oboe plays motive 6a starting on an F, on bt. 1, and the flute plays in canon, starting motive 6a on bt. 3, a minor sixth higher, starting on a C#.

The strings continue to play an A during these two measures. The wind parts change the character with additional movement and with the first pitches creating major thirds against the A. The F#’s in m. 123 return to a minor tonality.

The strings sustain the A through m. 126. The bassoon continues with the last note of motive 6a after the flute by playing an F in m. 124. In these measures, the bassoon plays motive 4a with grace note embellishments. The grace notes are also a displaced representation of motive 4a, moving from D to Eb. The bassoon plays a grace note D to an F and then a grace note Eb to an F#. This is material from the opening of the movement. F to F# was first presented by the brass in mm. 9 to 10 and the basses moved from D to Eb. The bassoon once again plays from F to F# against the A in the strings, creating a major third to minor third. The strings then move up a half step to a

Bb, creating a minor third to major third against the F# in the bassoon.

In mm. 127 to 132, the celli and basses have an eighth-note accompaniment that imitates the pitches from the first two measures using the notes D#, F#, and D instead of

Bb, Db, and A. The bassoon solo is made up of the same pitches as the first representation of motive 6a, only the A, B, and C# are on the second half of each beat instead of on the downbeats. However, the bassoon ends on an F# instead of a G#. The violas enter at a very low dynamic in unison with the bassoon F# and grow out of the bassoon timbre as the bassoon gets softer.

The celli and basses then play D# and F#, a minor third, in eighth notes on bt. 4 of m. 133 while the violas are still continuing the F#. The D# and F# are then held under a fermata in m. 134. The strings sustain the minor third, while the bassoon enters on the second half of bt. 3 in m. 135, repeating the material of mm. 16 through 19, a whole step lower. This time, the bassoon is at a dynamic level of piano instead of poco forte.

Zwilich writes, “pochissimo meno mosso and reminiscent,”51 in the bassoon part. She is creating an echo of the opening, to close the movement. The celli and basses play the same accompaniment scale a whole step lower, and modulate from Eb minor to D minor.

Starting in m. 139, Zwilich alters from the opening bassoon solo and creates a composite of the first melodic line presented in mm. 1 and 2 with the bassoon and the low strings. Figure 22 shows this composite rhythm in the bassoon and cello parts.

51 Zwilich, Concerto for Bassoon and Orchestra, 30. 53

Bassoon

Cello

Figure 22: Bassoon and Cello, mm. 139 to 140

As the bassoon gets softer on the F in m. 141, the viola color comes out of the bassoon sound. The violas sustain the F until the next solo entrance on F#. The movement from F to F# is an example of motive 4a that turns into motive 6b. In mm.

144 and 145, the strings sustain a D. They start piano and morendo, while the bassoon is mezzo piano and diminuendos to pianissimo. The main tonalities that are emphasized throughout this movement are minor. Ending on a major third has a Picardy third affect and anticipates the opening of the second movement.

Movement 2

The second movement is marked “Allegro molto” at quarter note equals 168.

This is an exceedingly fast tempo and in the Pittsburgh Symphony recording, Goeres fluctuates between quarter note equals ca. 146 to 160. Like the first movement, this movement is broken up into three large sections with a cadenza and contains mostly manipulated material from the first movement.

The piccolo snare drum begins this movement by introducing motive 9 as a pick up to the first full measure. The celli, basses, and bass clarinet establish D as the tonal center by playing a quarter-note D on bt. 1 of m. 1. The oboe, English horn, and violas

54 change the quality of the third from major to minor with motive 4b by playing a half-note

F# on bt. 2 slurred to a quarter-note F on bt. 4.

Over the next three measures, Zwilich embellishes the material from the first measure and brings back more material from the first movement. The piccolo snare drum plays three beats of sixteenth notes starting on bt. 2, and the double pedal bass drum is added in eighth notes on bt. 3. The celli, basses, and bass clarinet play a quarter-note D on the downbeat of m. 3 and then play an Eb quarter note on bt. 3 of m. 4. This is a representation of motive 4a and contains the same pitch material seen in mm. 8 through

11, of the first movement, in the contrabass and bass clarinet line. The oboe, English horn, and viola line is extended into motive 3, in eighth notes, with the sustained pitch of

A. The line then moves into motive 4a, the ascending half step, by changing to a Bb on bt. 4 of m. 4. The A, which is the fifth of D, turns into a tritone against the Eb, in the bass, but is resolved to a fifth with the movement to Bb.

After two beats of rest in m. 5, the oboe has the first appearance of motive 10, four pitches that follow an octatonic pattern. The violas outline an E minor/major triad while the English horn sustains a D, the flat seventh of E. This measure begins harmonically simple with major and minor chords. As the line progresses, the chords become more complex, before returning to major and minor chords. Starting on the first eighth note of bt. 3 in m. 5, the chord progression is as follows: G major triad, G minor triad, E flat seventh chord, E minor flat seventh chord, E flat seventh chord, Bb major third with B minor third, G# diminished triad, Bb major third with B minor third, E flat seventh chord, and finally, an E minor flat seventh chord. The flute then enters with

55 motive 10 on bt. 4 of m. 6, and the oboe starts the motive again a beat later creating a canon between the two instruments. In m. 8, the second violins enter with an eighth-note accompaniment that is similar to what was used in the allegro section, of the first movement with a Bb minor third, in eighth notes. The piccolo and oboe lines start with motive 2 on bt. 4 of m. 7 with the sustained pitch turning into a presentation of an augmented version of motive 10. This augmented representation of motive 10 starts a tritone higher than the eighth-note version prior. The oboe and first violins repeat the original motive 10 in mm. 9 to 11. This makes three measures of clashing tonalities with the augmented motive 10 in Bb, and the original motive being a tritone lower, in E.

The first entrance by the bassoon takes place in m. 11. The bassoon solo continues until bt. 1 of m. 24. Throughout this section, the bassoon alternates between sixteenth notes in scale patterns and notes of longer values. While the bassoon part is aggressive, many of the sixteenth notes are slurred and the frequent sustained pitches create a contrast between the staccato eighth notes in the accompaniment line. The bassoon solo begins with a perfect fifth in two octaves, made up of F# and C#, before playing a Bb half note followed by an A quarter note, the major and minor third of F# and a representation of motive 4b. While it seems as if F# minor/major is going to be a new tonal center, the second violins enter on the second half of bt. 2 and continue with the Bb minor third in eighth notes. This keeps Bb as the tonal center. In this instance,

Zwilich adds beats of eighth-note A’s and C’s sporadically. Ultimately, she is bringing back pitch material from the beginning of the first movement, by using Bb and Db from m. 1 and A and C from m. 3. After the opening F# measure, the bassoon plays motive 6b

56 in the next measure, followed by a held E. The continued E moves up a half step to an F before coming down a scale that starts octatonic and turns into D minor, before ending on a sustained D. The held D follows a similar pattern by moving up a half step and then descending with an octatonic pattern that turns into an F# minor scale, ending on a sustained F#.

The accompaniment mimics a conversation with the bassoon solo while bringing out different major and minor third relationships. There is an eighth rest in the second violin part when the bassoon enters on an E in m. 13. The violins then continue the eighth notes. In m. 14, the eighth-note line repeats the Db in octaves instead of returning to the Bb on bt. 2. This sets up the half step interval from E to F in the bassoon line to be a minor and then major third above Db. Zwilich leaves out the accompaniment when the bassoon has sixteenth-note material in this section. While the bassoon holds a D in m.

15, the flute and first violins play motive 10 and the other strings shift the tonal center of the accompaniment up a half step to outline a B minor third with motive 1. Motive 10 is represented in its original form, with the pitches B, Bb, Ab, and G. Zwilich pairs the movement of Ab to G in the motive, with the B in the bass line, creating a minor to major third. She then pairs the B to Bb movement with the D of the bass line, forming another minor to major third. Zwilich writes another minor to major third with the last B of the accompaniment, as the bassoon moves from D to Eb, before starting a descending scale.

During the sustained F# in m. 17, the composer brings back the Bb minor third in the accompaniment which, as a whole, creates a measure in F# major. This continues in the next measure when the bassoon is playing F# and the leading tone, E#. The

57 accompaniment plays motive 1 on the downbeats, while the bassoon changes on the second half of each beat, before playing an octatonic scale up to A. The strings return with Bb and Db with occasional A and C eighth notes starting in m. 20. Zwilich begins with the Bb’s and A’s on the downbeat, but then shifts them to be on the second half of each beat, aurally shifting placement of the downbeat as the bassoon is playing sustained pitches. The bassoon plays motive 5 on the pitches B, C, and F, the same pitches utilized in the trumpet solo in mm. 36 and 37, of the first movement. The bassoon then plays a portion of an octatonic scale pattern ending on Eb, acting as the pitch center of the next section.

The orchestra plays without the bassoon, from mm. 24 through 39. At the beginning of this section, very few instruments are playing. Gradually, instruments are added until almost all of the orchestra is playing by the last two measures. In the first three measures of this section, Zwilich quotes the bassoon solo from m. 56, in the first movement, with an altered rhythm. The snare drum fills in the rests with motive 9.

Figure 23 shows m. 56 from the bassoon solo, in the first movement, and mm. 24 and 25 from the second movement viola part.

Figure 23: Bassoon, Mvt. 1, m. 46 and Viola, Mvt. 2, mm. 24 to 25

The D# minor third is emphasized by the celli and basses, doubling the violas. The violins are then added in m. 27. They begin with motive 2 and then play a slightly altered quote of the bassoon solo from mm. 49 through 52, in the first movement. The only alteration of this quote is the B, which is held out for three beats instead of two. The clarinet and viola help emphasize motive 2 with the violins, but later change to an eighth- note accompaniment. The basses outline an F# minor third before joining the eighth-note rhythm. The F# minor third is played frequently throughout these measures, but the pitches of the eighth-note accompaniment are actually a representation of motive 8 and outline a D minor/major triad with the tritone. Starting on bt. 3 of m. 32, Zwilich writes instruments holding a major third made up of D and F#. On bt. 1 of m. 33, other instruments enter with an F. The instruments holding the D and F# then rearticulate on bt. 3 of m. 33 and the instruments holding F rearticulate on bt. 1 of m. 34. This creates an alternation between two beats of a major third and two beats of a major third combined with a minor third. On bt. 3 of m. 34, the instruments sustaining the D’s and F#’s continue with those pitches and the instruments playing the F shift to G’s and B’s. This creates a G major seventh chord. Next, the flute, oboe, and violins revive motive 10 with the pitches D, C#, B, and A#, the fifth, tritone, major third, and minor third of G. These same instruments then quote the first violin line from mm. 6 and 7, of the first movement, before ending on a G to fit into the G major seventh chord. The instruments start at a dynamic level of forte in m. 37 and crescendo to fortissimo through measure 39. The percussionist plays a suspended cymbal roll and then adds the double pedal bass drum

59 eighth notes in m. 38 to help build the crescendo and to make the eighth-note subdivision apparent while leading to the bassoon solo.

The bassoon enters again in m. 40 and plays through m. 52. A G minor third is outlined in the accompaniment, in the beginning, of this section. The bassoon starts with a Bb, the minor third, and repeats the octatonic scale pattern from mm. 18 and 19. The last pitch of the scale is also a Bb. In m. 42, the bassoon is divided into two voices. The lower voice plays motive 1 as an accompaniment to the upper voice, which plays an extended version of motive 10. The last pitches of the bassoon line are E, F#, and G which reiterate the tonal center of G. The accompaniment moves up a fourth from G to a sustained C, under the next group of sixteenth notes. The bassoon plays another octatonic scale that starts and ends on a C. When the bassoon holds the upper C, the accompaniment outlines a C minor third. In m. 45, the bassoon line imitates the piccolo snare drum by playing four sixteenth notes on a repeated B, the leading tone of C, before moving to C on the next beat. The bassoon then plays motive 10 starting on C with both of the C’s accented. The piccolo sustains a C during this motive and then ends with a C minor arpeggiated third. The orchestra has a three bar interjection that is a quote of mm.

76 and 77 from the movement. In these measures, a G minor third is outlined, then a Bb minor third, and lastly a D# minor third. The G is held from the G minor third and the Bb is continued after the Bb minor third, creating a sustained minor third against the outlined

D# minor third. The F# is held after the D# minor third. The minor third, G and Bb, is still sustained and the F# creates a major third against the Bb. In mm. 51 and 52, the bassoon line is once again split into two voices. The lower voice continues to outline the

D# minor third left off in the previous measures and the upper voice plays a representation of motive 10.

In mm. 53 to 61, the trumpet and the trombone have a duet and are accompanied by the piccolo and the first violins. The violins and piccolo play a whole-note C, followed by a whole-note D, then a whole-note D#, and lastly two whole notes tied together on an E. These whole notes create contrast to the accented eighth-note lines in the duet. The trombone plays eighth notes on the downbeats in mm. 51 to 53. The trumpet has eighth notes on the second half of each beat until m. 55, when the trumpet plays a line similar to m. 18 of the bassoon solo. The trumpet line is made up of motive 3 starting on F# in m. 53 and transposed up a minor third to start on A in m. 54. Measure

55 starts with a C in the trumpet, on the second half of bt. 1 and then a B on the second half of bt. 2, a representation of motive 4b. On the second half of bt. 3, the trumpet then has an occurrence of motive 3. While the bassoon line in m. 18 continues ascending the octatonic scale, the trumpet line stops after the five pitches of motive 3. In mm. 56 to 58, the trumpet plays a downward octatonic pattern that starts on E and is made up of four sixteenth notes, E, D#, C#, and B#, followed by two C# eighth notes. This pattern is repeated on bt. 4 of m. 56, bt. 3 of m. 57, and bt. 1 of m. 58. The trombone plays when the trumpet is playing and rests when the trumpet rests. The piccolo snare fills in the brass breaks with sixteenth notes. The trumpet then imitates the bassoon solo from m. 75 with a similar rhythm but with different intervallic material. Next, the trumpet line follows an E major scale that turns into an octatonic scale on the last four notes, to end on a held F. Then the trumpet comes down the octatonic scale on the downbeats of m. 61.

The trombone plays an ascending scale in contrary motion to the trumpet on the second half of each beat. The trumpet and the trombone end on a G# minor third. This is an anticipation of the G# minor third in m. 63, by the upper strings and the woodwinds. In m. 60, Zwilich adds sixteenth notes in the piccolo snare drum line and then eighth notes in the pedal bass drums, in m. 61. This anticipates the eighth-note accompaniment in the low strings and bass clarinet in the next measure.

The bass clarinet, celli, and basses enter in m. 62, playing eighth notes that alternate between G and Bb. The rest of the strings and some of the woodwind section play G#’s and B’s on bt. 2 of m. 63, and bts. 1 and 3 of m. 64. The clash in tonality between the two minor thirds, that are a half step apart, creates tension in the music. In mm. 66 and 67, the oboe, English horn, first violins, and violas play a shortened version of motive 10 with the pitches C, B, and A. The eighth-note G’s and Bb’s continue and the clarinet and second violins play G# whole notes while the other instruments move from a C to a B. The C and the B create a major and minor third against the G#s and the two lines are still a half step apart. The bassoon enters again on bt. 4 of m. 68, playing an octatonic scale pattern that starts on G and ends on Db. Once again, the strings rest during the sixteenth-note scale pattern. The accompaniment enters on the second half of bt. 1 in m. 70, with G minor third eighth notes, for two and a half beats. The bassoon is holding a Db at this time. This creates a G diminished triad, or two stacked minor thirds.

On bt. 4, the accompaniment follows the same pattern described earlier by playing an F# and an A. The bassoon is playing C sixteenth notes on this beat creating another

62 diminished triad that is a half step lower than the previous one. In the next measure, the accompaniment plays motive 8 starting with a G minor third.

In mm. 72 through 75, the bassoon plays partial representations of motive 10 along with a full representation using the pitches Db, C, Bb, and A. When the bassoon slurs from Db to C in eighth notes, the first violins move from F# to A in eighth notes.

Here Zwilich is emphasizing a minor third in the violas, and a half step in the bassoon line. The Db above the F# creates a perfect fifth and the F# moving to the minor third of

A helps to create F# as the tonal center for the next few measures. Zwilich inserts sixteenth-note interjections on the hi-hat, which answers the bassoon eighth notes while the bassoon has rests.

Beginning on bt. 3 of m. 75, the contrabasses play a C# and sustain this pitch until bt. 2 of m. 83, when they move down a half step to C. The C is sustained through m. 84.

They start with a fp on the C# and then crescendo to a forte on the C. Zwilich writes a note in the score stating players should “stagger bow changes for continuous sound.”52

The flute and piccolo also sustain a C# starting on bt. 4 of m. 75. This helps to establish

C# as the tonal center at the beginning of this section. The flute and piccolo then play motive 10 with the pitches D, C#, B, and A#. They end on a sustained D and move to an

E on bt. 3 of m. 79. These instruments then begin to work up chromatically to the A in m. 85. Zwilich brings back a quote from the bassoon solo in the first movement with an altered rhythm and register changes. Measure 76 is the same material as m. 90 from the first movement. The upper voice is written an octave higher than this section’s

52 Zwilich, Concerto for Bassoon and Orchestra, 49. 63 equivalent in the first movement, to help separate the voices. Measure 77 is similar to the bassoon solo in m. 93 from the first movement, though it is written in mostly triplets instead of sixteenth notes. In the first movement, the bassoon sustains a G# and then changes to an A. In this section, Zwilich adds two beats of triplets that displace motive

4a. The second triplet eighth note on bt. 4 of m. 78 to bt. 1 of m. 79, is the same intervallic material as bt. 1 to bt. 3 of m. 77, transposed up a perfect fourth. Instead of continuing the A up a half step in the bassoon, motive 4a is displaced by two octaves, leaping down to a low Bb. The bassoon plays the Bb on bt. 3 of m. 80. The flute and piccolo move from an F to an F# on bt. 3 in this measure. The movement from A to Bb in the bassoon line creates a major third and then a minor third against the C# in the contrabass line. When the F# is played, a major triad is then held. In m. 81, the bassoon plays another triplet pattern in two voices. The lower voice outlines a Bb minor third while the upper voice consists of an F# minor third and a G minor third. The flute and piccolo move to a G on bt. 4 and the bassoon has an octatonic pattern that starts on G and ends on a sustained C#. While the bassoon is continuing the C#, the flute and piccolo move from G to G#, the tritone and fifth of C#. In this instance, Zwilich displaces motive

4b by two octaves instead of 4a, with the bassoon ending on a low C. This corresponds with the bass movement to a C on bt. 2. The cello plays motive 1 with the interval of a C minor third and holds the Eb creating a minor third against the C in the basses. However, the piccolo and flute are still holding a G# which makes a G# major triad. The bassoon plays a sixteenth-note pattern in m. 84 similar to the pitch pattern from the triplets, in m.

81, with the first note repeated. Here, the lower voice outlines a D# minor third and the

64 upper voice contains a B minor third and a C minor third. The bassoon then has the same octatonic pattern from m. 81, starting on C. Instead of continuing to the sustained F# the bassoon stops on the F. The F# is taken over by the violas in the next measure.

In m. 85, the violins enter with a D minor/major chord and the flute and piccolo sustain the fifth, A. The oboe, English horn, bass clarinet, horn, and celli bring back motive 4b, with the pitches F# and F, from the opening of the movement. The texture is much thicker here and a D minor/major triad is sustained beneath instead of just a D on the downbeat. Since D is still the tonal center, motive 4b emphasizes the major third and then the minor third. In the next measure, the violins begin playing triplets that alternate between a D major triad and a D minor triad. This pitch material is brought back from the eighth-note accompaniment, in mm. 7 to 12, in the first movement. The winds continue to play motive 4b and motive 3 from the opening of the movement. In m. 87, the flute and piccolo change from A to D and the clarinet, trumpet, and viola enter with a

D on bt. 3. They play motive 4b starting on D and moving to a C#. These pitches are the major and minor third of Bb which is presented on bt. 2 of m. 89. In m. 90, a Bb and F are held against the D major and minor chord in the triplets. The instruments sustaining the F move to F# in m. 91. This is represents motive 4a and is reminiscent of the first movement. The sustained Bb and F# and the D minor/major triplets continue until m. 95.

In m. 95, the bassoon and second violins enter with a sustained F# at a piano dynamic.

The orchestra is playing at a fortissimo dynamic. The bassoon and orchestra alternate playing while overlapping slightly each time. The second violins hold the F# the entire time while the bassoon pretends to play. Pretending to play tricks the audience into

65 thinking that the bassoon is playing the entire time. The bassoon increases dynamically with each entrance and the orchestra gets softer until the bassoon and violins grow to fortissimo. Throughout this section, the orchestra and the bassoon play for shorter periods of time. The second violins aid in the illusion that the bassoon is playing the entire time. The orchestra stops completely in m. 108. In m. 109, the tempo drops to quarter equals 60, the tempo of the first movement. The bassoon and the violin continue to crescendo on the F# until the bassoon jumps down a perfect fifth to a B in m. 111. The violins stop playing one measure before. The B in the bassoon is marked “fortissimo,” decrescendos, and then crescendos to the forte dynamic, at the beginning of the cadenza.

The contrabass plays the B at the same time as the bassoon at a dynamic level of forte and morendos just under the bassoon. The contrabass was previously playing a Bb during the F# crescendo section and the movement to B is reiterates motive 4a.

The cadenza is reminiscent of first movement material. It is made up of three sections. The first section takes place in m. 112 and features only the bassoon. It is not conducted and is unmetered, although it is made up of 10 submeasures. The next section is conducted and takes place during mm. 113 to 116. The bassoon plays with the second violins in this section. The last section of the cadenza is solo bassoon again and takes place in m. 117. This section is free and has 19 submeasures.

The beginning consists of two voices in the bassoon. The lower voice is “bold” and plays the opening measures of the first movement, up a half step, in mm. 112a to

112e. The upper voice is marked “cantabile” and is a reminder of the bassoon solo from the first movement. Zwilich then quotes the first representation of motive 8 in thirty-

66 second notes instead of 16ths in m. 112g. The arpeggiated line ends on a C# that crescendos to a D in m. 112h, illustrating motive 4a. Zwilich then includes more material contained in the maestoso sections in the first movement.

The section beginning at m. 113 is conducted. The tempo is the same as the opening of the first movement. The bassoon begins by quoting the opening of the first bassoon entrance in mvt. 1 with a slightly altered rhythm. The second violins imitate the bassoon part a minor third lower, moving from a D to an Eb, similar to the bass line in mm. 9 to 10 of the first movement. This section continues with more occurrences of motive 4a and ends with a sustained B in the bassoon line, and a G# in the second violin line, making a minor third. B and G# are the fifth and major third of E, the tonal center at the beginning of the next section.

Measure 117 is marked “free” and is just the solo bassoon. Zwilich frequently uses motive 8 in this section, minor/major triads arpeggiated with a tritone, in different keys. She uses the entire comfortable range of the instrument in this portion of the cadenza. The lowest notes of the bassoon are used in mm. 117g to 117i, the same pitches from mm. 26 to 27 in the first movement. She also engages the upper range of the bassoon up to high Eb and then later high E. After the high E, Zwilich writes in a caesura before starting a new section of cadenza material. This grace note material is similar to the first movement with many minor and major thirds combined. Motive 8 is used at the conclusion of the cadenza, starting on a C# and ending on an A that is held into the m.

118.

The flute and piccolo enter on bt. 2, of m. 118, on an E and crescendo to m. 119.

The entire orchestra, with the exception of the bass clarinet and contrabass, enters in m.

119. Measures 119 to 124 are a quote, a half step lower, of mm. 28 to 33 from the first movement. The piccolo is included in this instance but was not included during the original presentation in mvt. 1. The music begins to differ on bt. 3 of m. 124. At this point, the trumpet, piccolo, and flute play a line that quotes the trumpet solo from mm. 33 to 36, still a half step lower. The low strings and bass clarinet enter in m. 124 with a C and move to a C# in 125. In mm. 125 to 127, the winds minus the piccolo, flute, and trumpet play a C# flat seventh chord in whole notes. The trumpet solo quote in m. 125, begins with motive 7 on the pitches E, F, E, and A. E and F are the minor and major third of C#. Zwilich composes an aural ritard in the violins and violas in mm. 124 to 127.

These instruments start with thirty-second notes and then play sixteenth notes, eighth notes, a half note, dotted half note, and end on a whole note. The thirty-second note portion outlines an F minor/major triad, the sixteenth notes outline a C# minor triad, and the eighth notes outline an F minor/major triad. The longer note values are E’s, the minor third of C#.

The brass, violins, and violas enter in m. 128 with repeated eighth notes on the pitches of a C# minor/major flat seventh chord. The eighth notes in the strings continue through m. 132 before sustaining the chord under a fermata on m. 133. The lower instruments rearticulate the C# to reaffirm C# as the root and the low strings continue this pitch through the fermata. Pitches from the previous measure are sustained in the woodwinds. In m. 128, the winds are removed from the texture before the bassoon entrance on bt. 4. The bassoon begins with motive 7, which turns into a representation of

68 motive 5 before ending on a sustained G, the tritone of C# and minor third of the upcoming section.

The A’-section begins in m. 134. Zwilich repeats the opening A-section material almost verbatim. This section is written a whole step higher than the opening of the movement. In mm. 135 to 138, the bassoon plays the moving lines instead of the oboe,

English horn, and violas, while other instrumentation stays the same. This creates another instance of dialogue between the sixteenth notes in the piccolo snare drum and melodic line in the bassoon. Starting in m. 139, the original instrumentation from m. 5 is used. Measures 139 through 181 have the same instrumentation and material as mm. 5 through 47. Each measure is a whole step higher than its corresponding measure from the opening of the movement.

The first alteration takes place in m. 182. The medium suspended cymbal is added on bt. 4 and crescendos through m. 183. The material in the rest of the orchestra is the same as mm. 48 to 49 and still a whole step higher. Zwilich extends this transition material with two and a half measures imitating the material from the previous two measures but with intervals a half step higher. This sets up F# as the tonal center and shifts the following measures a minor third above their corresponding measures from the

A-section instead of a whole step.

In m. 187, the bassoon enters on the second half of bt. 1 instead of on bt. 3 as in m. 51. This section is written a minor third higher than its counterpart in the A-section, of this movement. The upper voice of the bassoon is dropped down an octave. If kept a third higher, it would enter the extreme range of the bassoon. In m. 189, the bassoon

69 assumes the role of the trumpet from mm. 53 to 61 in this movement. The rest of the accompaniment has the same instrumentation. Zwilich varies this section slightly by having the bassoon play accented quarter notes, on the second half of each beat, instead of accented eighth notes like the earlier trumpet part. The pedal bass drum eighth notes are continued through bt. 1 of m. 199. During these measures in the A-section, the pedal bass drum only had one measure of eighth notes. Measures 198 through 204 are still a minor third higher than mm. 62 through 69, while maintaining the same instrumentation other than the percussion alteration. At this point, Zwilich has brought the eighth-note accompaniment back to a Bb minor third with the occasional A minor third. This is a return of pitch material from mm. 1 to 2 of the first movement. The bassoon scale starting in m. 204, stops on bt. 1 of m. 7 instead of continuing up the scale two more notes. In m. 70, the scale stops on the second half of bt. 1. This brings the bassoon part back to the same pitches as the corresponding measures from the A-section. Also, the accompaniment plays a quarter note on bt. 1 of m. 208 instead of continuing up the arpeggio to bring the accompaniment back to the opening pitch material in m. 209.

Later, in mm. 211 to 214, Zwilich uses the same tonal center of C# minor as she used in m. 75, but with rhythmic material from mm. 63 to 64. This time, the instruments playing the blocked chords are playing the same pitches as the eighth-note accompaniment, C# and E, instead of being a half step higher as they were in mm. 63 to

64. Zwilich then brings back the eighth-note accompaniment that outlines motive 8, before using motive 3 to bring the tonal center back to D.

The triplet material from mm. 85 to 87 returns with violins starting on a D minor/major triad whole note and then playing alternating D major and D minor triads in triplets, starting in m. 218. The horns, trombone, viola, and cello play motive 4b from F# to F while the piccolo and flute sustain an A. In m 219, the oboe, English horn, clarinet, and trumpet begin playing motive 4b from D to C# on alternating beats from the other instruments also play motive 4b. The bassoon then plays the last octatonic scale of the piece spanning from low Bb to high D, virtually the entire range of the bassoon. On bt. 4 of m. 24, the oboe, English horn, and horns play motive 3 and imitate what the bassoon played on bt. 1. The bassoon ends with motive 4a, the ascending half step, on a sustained

C# and D. These pitches are the minor and major third of the last few measures.

Figure 24 shows the percussion, bassoon, and string parts in the last measures of the piece. The wind parts double the strings in these measures. This can be compared to the opening measures of the first movement. In m. 226, the orchestra sustains a Bb major third while the low strings, horn and bass clarinet play motive 1 with the same pitches as the opening of the first movement. The orchestra sustains the Bb major third and the bassoon enters on a low Bb, a note that Zwilich loves.53 This swells to the last reiteration of motive 9, by the piccolo snare drum, on bt. 4 and then the entire orchestra plays a Bb quarter note in the last measure. This brings the piece to a close with the same motive that opened up the movement and in the same tonal center that the first movement began.

53 Ellen Zwilich. 71

Figure 24: Percussion, Bassoon, and Strings, mm. 226 to 230

Chapter 5: Performance Application

Ellen Zwilich’s Concerto for Bassoon and Orchestra is a difficult piece for bassoonists due to its demanding technical passages, awkward intervals, extreme range, and unusual phrasing. This segment is meant to provide bassoonists with fingerings that can make technical passages easier, ideas about phrasing based on analysis and conversations with Zwilich, articulations that serve the music, and a basic understanding of critical ensemble parts. Each movement has been split up into sections based on analysis and phrasing. Suggestions for fingerings, phrasing, articulation, breathing, and ensemble awareness are listed for each section.

These guidelines are suggestions and are not meant to dictate how the piece should be played. They are intended as a starting point regarding musical phrasing and offer advice on how to make performance of the concerto easier. When discussing the cadenza, letters are assigned to the submeasures. These letter assignments are shown in

Appendix E.

Bassoon fingerings are identified by naming the pitch and the corresponding octave number on the bassoon. Figure 25 shows how this notation is determined.

Appendix D contains diagrams of fingerings that are referenced. Some pitches have more than one acceptable standard fingering. Table 28 in Appendix D, shows the standard fingerings for F#1, F#2, Ab1, Ab2, C#3, and F#4 that I use on my Fox 601.

Table 29 in Appendix D, shows the fingerings that deviate from my standard fingerings and other fingerings that ease technical passages and aid pitch correction. Each fingering will be referred to by the corresponding number assigned in Appendix D.

Octave 1

Octave 2

Octave 3

Octave 4

Figure 25: Bassoon Fingering Octave Notation

Movement 1:

General Comments

The first entrance in the bassoon is marked “molto cantabile.” This section and the material that is similar in the A’-section should be played as smoothly as possible with no cracks in the intervals. If intonation is too high on B4s and C4s, use fingerings

21 and 22 to lower the pitch.

Measures 1 through 19: Maestoso

Fingering Suggestions:

m. 15 – Use fingering 11 for the C#3 to help smooth out the slur.

m. 16 – Use fingering 11 for the C#3 to assist the slur, fingering 7 for the G#2 if

interval cleanliness is difficult, and fingering 10 on the C3 to help match pitch and

keep the interval smooth between the octave Cs.

Phrasing Suggestions:

According to Zwilich, the first bassoon entrance in m. 12, should grow out

of the full orchestra texture, as the ensemble is getting softer, even though in mm.

9 and 10, the brass section plays the same line with a decrescendo. The dynamic

marking is only poco forte, so enter at a healthy volume but leave room for

growth. Zwilich writes a phrase mark over mm. 12 through 16 with a breath

after m. 14. Since the phrase continues, keep the F3 after the breath at the same

dynamic or higher than the F#3 prior. The composer puts tenuto markings over

the Ab3 in m. 14 and the A2 in m. 15. These are important pitches in the phrase.

The Bb4 in m. 14 should lead to the Ab3 and the notes in between the Ab3 and

the A2 should lead to the A2. The dynamic level should diminish after the A2

until the end of the phrase in m. 16. The Ab3 and A2 are an example of the

frequently used half step relationship, which has been displaced by an octave.

They are also the major and minor third of F, a new tonal center. Zwilich makes a

note in m. 14 stating, “the soloist should treat the figure: two thirty-second notes

and a dotted eighth note, as an ornament, always on the beat, with weight on the

first note. The fast notes should be a little faster than notated, but don’t always

play the figure the same way.” 54 Consider starting the octave Cs in m. 16, at a

piano dynamic to create contrast from the previous phrase. Crescendo to the Db4

in m. 17 and then decrescendo when descending the F minor scale.

Articulation Suggestions:

Slur everything to keep all intervals smooth.

Breathing Suggestions:

Breathe where the breath mark is indicated.

Measures 20 through 39

Fingerings Suggestions:

mm. 23 to 24 – For the G#3 and the A3, use fingerings 17 and 19 for more

resonance and a fuller dynamic.

m. 25 – Use fingering 1 to lower the pitch of the E1.

Phrasing Suggestions:

In mm. 20 and 21, place a slight emphasis on the first note in each group

of sixteenths. This figure is similar to the thirty-second note motive in m. 14.

Play the second group, F#1 and E#1, slightly louder than the first group, G1 and

F#1. The second group occurs on a downbeat and helps to establish F# as the

next tonal center. Crescendo through the F# minor arpeggio and lead through

motive 4a to the Bb4. This helps to bring out the shift from minor to major and

the half step relationship. Start motive 6b in m. 23 mezzo forte and crescendo to

54 Zwilich, Concerto for Bassoon and Orchestra, 4. 76

the E1 in m. 25 to lead towards the sforzando E’s in the strings. Continue the

crescendo until the orchestra enters in m. 28. In mm. 26 to 27, place a slight

break between the notes to help emphasize the accents. Make sure the

embouchure is relaxed and the throat is open enough to keep the pitch down.

Breathing Suggestions:

Breathe during the eighth rest in m. 25.

Ensemble Considerations:

The bassoon is in unison with the strings on the E1 in m. 25.

Measures 40 through 61: Allegro

Fingerings Suggestions:

m. 42 – Use fingering 8 for the Ab1 to eliminate sliding the right hand, fourth

finger and fingering 11 for the C#3 because it involves fewer fingers. Also, for

the Ab3 consider using fingering 17 for more resonance.

m. 45 – Use fingering 16 for the F#2 to assist the technique.

m. 48 – Use fingering 1 for the E1 because the C# resonance key will already be

pressed for the C#1 prior. Also, use fingering 4 for the Eb2 and fingering 11 for

the C#3 to reduce finger movement.

m. 49 – Use fingering 19 for the A3, if more resonance is desired.

m. 55 – Use fingering 5 for the F#2 to avoid sliding the right hand, fourth finger.

mm. 58 to 59 – For the G#3 and the A3, use fingerings 17 and 19 for a higher

dynamic.

Phrasing Suggestions:

Maintain the forte dynamic level through the sixteenth notes. Then,

crescendo with the first violins, through the sustained Ab3, in m. 43. In m. 44,

come back in volume when the eighth notes in the violas enter, to dynamically set

up the next measure. Start m. 45 mezzo forte to leave room for growth, and

crescendo in m. 46 to bt. 1 of m. 47. Zwilich adds the second violins to help

bring out the bassoon line in m. 47. Play this measure fortissimo to stay above the

second violins as the bassoon should still be the dominant voice. Start the

sixteenth notes in m. 48 forte and hold that volume during motive 8. The B4

should lead to the C4 as the B4 creates at tritone against the F in the trumpet, and

the C4 is the resolution. Treat the F3 in m. 50 as a pick up to m. 51 and lead to

the F#3 to bring out the half step relationship between the F3 and the F#3.

Decrescendo on the F#3 to conclude the phrase.

Consider playing the section starting at m. 53 a little softer than mezzo

forte for a bigger contrast. In m. 55, crescendo to a dynamic higher than forte to

be heard over the orchestra. Decrescendo to a lower dynamic than mezzo forte in

m. 57 to set up the crescendo in the following measures.

Breathing Suggestions:

If needed, breathe before the sixteenth notes in m. 48 because this is in

between phrases, and before the F in m. 57 because this is before the quote of the

trumpet solo, from earlier in the movement, begins.

Ensemble Considerations:

The viola eighth notes begin in m. 44. Listen to them for a pulse. The

orchestra begins playing a D minor/major flat seventh chord in m. 57 that

continues through m. 61. Be aware of how the held pitches in the bassoon fit

within that chord.

Measures 61 through 75

Fingerings Suggestions:

mm. 63 to 64 – Use fingering 1 for the E1 to lower intonation.

m. 71 – Use fingering 15 for the E3 to assist with the slur.

m. 74 – Use fingering 12 for the D#3, fingering 16 for the F#3, and fingering 20

for the A3 to decrease fingering movement and improve technique.

Phrasing Suggestions:

This section is marked “dark, full.”55 On bt. 4 of m. 60, enter at the same

dynamic as the end of the previous crescendo. Bring out the E1 in m. 63 as

Zwilich put a tenuto marking over it. Crescendo to the Ab1 in m. 64 to bring out

the half step relationship. This is a representation of motive 4a. In mm. 67 to 69,

crescendo starting on the second half of bt. 4 in m. 67 and lead to the D2 in m. 68.

Treat the G1 in m. 68 as a pick up to m. 69 and lead to the Ab1 because this

material is similar to mm. 49 to 51. Play m. 73 a little louder than m. 72 to

differentiate the similar material and to emphasize the half step relationship. Start

55 Zwilich, Concerto for Bassoon and Orchestra, 14. 79

m. 74 at a dynamic level of mezzo forte to leave room for the crescendo to

fortissimo in the next measure.

Ensemble Considerations:

In mm. 62 and 64, the low strings play on the second half of bts. 2 and 3.

Avoid mistaking these for downbeats. Be aware that in mm. 71 to 73, the

orchestra plays eighth notes during the bassoon rests and be careful not to rush

the rests.

Measures 76 through 85

Fingering Suggestions:

m. 80 – Use fingering 7 for the Ab2 to assist with the slur.

m. 82 to 83 – Use fingering 5 for the F#2 to avoid sliding the right hand, fourth

finger.

m. 84 – For the Ab2, use fingering 7 to assist with the slur. Also, use fingering 11

for the C#2 and fingering 14 for the E3 to diminish finger movement.

Phrasing Suggestions:

Think of mm. 78 to 79 and mm. 82 to 83 as two measure phrases.

Crescendo through the chromatic movement in the upper pitches of m. 78 and 82

to bt. 1 of m. 79 and 83. In m. 80, crescendo through the sixteenth notes up to the

Db4 and come back in volume as the as the scale descends. In m. 84, crescendo

as the line rises and decrescendo as it falls to leave room for the crescendo in m.

85.

Ensemble Considerations:

In mm. 78 to 79 and mm. 82 to 83, the celli and bass have the second half

of bt. 1, bt. 3, the second half of bt. 4 and bt. 2. Take note that their part creates a

composite rhythm of straight eighth notes with the bassoon solo.

Measures 86 through 102

Fingerings Suggestions:

m. 93 – For the C#3’s, use fingering 11 to keep finger movement at a minimum.

Use fingering 17 for more resonance on the G#3.

m. 94 – Use fingering 19 for extra volume on the A3.

m. 95 – For the G#2, use fingering 8 to eliminate sliding the right hand, fourth

finger.

m. 100 – Use fingering 8 for the Ab1 and fingering 11 for the C#3 because this

fingering employs fewer fingers.

Phrasing Suggestions:

Bring out the pitches in the lower octave, in this section, to emphasize the

half step relationship in mm. 87 and 88 and the minor third relationship in mm. 90

and 91. Start fortissimo in m. 99 but decrescendo to set up the crescendo in mm.

100 to 101.

Ensemble Considerations:

The strings are sustaining Bb’s and Db’s until m. 94. Be aware of how the

bassoon pitches fit into the key, Bb minor.

Measures 103 through 112: Tempo I

Fingering Suggestions:

m. 105 – Use fingering 19 to keep the dynamic of the A3 louder.

.Phrasing Suggestions:

Measures 104 and 105 are marked “singing and declamatory.”56 These

quarter notes should be played marcato but full value with a lot of vibrato.

Measure 107 should be played a little tentatively to make a contrast from the

previous measure.

Articulation Suggestions:

Add accents to the quarter notes. This helps to bring out the declamatory

character that Zwilich requests.

Ensemble Considerations:

The bassoon is alone when playing in this section.

Measures 113 through 121

Fingering Suggestions:

m. 114 – For the Eb3, use fingering 13 to assist with the cleanliness of the slur.

m. 119 – Use fingering 2 for the Gb1 to avoid right hand, thumb movement from

the Bb2 prior. Slide right hand, fourth finger and use the standard Ab1 fingering

to avoid thumb movement to the Bb2 after.

56 Zwilich, Concerto for Bassoon and Orchestra, 24. 82

Phrasing Suggestions:

Crescendo to the Eb3 in m. 114 to bring out the half step relationship of

motive 4a. Start the D2 in m. 116 mezzo piano instead of mezzo forte to create a

larger contrast. Lead to the Eb2, and then decrescendo through the end of the

measure to create an echo. Play mm. 118 to 120 with the same phrasing as mm.

14 to 16, but at a softer dynamic.

Breathing Suggestions:

Take a breath where indicated.

Ensemble Considerations:

The orchestra is playing a B minor/major flat seventh chord beneath

the bassoon. The strings begin sustaining an A on bt. 3 of m. 120. Be aware of

these chords for pitch purposes.

Measures 122 through 131

Fingering Suggestions:

m. 129 – Use fingering 11 for the C#3 because it is less resonant.

m. 130 – For the F#2, use fingering 6 to muffle the sound.

Phrasing Suggestions:

Wait slightly after the flute and oboe finish playing so the first grace note

of the solo does not get lost. Keep the grace notes slightly longer so they do not

sound rushed. The strings are sustaining, so time does not have to be exact. Start

this section softer than mezzo forte to keep the reminiscent feeling and leave room

to decrescendo.

Articulation Suggestions:

Tongue the Eb1 grace note in m. 124. This will help bring out the grace

note and will assist with the response of the Eb1.

Breathing Suggestions:

Breathe where the breath mark is written before m. 126. A breath can be

taken before m. 128, if needed.

Ensemble Considerations:

Know that the strings are sustaining an A during mm. 123 through 126, a

Bb in m. 127, and the F#2 in m. 130 is in unison with the violas, for intonation

purposes.

Measures 132 through 145

Fingering Suggestions:

m. 135 – Try fingering 9 for the Bb3 if having difficulty with the slur to the Bb4.

m. 141 – Add the second finger of the left hand gradually across the second tone

hole when getting softer on the F2. This will help to keep the pitch lower, while

firming up the embouchure to play softer.

Phrasing Suggestions:

This section is marked “pochissimo meno mosso and reminiscent.” This

will be played slightly slower and creates an echo of mm. 16 to 20. Consider

playing this section without vibrato and keeping the dynamic level very low for a

change in color. Warm up the sound with vibrato to add intensity during the

crescendo in m. 139.

Ensemble Considerations:

The strings are sustaining a D# and an F# at the beginning of this solo. In

mm. 139 to 140, the bassoon creates a composite rhythm with the strings that is

the same as the opening two measures of the movement. The violas enter with a

unison F on bt. 3 of m. 141. The strings are holding a D in the last two measures

so the bassoon creates a major third. Make sure to keep the pitch down during the

decrescendo so the interval sounds in tune.

Movement 2:

General:

This movement is based largely on octatonic scales which are not scales that bassoonists regularly practice. Supplement your practice when preparing this movement.

These books and etudes will help gain familiarity with octatonic patterns:

“Chapter 6” in Bassoon Scales for Reading by Christopher Weait

“Octatonic Scales” in Scale, Arpeggio, and Interval Studies for Bassoon by

Robert Jordan

“Etudes 3, 4, and 5” in 28 Etudes by Guy Lacour adapted for bassoon by Jean-

Marie Lamothe

Again, if the B4s and C4s are too high in pitch, try fingerings 21 and 22 respectively.

Measures 1 through 24: Allegro molto

Fingering Suggestions:

m. 11 – Use fingering 5 for the F#2 because the thumb is a stronger finger than

the fourth finger and will help facilitate the quickness of this beat. Use the

standard C# fingering for the C#3. This will minimize the amount of finger

movement when moving to the Bb4. This C#3 fingering also has a fuller sound

so this will help keep the dynamic higher than the notes prior.

m. 12 – Use fingering 16 for the F#3 to ease finger movement.

m. 14 – Use fingering 11 for the C#3 because it is a simpler fingering.

m. 18 – Make sure the right hand, fourth finger is lifted when playing the F#1 on

bt. 4. Holding the F# key with the thumb will automatically place the F key

down, freeing up the fourth finger to move to the Ab key for the next note.

m. 19 – Use fingering 4 for the Eb2, fingering 5 for the F#2, and fingering 12 for

the Eb3 to minimize fingering usage and ease technique.

Phrasing Suggestions:

In mm. 11 to 14, play at a healthy dynamic level. The solo is marked

“poco forte.” The notes with longer note values (Bb4 in m. 11 and G3 in m. 12)

should lead to the A3’s on bt. 4 to emphasize the half step interval. Crescendo

slightly at the end of the sustained E3 in mm. 13 to 14 to bring out this instance of

the half step relationship with the F3, but save most of the crescendo for the end

of m. 14 to bring out the forte part of the fp on bt. 1, of m. 15. When playing the

crescendo in mm. 15 to 16, save most of it for the descending scale to the F#1 in

m. 16. The sixteenth notes will help with the crescendo and this will assist in

bringing out the fortissimo. Place slight emphasis on bt. 4 of m. 18 and on the

first sixteenth note on each beat in m. 19. This should establish the pulse since m.

18 starts on the second half of bt. 1. Crescendo through mm. 23 and 24. Pass off

the line to the orchestra to avoid a drop in intensity between the solo and the

ensemble entrance.

Articulation Suggestions:

Keep the sixteenth notes long in this section. They will sound shorter

when played at a faster tempo and this will make it easier to speed up the

articulation. In mm. 20 to 22, use a “la” articulation for the notes in the upper

quarter note full value in m. 24.

Breathing Suggestions:

If a breath is needed between mm. 18 to 24, sneak one in before the B4 in

m. 20. Since A to B is not a half step relationship there can be a slight break.

After the breath, keep the B4 at a slightly louder dynamic. Avoid the breath in

parenthesis in m. 18. At a fast tempo, this breath will make it difficult for the

soloist to stay in time with the orchestra.

Ensemble Considerations:

The second violins start playing eighth notes beneath the solo, on the

second half of bt. 2, in m. 12. Listen to these for a pulse. To avoid falling behind,

be aware of when the instruments playing eighth notes do not have downbeats.

This first takes place in m. 13, when they do not play on the downbeat of bt. 2.

The strings continue on the second half of bt. 2 with eighth notes. Listen for

motive 10 in m. 15, during the whole note to keep the tempo steady while holding

the D. Note that the low strings have downbeats when the bassoon has offbeats in

m. 18. The strings have eighth notes starting in m. 20 and do not have downbeats

in m. 20 – bt. 4, m. 21 – bt. 3, and m. 22 – bt. 3.

Measures 25 through 52

Fingering Suggestions:

m. 40 – Use fingering 4 for the Eb2 to minimize finger movement.

m. 41 – Use fingering 11 for the C#3, fingering 12 for the D#3, fingering 16 for

the F#3, and fingering 20 for the A3 to ease technique.

m. 42 – For the F#3 use fingering 16 to decrease finger movement.

m. 44 – Use fingering 4 for the Eb2, fingering 5 for the F#2, fingering 12 for the

Eb3, fingering 16 for the F#3 and fingering 20 for the A3 to improve technique.

m. 51 – For the F#1 use fingering 2 to avoid thumb movement from the B4 prior.

Phrasing Suggestions:

Bring out motive 4b in m. 40. In mm. 42 to 43, the lower pitches are a

representation of motive 1. Play them longer and accented. The upper notes are

varying half steps and a representation of motive 10. Play the second note of each

slur slightly shorter to bring out the accents of the lower notes. The lower voice is

aggressive while the upper notes are more delicate. Crescendo to the G3 in

m. 43. Also, crescendo through the sixteenth notes in m. 45, to the C4 as this is a

representation of motive 4a. Back off slightly after the first accented note in m.

46, and then crescendo to the second accented note in m. 47. This will help to

bring out the accents. Apply the same ideas from mm. 42 to 43, in mm. 51 to 52.

Articulation Suggestions:

In m. 45, keep the sixteenth notes long to speed up articulation.

Breathing Suggestions:

Once again, avoid the optional breath mark in m. 41 to avoid falling

behind the orchestra. If a breath is needed, take it quickly after the Bb quarter

note in m. 41.

Ensemble Considerations:

The bass has downbeats against the bassoon offbeats in m. 40.

Measures 53 through 84

Fingering Suggestions:

m. 69 – Use fingering 4 for the D#2, fingering 11 for the C#3, fingering 12 for the

D#3, fingering 16 for the F#3, and fingering 20 for the A3 to facilitate faster

technique.

mm. 76 to 77 – For the C#3, use fingering 11. Use fingering 17 for the G#3 for

added resonance during the crescendo.

m. 79 – Use fingering 19 for the A3 to assist with raising the volume while

getting louder.

Phrasing Suggestions:

Consider adding a small decrescendo at the end of m. 69, into the Db4, in

m. 70. The upper register is delicate and over blowing the high notes might result

in them not speaking. The decrescendo will vary this scale from some of the

earlier scale patterns and assist with a clean execution of the Db4. Then,

crescendo through the sixteenth-note C4s to the Db4. Once in the upper

bring out motive 4a. Play mm. 73 to 75 similarly to mm. 46 to 47. Decrescendo

when coming down the scale, after the accented notes, and crescendo when

coming up the scale to the next accented note. Bring out the accented pitches in

mm. 76 and 77, crescendo to the fp on the G#3. In mm. 78 and 84, play as soft as

possible after the forte portion of the fp’s to be able to make a bigger crescendo on

each of the sustained pitches. Continue the forte dynamic level between the end

of the crescendos and the next fp. Crescendo through bt. 4 of m. 84 to keep the

intensity level up until the orchestra enters in m. 85.

Articulation Suggestions:

Play all tongued sixteenth notes long, even if they are marked staccato, to

help keep the tempo up. When playing the accented Db4’s in mm. 72 to 75, use a

“la” articulation with an extra burst of air for the accents. Avoid a harsh tongue to

aid note response.

Breathing Suggestions:

If a breath is needed in mm. 76 to 80, end the sustained G# in m. 78

slightly early and breathe before the F#.

Ensemble Considerations:

The orchestra does not play during the bassoon scale in mm. 68 to 69 and

enters with eighth notes on the second half of bt. 1 in m. 70. The basses sustain a

C# from bt. 3 of m. 75 through bt. 1 of m. 83 and then hold a C from bt. 2 of m.

83 through m. 84. Be aware of this continued pitch and how the bassoon pitches

relate to it, harmonically.

Measures 85 through 111

Articulation Suggestions:

Use a soft articulation to mask each entrance of the bassoon.

Breathing Suggestions:

Breathe through the nose to help the illusion that the soloist never stops

playing. Take a breath before the B1 in m. 111 to help reset for the large register

jump and bring out the accent.

Ensemble Considerations:

The bassoon alternates entrances with the triplets in the orchestra. Mark

these entrances and exits in your part. The second violins sustain an F# the entire

time so match pitch with the section. The bassoon is in unison with the basses in

m. 111.

When performing with piano, consider cutting from the end of m. 84 to m.

108. This works harmonically because the F# finishes motive 2. This section

does not work well with piano because the sustained F# in the second violins,

which helps with the illusion, is lost. It is difficult for the bassoon entrances

and exits to be undetectable.

Measure 112a through 112k: Cadenza

Fingering Suggestions:

m. 112g – Use fingering 8 for the Ab1 to eliminate sliding the right hand, fourth

finger and fingering 11 for the C#3 because it involves fewer fingers.

Phrasing Suggestions:

It is imperative to make the two voices clear at the beginning of the

cadenza. Zwilich writes that the lower voice is “bold,” while the upper voice is

“cantabile.” The lower voice is a quote of the orchestra line from the beginning

of the first movement, while the upper voice is reminiscent of the bassoon solo in

the first movement. Keep the cadenza at quarter note equals ca. 60 but not strictly

in tempo. The lower voice is made up of the pitches in m 112a, other than the G3,

all of mm. 112b, 112d, and 112e. The G3 in m. 112a, m. 112c, and m. 112f make

up the upper voice.

In mm. 112a to 112b, keep the lower voice forte and heavy. Play the G3

of the upper voice, starting at a dynamic level of piano and make a slight

crescendo. This will imitate the bassoon coming out of the orchestra at the

beginning of the first movement. Return to forte at the second entrance of the

lower voice and diminuendo to mezzo forte as written. Start the entrance of the

upper voice in m. 112c, mezzo piano. The contrasting dynamic level from the

previous measure helps to keep the voices separate. Keep the measure at a mezzo

piano until the end of the B4 moving to the A3, where the crescendo as marked.

Play mm. 112d to 112e as marked by Zwilich.

Play the grace notes into m. 112f unhurried and starting pianissimo.

Think of them as sixteenth notes at the current tempo. Zwilich marks the solo

“mezzo voce” at this point, meaning medium voice. Keep this measure at a low

dynamic level and save the crescendo “to full voice” for the C4. Take time before

m. 112g. Imagine tossing a ball up in the air at the conclusion of the C4 and

waiting for it to hit the ground, about two beats at quarter note equals 60. Start

the F1 in m. 112g at the same dynamic level as the end of the previous measure.

Keep the dynamic above mezzo forte on the decrescendo and maintain that

dynamic level through the thirty-second notes. Playing at a dynamic that is too

soft can cause difficulty with note response. Stay above mezzo forte again, at the

end of m. 112h, so that the echo in the next measure sounds much softer.

Articulation Suggestions:

Keep the lower voice marcato and the upper voice smooth and connected.

Consider extending the slur in m. 112g over the C#4 and the D4. This may help

with the response of the notes.

Breathing Suggestions:

If needed, breathe before m. 112c because this is in between voices.

Breath after the poco ritenuto before the grace notes, in m. 112f.

Measures 113 through 116: Conducted

Phrasing Suggestions:

Start the grace notes forte so the D1 is not lost. Play dynamics as written.

Breathing Suggestions:

Take the optional breath in m. 114 if needed.

Ensemble Considerations:

The second violins play motive 4a starting on bt. 2 of m. 113 and motive

5a on bt. 1 of m. 15 a minor third lower, after the bassoon.

Measure 117a through 117s: Free

Fingering Suggestions:

m. 117e – Use fingering 5 for the F#2 to avoid sliding the right hand, fourth finger

when moving from the G#2.

m. 117f – For the Eb4, use fingering 23 to raise the pitch.

m. 117j – Use fingering 11 for the C#3 and fingering 20 for the A3 to improve

technical facilitation.

m. 117k – For the D#4 and the E4, use fingerings 23 and 24 to keep the pitch

higher.

m. 117n – For the Ab2, use fingering 8 to avoid sliding the right hand, fourth

finger.

mm. 117o to 117r – Use fingerings 17 and 19 for the G#3 and the A#3 to help

play at a fuller volume.

m. 117s – Use fingering 1 for the E1 to reduce movement from the C#1, fingering

12 for the Eb2, and fingering 11 for the C#3 to assist with technique.

Phrasing Suggestions:

Since this section of the cadenza is written in smaller note values, think of

the eighth-note subdivision as the pulse for the measures. This helps to keep track

of the measures with an odd number of eighth notes. This section of the cadenza

should have more push and pull than m. 112. In general, do not rush through the

rests in this section.

Start slowly in m. 117a, and accelerate a little through the measure. In m.

117b, start at the tempo left from the previous bar and speed up through the G1

and then pull back on the last three sixteenth notes. Start slowly and speed up

through mm. 117c to 117d. Start m. 117e at a faster tempo and get faster through

the thirty second notes in m. 117f. Keep the accelerando going through the

sustained D4 and Eb4. Take a small break before m. 117g, to help with the

not sound softer than the previous measure. Keep the pitch down on the Eb1

because the Eb4 prior will tend to be low. Pull back slightly on the C1, Db1, and

Bb1. Take a break before m. 117j to prepare for the upcoming motive 8. Speed

up through m. 117j and save the crescendo for where it is written. If the E4 is too

flat in m. 117k, consider keeping the accelerando going through the measure. If

not, then pull back slightly on the Eb4 and E4.

Take the biggest break after m. 117k because this is the only caesura in the

cadenza. Exaggerate how slowly this section starts and space out the

accelerando. Bring out the first grace note in each of the grace note measures.

The accelerando will take place through the A3 in m. 117q. Pull back a little when

moving into the G#3 in m. 117r to signal the ending of the cadenza. Play the

dynamics as written until m. 117r. Change the dynamic in m. 117r to mezzo

piano to help bring out the fortissimo in the next measure. Play m. 117s at full

volume and at eighth note equals 120 to set up the tempo of the next section.

Articulation Suggestions:

Add a slur from the A3 to the D4 in m. 117e. Because of the large amount

of fingers moving between pitches, the D4 will still sound articulated and there

will be a higher success rate of it responding. In m. 117k, add a slur from the D4

to the E4 to help the Eb4 and E4 speak.

Breathing Suggestions:

Take a breath in between m. 117i and 117j. This will help to reset for the

arpeggiated pattern in m. 117j. If needed, take a breath during the sixteenth rest

in m. 117n and avoid taking a breath before the grace notes in m. 117m. Take

the breath as written, in between mm. 117o and 117p.

Measures 118 through 133

Phrasing Suggestions:

The bassoon part in this section is made up of motive 6 and motive 7. The

Db4 belongs to both motives. This entrance is marked “poco forte,” so avoid

pushing the dynamic too much. Crescendo through motive 6 to the Db4 and then

continue to crescendo through motive 6 to the G3.

Breathing Suggestions:

Try to play mm. 128 to 133 in one breath. Since the motives are

overlapping, there is not an opportune location for a breath.

Ensemble Considerations:

The string section is playing a C# minor/major seventh chord beneath the

bassoon. Be aware of how the bassoon solo pitches fit in with this chord.

Measures 134 through 158: Allegro molto

Fingering Suggestions:

m. 135 to 136 – For the Ab3 use fingering 17 for added resonance.

m. 148 – Use fingering 16 for the F#3 and fingering 11 for the C#3 to minimize

finger movement.

m. 153 – Use fingering 11 for the C#3 and fingering 18 for the G#3 to make

technique easier.

Phrasing Suggestions:

The bassoon assumes the role of the oboe, English horn, and viola in mm.

135 to 138. Enter at a dynamic level of forte and diminuendo to the G3. Since

the Ab3 has an accent, it is a more important pitch and the bassoon imitates the

piccolo snare dynamic. In mm. 137 to 138, lead through motive 3 to the B4 and

then continue crescendoing to the accented C3. The movement from the B4 to the

C3 is a form of motive 4a, displaced by an octave.

Phrasing/Articulations/Breathing/Ensemble:

Measures 145 to 158 are the same as mm. 17 to 24.

Measures 159 through 188

Fingering Suggestions:

m. 174 – For the Eb2, use fingering 4 because of less finger movement.

m. 175 – Use fingering 5 for the F#2 to avoid sliding the right hand, fourth finger.

Also, use fingering 12 for the Eb3 and fingering 16 for the F#3 to facilitate

technical efficiency.

m. 178 – Use fingering 11 for the C#3 and fingering 18 for the G#3 because this

will diminish finger movement.

Phrasing/Articulations/Breathing/Ensemble:

Same as mm. 25 through 52

Measures 189 through 197

Fingering Suggestions:

mm. 191 to 194 – For the F#3 use fingering 16 to ease technique.

Phrasing Suggestions:

Crescendo through mm. 189 to the accented Eb3 in m. 191. In mm. 192

through 193, make each beat of sixteenth notes louder. This will help bring out

the subito piano in m. 194. Continue the forte dynamic through m. 198 to avoid a

drop in intensity.

Articulation Suggestions:

Place slight separation between the quarter notes in mm. 189 through 191.

This will help highlight the offbeats. Note: When this material is in the trumpet

line earlier, it is written in eighth notes instead of quarter notes. Keep the quarter

notes longer than the length of the trumpet eighths in the A-section.

Ensemble Considerations:

Keep in mind that the trombone is playing downbeats against the bassoon

offbeats in mm. 189 to 195. In measure 197, the trombone assumes the offbeats

while the bassoon plays the downbeats.

Measures 198 through 211

Fingering Suggestions:

m. 205 – Use fingering 4 for the D#2, fingers 11 for the C#3, fingering 12 for the

D#3, fingering 16 for the F#3, and fingering 20 for the A3 to help minimize finger

movement.

Phrasing/Articulation/Breathing/Ensemble:

Same as mm. 68 through 75

Measures 212 through 230

Fingerings:

m. 223 – Use fingering 11 for the C#3 to move fewer fingers.

m. 224 – For the Ab3, use fingering 18. This will eliminate a cross fingering in

the right hand.

Phrasing Suggestions:

Start the scale at a full dynamic because the low register will already tend

to sound softer. Keep the volume full through the scale and lead to the C#4.

Crescendo through the C#4 to the D4. This is the last time motive 4a is heard so

it needs to be highlighted. Consider taking a slight break (in time) before the last

note to accentuate it.

Articulation Suggestions:

In mm. 224 to 225, use a “la” articulation with an air accent, for the

accents on the C#4 and the D4. This will help the notes to speak cleanly.

Ensemble Considerations:

The orchestra does not play during the bassoon scale in m. 222 through bt.

3 of m. 224 and during the Bb1 in m. 228 to 229. The soloist will not have to

fight to be heard.

100

Chapter 6: Conclusion

Concerto for Bassoon and Orchestra was composed by Ellen Taaffe Zwilich for

Nancy Goeres, the principal bassoonist of the Pittsburgh Symphony, in 1992. The premiere in 1993 was well received and lead to the production of a recording by Goeres and the Pittsburgh Symphony, as well as a piano reduction of the piece. While the piano reduction is not ideal for performance, a separate percussion part can also be purchased to assist with the effectiveness of this concerto.

Zwilich combines major and minor tonalities by using the intervals of a half step to move between major and minor thirds frequently. She often uses motives that are introduced in the first movement, throughout the entire piece. Also, octatonic scale patterns play a great role in this concerto rather than traditional major and minor scales.

A theoretical understanding of this piece can help a performer to have a better understanding about how to learn and perform it. The opening of the first movement, presents most of the material that is used and manipulated in the entire piece. Identifying where this material occurs in the second movement helps to make sense of the movement and the piece as a whole.

This concerto contains complex phrasing and challenging technical passages.

Through the use of the suggested fingerings, musical ideas, breathing, articulations, and highlighted ensemble parts, a bassoonist can have a better understanding of the piece and

101 have a starting point to create their own musical interpretation. The suggestions help a bassoonist come up with ideas about the piece, but are not absolute performance practice.

While this paper includes compositional techniques and a detailed analysis, the relationship of this concerto to other compositions by Ellen Taaffe Zwilich has yet to be explored. Also, after composing the concerto, Zwilich noted that she regularly includes a bassoon solo in her orchestral works.57 When considering further research, a comparison of her use of bassoon in works prior to the concerto with subsequent works may be of interest. Some musicians and music enthusiasts shy away from twentieth and twenty-first century music because it is not as accessible as much of the music that came before it.

This general lack of understanding makes it difficult for a performer to start the learning process of a contemporary piece of music. Future studies of modern-day literature can help this music to be more accessible to performers and perpetuate the genre.

57 Ellen Zwilich. 102

Bibliography

Arizona State University. “Albie Micklich.” Arizona State University. http://herberger institute.asu.edu/faculty/selectone.php?ID=282 (accessed Feb 3, 2013).

Burwasser, Peter. “Ellen Taaffe Zwilich Talks About Her Music.” Fanfare. 26 (Nov/Dec 2002): 18-20.

Croan, Robert. “1993 In Review Top 10: Pittsburgh’s Classical Music Concerts.” Pittsburgh Post-Gazette (Pittsburgh) December 26, 1993.

------. “Concerto Comes to Life.” Pittsburgh Post-Gazette (Pittsburgh) May 14, 1993.

------. “Symphony to Premiere Special Concerto for its Bassoonist.” Pittsburgh Post- Gazette (Pittsburgh) May 13, 1993.

“Ellen Taaffe Zwilich wins Pulitzer Prize.” International Musician. 82 (October 1983): 13.

LePage, Jane Weiner. Women Composers, Conductors, and Musicians of the Twentieth Century. London: The Scarecrow Press, Inc, 1983.

Goeres, Nancy. Interviewed by Emily Patronik. Telephone. Feb 9, 2013.

Klein, Howard. Liner notes for Benjamin Lees: Concerto for French Horn and Orchestra, Leonardo Balada: Music for Oboe and Orchestra: Lament from the Cradle of the Earth, Ellen Taaffe Zwilich: Concerto for Bassoon and Orchestra, by Pittsburgh Symphony Orchestra. New World Records 80503-2. 1996. Compact Disc.

Kostka, Stefan, and Dorothy Payne. Tonal Harmony Fifth Edition. Boston: McGraw Hill, 2004.

Pimentel, Bret. “Fingering Diagram Builder.” Bret Pimentel, Woodwinds. http://fingering.bretpimentel.com/#!/bassoon/ (accessed June 3, 1013).

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Pittsburgh Symphony Orchestra. “Ellen Taaffe Zwilich: Concerto for Bassoon and Orchestra.” On Benjamin Lees: Concerto for French Horn and Orchestra, Leonardo Balada: Music for Oboe and Orchestra: Lament from the Cradle of the Earth, Ellen Taaffe Zwilich: Concerto for Bassoon and Orchestra. New World Records 80503-2. 1996. Compact Disc.

------. “Goeres, Nancy.” Pittsburgh Symphony Orchestra. http://pso.culturaldistrict.org/ pso_home/biographies/musicians/goeres-nancy (accessed Feb. 15, 2013).

------. “Pittsburgh Symphony Premieres.” Pittsburgh Symphony Orchestra. http://www.pittsburghsymphony.org/announce10-11/psopremieres.pdf (accessed March 4, 2013).

Rosenbuerg, Donald. “Bassoon Concerto a Haunting Work.” The Plain Dealer (Cleveland) May 15, 1993.

Swinkels, Neil. “Ellen Taaffe Zwilich: Composer Inspiration.” San Francisco Classical Voice. http://www.sfcv.org/events-calendar/artist-spotlight/ellen-taaffe-zwilich- composed-inspiration (accessed March 4, 2013).

Terry, Ken. “Ellen Taaffe Zwilich.” BMI: The Many Worlds of Music 2 (1983): 46-47.

Zwilich, Ellen Taaffe. Concerto for Bassoon and Orchestra. King of Prussia, PA: Theodore Presser Company, 1992.

------. Concerto for Bassoon and Orchestra, Solo Bassoon and Piano Reduction. King of Prussia, PA: Merion Music, Inc, 1994.

------. Interviewed by Emily Patronik. Telephone. March 7, 2013.

104

Appendix A: Nancy Goeres Interview Transcription

Phone Interview: Feb. 9th, 2013, 5:30pm.

Emily Patronik (EP): First off, I just want to ask you a few biographical questions. My first question is where were you born?

Nancy Goeres (NG): I’m from Lodi, Wisconsin. A tiny, tiny town called Lodi. L-O-D-I

EP: How old were you when you started playing the bassoon?

NG: I started the summer before sixth grade, so that would be 11.

EP: And why did you decide to start playing the bassoon?

NG: I had an older sister who played the clarinet and she said, “Play the bassoon.”

They didn’t have any in the band. They always had to do challenges and auditions every week, for their chairs, in the clarinet section, and so she said, “Play the bassoon.” I didn’t even know what it was. They found this old plastic…I don’t know if it was plastic.

One of mine was plastic at the beginning. I started out on that and loved it right away

105

EP: Were you involved with music at all before you started playing the bassoon?

NG: I played piano. I started taking piano lessons at age 7. I have two sisters that I’m in between, an older and a younger, and we were all playing piano and band instruments.

EP: Are they still involved in music as well?

NG: Actually, they are. My younger sister plays the flute and she went to Juilliard and then stayed in New York. She’s a freelancer on the flute. My older sister, the one that played the clarinet, went to Northwestern University and was an education major, but her major instrument was the clarinet. She was also an excellent pianist and a singer and for a long time, taught elementary music. Then she switched to doing accompanying and she does vocal coaching and accompanying at the University of Wisconsin, in Madison.

EP: Interesting.

NG: My brother played the trumpet, but he didn’t follow up on that and is running my father’s business now.

EP: Were your parents involved with music at all or just the kids?

106

NG: Oh, no. My mother conducted the church choir and my father sang in it. They met in their college choi,r but that’s the extent of the music. My brother is much younger, but when my sisters and I were growing up, we actually had three pianos in the house so that we’d all have a piano to practice on. Also, my sisters were much better pianists than I was. I was a terrible pianis,t but I trudged through that.

EP: I read about who you studied with and I was wondering where did you go to school and how long did you study with them?

NG: I started playing in the Wisconsin Youth Symphony starting in seventh grade.

Madison is about 20 miles south of Lodi. The youth symphony rehearsed at the university in Madison and I started studying with Richard Lottridge. He’s retired now, but he was the bassoon teacher at the University of Wisconsin. I studied with him all through high school, from grades 7 through 12. I studied with him and then in the summer of my junior year, in high school, I went to Tanglewood and I met Sherman Walt there. You know who he was.

EP: Yes.

NG: Yes, okay. He was the principal bassoonist of the BSO for many, many years. At that time he was there and I decided I wanted to study with him, so I ended up going to

Boston University and studied with him. I didn’t want to go to a conservatory. I come

107 from a small town and I had had enough of small. I also wanted [to take] academic classes and I’m very much into literature, so I went to BU and I took Shakespeare courses and literature courses that I enjoyed, linguistics courses, so that’s why I went there and he [Sherman Walt] wasn’t actually teaching at BU but I worked it out that I could study with him and go there.

EP: Okay.

NG: And you said how long? Well, pretty soon on, there was an opening in the Florida

Orchestra and I took the audition for that orchestra and my third year at BU, I started playing principal in the Florida Orchestra and I commuted back and forth. I did complete my degree believe it or not. I used some of my credits from Tanglewood for orchestra and chamber music requirements.

EP: That is a lot of traveling. How long did you play with the Florida Orchestra?

NG: I’m a little fuzzy there just off the top of my head and I’m not sure. I played a few years in Tampa. That [The Florida Orchestra] is in Tampa. And then I’ll just give it to you quickly. I played a few years there starting pretty young. I probably was 20 when I started playing in Tampa. Then I played for a year in Caracas, Venezuela, Caracas

Philharmonic. These are all principal positions

108

EP: Okay.

NG: There was an opening in Cincinnati for a year. This was in the 80’s, 83, something like that, for principal bassoon. I took that audition from Caracas. That was very interesting getting there, but anyway, I played in Cincinnati for one year. Then I played in the Florida Symphony for one year. I actually took the audition in Pittsburgh, in

September, for the following September, so it was a full year in advance. In between, there was an opening in Orlando, so I got that job. I played for a year in Orlando. That was when that orchestra was still in existence. Then I went to Pittsburgh and I’ve been here since. The 1984-85 season was my first year here.

EP: Other than playing with Pittsburgh, teaching at Carnegie Melon, and Aspen in the summer, what else are you doing?

NG: You mean on a regular basis, right?

EP: Yes.

NG: When I am available, and can do it, I had to turn down two summers in a row, but I teach regularly and play in the Sarasota Music Festival. The Santa Fe Chamber Music

Festival. There are a lot of things that I’ve done in the past but that gets rather tedious.

109

EP: That is fine. My last biographical question is: who have been the biggest musical influences in your life?

NG: Well, I certainly would say, first, both of my teachers. Also, I’d have to say the music directors in Pittsburgh since I’ve been here: Lorin Maazel, Mariss Jansons, and

Honeck, who is our current music director. I also, at the very beginning of my career, played at the Marlboro Music Festival for a couple of summers and that was when

Rudolf Serkin was there, the president as well as music director of that music festival.

There were a lot of tremendous influences for me there. That’s a long time ago, but it was right after I had been in school so that was a big learning experience.

EP: How exactly did the commission for the Zwilich concerto come about?

NG: Lorin Maazel was the music director and I was approached by the executive director at the time who, in consultation with Maazel, decided that they wanted to commission a concerto for me and asked me who I wanted. I looked around for a while and thought about it. I had met Ellen Zwilich before and liked her music so I requested her. That’s how that happened.

EP: Had you ever expressed interest before in having a concerto commissioned?

NG: Oh, it’s always a great thing to be involved in any kind of commission.

110

EP: Yes.

NG: That was probably the first commission besides friends writing things here and there, so that was a big deal for me. I loved being part of that. I can’t imagine anyone not being thrilled to have a commission. Ellen had won, not much before that, her

Pulitzer Prize for her First Symphony, so she was a pretty hot commodity at that point.

We were lucky that it worked out and I was lucky that it turned out to be a great piece. I mean, no composer has a…even Mozart and Beethoven wrote some lesser pieces.

EP: Where had you met Zwilich before?

NG: That’s a good question. To tell you the truth, I can’t remember. She’s from Miami or at least has spent a lot of time there. She still has a home there and I was playing in

Florida so my guess is that somehow our paths crossed. I should be clearer about that but I really don’t remember.

EP: Did you talk with her at all before she started to compose the concerto?

NG: We talked a lot. In fact, she met me in New York, when I was there with the orchestra, and I sat on the stage and played all sorts of things for her and she walked around to hear how the bassoon sounded in the hall and we talked. She asked me, “what kinds of things I liked to play, what music I liked, what kind of instrumentation I was

111 interested in?” Now, mind you, she did what she wanted in the end, but she wanted to know, “what is the range, what is the comfortable range, about trills, about down slurs, about what’s easy, what’s hard, all sorts of things.” It was really a very interesting collaboration and then this was in the 90’s, way back then. And she started faxing me things here and there. Now, you just get on a computer. She wrote by hand and she probably still does, but she would write out little manuscripts of measures as she was working on them and asked me what I thought. So, we were in touch quite a bit, and in fact, I think I subsequently made another trip to New York and we got together and worked on it. So, I was involved, like I said, it wasn’t like I told her what to write but she was very interested in getting a lot of feedback, advice for the most part.

EP: How long would you say the collaboration process took?

NG: Well, I think the performance was in 93. It was probably a year. I had the final version less than a year before it was performed. I had it around six months and we worked probably about a year. I’d say about from beginning to performance it was it was maybe a year and a half.

EP: What were your first impressions of the concerto once you received the finished version?

112

NG: Well, as I said, I was getting it in pieces, so it’s not like it was a surprise to me when I got the whole thing. That’s a hard question as far as what I remember. I was excited by it; I thought it was going to be great. I didn’t know what it would sound like with the orchestra and everything. It was funny because in the middle of the process somewhere she said, “I’m sorry Nancy, I wrote a high F in the cadenza,” and of course I had told her nothing higher than an E and certainly the E had to be written carefully, as you well know.

EP: Yes.

NG: And that was probably the one concession she gave me because I said to her, “Ellen, if you want to leave it in there and you want your concerto to be known as the one with the high F in it,” because we all know those…

EP: Yes…

NG: “and if you want to put it in there, that means I’m going to have to find a specialty bocal because I can play high E’s on the bocal that I use all of the time, if they’re positioned carefully, but for an F, I’m going to have to change bocals and something extraordinary, so that’s what’ll happen if you leave that in there.” You know where I’m talking about in the cadenza where it goes up to a high E? She continued that to an F.

113

EP: Up to the F?!?

NG: Yes. And I just said, “Don’t do it.” Three years ago, I had the PSO commission another concerto for me and the orchestra, with our current music director, and I performed that in 2010. Alan Fletcher was the composer. He’s the president of Aspen and actually, a friend. He wrote a wonderful bassoon concerto. There are millions of high E’s! One’s that were just crazy. You know *sings random notes up high* and although the concerto is very lyrical and beautiful, but the high E’s were just as though they were A’s. So, I did get him to change it, but there are [still] a lot of high E’s in that concerto. It definitely improved my upper register to learn that. I know you asked,

“What did I think of the piece?” The interesting thing is I had good feelings about it. I thought it would be good. I had the score and it was hard to envision what it would be like. I did play it with someone that could read a score, with difficulty. I didn’t really know what it would be like until [later]…

EP: So, the first time you heard any of the accompaniment was with the orchestra in the first rehearsal?

NG: Well, that was the first time I heard orchestral accompaniment. I played it with piano. That was…well, you know the piece…

EP: Yes.

114

NG: You really can’t… What’s interesting is, subsequent to my performances, and I played it several times pretty quickly in different places, I suggested to Presser that they

[publish the percussion part separately.] Ellen and I discussed it. I had a student that wanted to play it and I thought, “You can’t do it with piano but you could do it with piano and percussion.”

EP: Yes.

NG: You are probably aware that they will send a percussion part when you order the piano score.

EP: It does not really work with piano or just piano.

NG: It doesn’t work with one but it works actually, very well, with piano and percussion.

It’s written for one person, as you know.

EP: Yes.

NG: Double bass drum and all that stuff, so it works very well. Very effective and there have been quite a few performances that way.

115

EP: So, you were preparing this piece a little bit at a time as she sent you small sections?

What exactly was your preparation process for learning this piece?

NG: She would send me little examples here and there, but I didn’t really start to prepare it until she sent me the complete score and part.

EP: Okay.

NG: And I don’t know exactly, but it was it was a comfortable amount of time to learn it before it was to be performed.

EP: How was the piece received at the premiere? What did the audience think?

NG: It was a HUGE success. You know yourself because you’ve played it.

EP: Yes.

NG: The audiences react very positively to it. Especially, considering that it’s written after Beethoven.

EP: I have a couple of questions about the recording. It was recorded a couple of years after it was premiered, correct?

116

NG: Yes.

EP: Did you play it on any concerts around when it was being recorded or did the orchestra just have a recording session?

NG: We just did recording sessions.

EP: Okay.

NG: Now, it’s interesting. Orchestras don’t really record that way anymore. Now, we record because it’s too expensive [for a recording session], by using performance recordings that are edited.

EP: Oh.

NG: But for this recording, there were…well, if you have the recording then you know.

EP: Yes, the three concertos.

NG: Yes, horn, oboe, and bassoon that were all commissioned by the PSO in Maazel’s

[time].

117

EP: Did you find this concerto difficult to record?

NG: No, and I’ll tell you, I would answer that the same way that I would as far as if you asked me to perform. It’s really kind of the same thing. Details are different in recording than they are in performance, but I have to say, to have Maazel conducting it was fabulous because he’s a genius. There was never any question about what he would be doing because the tempos were perfect and exactly what I wanted and he was good at getting things together. It’s really not difficult if you have a good orchestra, to actually get it together.

EP: What did you think about the tempo marking of the second movement?

NG: You mean, did I think it was too fast?

EP: It’s fast.

NG: Well, what did I think? What is it? 160 to 168?

EP: Yes, 168 is what the edition says now.

NG: Right. She and I discussed that. I did it…well, I don’t know, what would you say I did it? You’ve heard the recording.

118

EP: I think it was pretty close to 160.

NG: Yes, I think it was 160. I don’t think it was 168. It was fast. After she wrote the first movement, she told me, “Nancy, I have a question for you. You have the first movement now,” and not that it was absolutely completed, but as she went along she was sending it to me so I basically had the first movement. She said, “Tell me, I know this is going to sound weird but, is it hard enough?” And I actually knew what she meant. It wasn’t like it has to be the most difficult concerto ever written, but there needs to be enough there.

You know what I mean? It can’t be too easy technically either. Not that that’s the most important thing but I said to her, “Ellen, I think it’s hard enough but it could be harder,” and she loves to tell that story because then she wrote the second movement.

EP: I have another question about the recording. The F-sharp crescendo that alternates with the orchestra…

NG: Yes?

EP: Were you playing the F-sharp the whole time, or were you playing it as written, where you stop when the orchestra is playing?

NG: Well, what do you think?

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EP: It sounded like you were playing it the whole time.

NG: I was not.

EP: Because I thought, “I think I hear the bassoon,” but I couldn’t tell because it’s written so well. I know it’s supposed to sound like that, but I wasn’t sure.

NG: Yes, it’s supposed to sound continuous and I think that was one of the things Maazel was really great about creating and that doesn’t always work I think.

EP: Yes.

NG: The balances are important. That really brings something to mind [about] when we were rehearsing this and Ellen was there. Ellen and I had talked a lot about balance and what the bassoon is like in orchestra and the special problems balancing the bassoon, but she was very careful in the writing, that the bassoon would be heard, and there were a couple times where the percussion was too loud and actually the piccolo was a little louder than she wanted. I think that’s another great thing that she did was be very careful about balance. A lot of contemporary bassoon concertos are difficult for that reason.

EP: Yes.

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NG: I love John Williams’ “Five Sacred Trees,” and in fact, I performed it here with him conducting. I went to the philharmonic to hear Judy premiere it. There are things that are hard to balance in many places for the bassoon and it’s just not going to work.

The orchestration is too thick.

EP: Yes.

NG: That was Ellen’s vision and I think she really achieved that. It’s something that any bassoon player should really make sure works.

EP: She did a really great job with the orchestration.

NG: Yes.

EP: What other concertos have you played with the Pittsburgh Symphony?

NG: Let’s see. Of course, I’ve played the John Williams, I’ve played Mozart multiple times, I’ve played the Rossini piece. You know that?

EP: Yes, I think I have heard it.

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NG: It’s great. I LOVED playing that with the orchestra and I’ve played that several times in Pittsburgh. Then I premiered this new concerto. That’s the most recent. Those are the major subscription concerts. I’ve done other concertos with the orchestra in various settings.

EP: How would you say the Zwilich Concerto compares to the other concertos that you have performed?

NG: Well, I think it holds up well, certainly as a twentieth century, or twenty first century now, piece. I think it’s in the literature from what I can tell, by the amount of people who have played it. I think it’s becoming part of the standard repertoire for the bassoon. I think that speaks very well for it. I really don’t know of any other concertos that have been written since then that have reached that kind of performance level. Do you? Do you know of any?

EP: I cannot think of any.

NG: I performed it at IDRS in the 90s, not long after it was written. Lori Wike played it just a few years ago at IDRS and I think someone might have played it this past summer.

I’m not sure, but [with] most concertos, you play them and they might be good or not, but, for whatever reason, they’re not played very much. And I know it’s also been played in other orchestras too, I think. Now, the John Williams, I think, also has that status. Of

122 course he’s such a huge name and who wouldn’t want to play that piece. I think that’s a

GREAT piece as well. That’s the only other one I can think of. I’m bias because I happen to have performed both of them but you hear about other concertos and I’ve seen scores of other concertos and looked them over and I’ve heard recordings of other concertos and pieces and I don’t know.

EP: Do you know of any other recordings of the concerto? I have not been able to find any.

NG: I do not and I don’t know that there are.

EP: Do you have any ideas about why you think people have not recorded it?

NG: Well, probably because there already is a recording.

EP: Okay.

NG: Hopefully, some people will record it again, but I think [it won’t be] until more time

[has] passed with it. People record Weber, Mozart, Hummel, and all of those Vivaldis.

That’s a good question, but that might be the answer. I don’t know of any. Have there been any other orchestra recordings of the Williams? Maybe there have.

123

EP: I don’t think so. I haven’t really looked for another recording of the Williams.

NG: There might be.

EP: I think you have answered all of the questions that I had about the premiere and the piece. Do you have anything else you want to say about the piece?

NG: I added things that I thought might be interesting to you but at the moment there isn’t anything I can think of.

EP: Yes, you answered some of the questions I had in some of your answers from other questions.

NG: You know, the other thing that was interesting is, at the time of the commission and the premiere; it was put on the Juilliard concerto competition for bassoon very soon after

[the premiere] and that was the New York premiere. I can’t remember who the bassoonist was…

EP: It was Albie.

NG: YES! It was! Right, how did you know that?

124

EP: I have been searching for background information on the internet, about the concerto, and he has that in his biography so his website always comes up.

NG: That’s right. Albie. Because he was a student at the time and it was open to all

Juilliard bassoonists and he won it. Unfortunately, I never heard it but that was probably the first performance of it by anyone else. The deal with the commission was that I was the only one that could play it for a year or two after it was written. I actually did play it in New York, I played it at IDRS, I played it in Havana, Cuba.

EP: Exciting.

NG: Yes, that was pretty great and that wasn’t that long ago. It was in 2000 something.

It might have been 4 or 5 that I played it there. It was a cultural exchange and it wasn’t easy to get there from this country, but I did. I gave some classes there. It was fascinating to be there. I also played it with the Village Symphony, at IDRS, and at Aspen so I played it quite a bit. I haven’t played it now for a while now. I’m playing this new piece that I think is also a great piece, the Fletcher piece. I haven’t recorded it and I’d really like to. I don’t know how. It’s complicated with orchestras

EP: That’s great that they recorded the Zwilich Concerto.

125

NG: Yes, great. Well, Emily if you think of something that you want to email me or call me feel free to do so.

EP: Thank you very much for your time.

126

Appendix B: Motive Chart

Number First Instrument Musical Excerpt Location 1 mvt. 1 Bass m. 1

2 mvt. 1 Violin I m. 6

3 mvt. 1 Violin II mm. 6 to 7

4a mvt. 1 Violin I mm. 6 to 8

4b mvt. 2 Oboe m. 1

5 mvt. 1 Violin I , mm. 7 to m. 7 8 to Bass, m. 8

6a mvt. 1 Bassoon mm. 14 to 16

6b mvt. 1 Bassoon m. 14

Continued

127

Table 7: Motive Chart

Table 7 continued

7 mvt. 1 Oboe, mm. 31 English to 32 Horn,

Violin II, Cello 8 mvt. 1 Bassoon m. 42

9 mvt. 2 Piccolo pick up Snare to m. 1

10 mvt. 2 Oboe mm. 5 to 6 11 mvt. 2 Bassoon mm. 18 to 20

128

Appendix C: Location of Motives

Measure Instruments Rhythm Root 1 frhn, vla, clo, b dotted quarter, eighth, dotted quarter Bb 16 clo dotted quarter, eighth, dotted quarter F 20 b eighths E 22 b eighths F# 23 b eighths F# 50 vla, clo, b eighths C# 66 vla, tpt dotted quarter, eighth, quarter B 67 frhn, vla, clo, b eighth notes E 68 frhn, vla, clo, b eighth notes E 76 frhn, tb, vla dotted quarter, eighth, sustained C 76 fl, ob, enhn, cl, vlns eighth, eighth, sustained Eb 77 bcl, clo, b eighths G# 103 cl, bcl, tb, strings dotted quarter, eighth, dotted quarter F 127 clo, b eighths D# 130 clo, b eighths D# 139 clo, b dotted quarter, eighth, quarter D Table 8: Motive 1, Mvt. 1

129

Measure Instruments Rhythm Root 15 – 16 vln II, clo, b quarter, quarter rest, quarter, quarter rest, B quarter 17 clo, b quarter, eighth rest, quarter, eighth rest, Bb quarter 18 bcl, clo, b quarters Bb 20 clo, b eighths Bb 27 – 28 clo, b quarter, quarter, quarter rest, quarter F# 42 bsn (lower voice) eighth, quarter off, eighth, quarter off, eighth G 43 b sustained, eighth, eighth G 44 – 45 vla sustained, eighth, eighth C 45 – 46 vln I eighths C 47 pic sustained, eighth, quarter C 48 ob, enhn, frhn, vln dotted quarter, dotted quarter, sustained G II, vla 49 pic, fl, cl, tpt, vln I eighth, eighth, sustained Bb 49 bcl, clo, b eighths D# 51 – 52 bsn (lower voice) eighth, quarter off, eighth, quarter off, eighth D# 76 – 77 bsn (lower voice) eighth, quarter off, eighth, quarter off, eighth C# 83 clo eighths C 112a bsn dotted quarter, eighth, quarter B 149 – vln II, clo, b quarter, quarter rest, quarter, quarter rest, C# 150 quarter 151 clo, b quarter, eighth rest, quarter, eighth rest, C quarter 152 bcl, clo, b quarters C 154 clo, b eighths C 161 – clo, b quarter, quarter, quarter rest, quarter G# 162 176 bsn (lower voice) eighth, quarter off, eighth, quarter off, eighth A 177 b sustained, eighth, eighth A 178 – vla sustained, eighth, eighth D 179 179 – vln I eighths D 180 182 ob, enhn, frhn, vln dotted quarter, dotted quarter, sustained A II, vla 183 pic, fl, cl, tpt, vln I eighth, eighth, sustained C 183 bcl, clo, b eighths F Continued

Table 9: Motive 1, Mvt. 2

130

Table 9 Continued

184 – ob, enhn, frhn, quarter, half, sustained Bb 185 vln II, vla 185 pic, fl, cl, tpt, vln eighth, eighth, sustained C# I 185 – bcl, clo, b eighths F# 186 187 – bsn (lower eighth rest, quarter, quarter off, eighth, quarter F# 188 voice) off, eighth 226 bcl, frhn, vla, dotted quarter, dotted quarter, sustain Bb clo, b

Measure Instruments Beat Pitches 6 vln I 2 into 1 D, E, F, G, G# Table 10: Motive 2, Mvt. 1

Measure Instruments Beat Pitches 7 – 8 pic, ob 4 into 1 B, C#, D, E, F 19 bsn second half of 3 into second half of 4 Eb, F, F#, G#, A 27 cl, vlns, vla 1 into 2 Eb, F, F#, G#, A 36 – 37 fl, cl, vlns 4 into 1 D, E, F, G, G# 38 bsn 3 into 4 E, F#, G, A, Bb 44 bsn second half of 3 into second half of 4 F#, G#, A, B, C 60 tpt 2 into 3 B, C#, D, E, F 69 – 70 bsn second half of 4 into second half of 1 G, A, Bb, C, Db 82 bsn 1 into 2 G, A, Bb, C, C# 84 – 85 bsn to vln II 4 into 1 C, D, Eb, F, F# 141 – 142 pic, ob 4 into 1 C#, D#, E, F#, G 153 bsn second half of 3 into second half of 4 F, G, G#, A#, B 161 cl, vlns, vla 1 into 2 F, G, Ab, Bb, B 170 – 171 fl, cl, vlns 4 into 1 E, F#, G, A, Bb 175 bsn 3 into 4 F#, G#, A, B, C 178 bsn second half of 3 into second half of 5 G#, A#, B, C#, D 196 bsn 2 into 3 D, E, F, G, Ab 205 – 206 bsn 1 into 4 G, A, Bb, B, C Table 11: Motive 2, Mvt. 2

131

Measure Instruments Rhythm Pitches 6 vln II, vla sixteenth, two 32nds, eighth, sustain F#, E#, F#, G#, A 67 bsn sixteenths, dotted half tied to eighth Ab, G, Ab, Bb, B 68 – 69 bsn dotted half tied to eighth, three eighths, B, A#, B, C#, D half 74 bsn sixteenths E, D#, E, F#, G Table 12: Motive 3, Mvt. 1

Measure Instruments Rhythm Pitches 3 ob, enhn, vla eighths, sustain F#, F, F#, G#, A 18 bsn sixteenths F#, E#, F#, G#, A 40 bsn sixteenths Bb, A, Bb, C, C# 43 bsn sixteenths C, B, C, D, Eb 53 tpt eighths on the second half of each F#, F, F#, G#, A beat 54 tpt eighths on the second half of each A, G#, A, B, C beat 55 tpt sixteenths, eighth C, B, C, D, Eb 68 – 69 bsn sixteenths G, F#, G, A, Bb 87 – 88 ob, enhn, bcl, eighths, sustained F#, F, F#, G#, A frhn, clo 89 pic, fl, cl, tpt, eighths, sustained D, C#, D, E, F vla 137 bsn eighths, sustained Ab, G, Ab, Bb, B 152 bsn sixteenths Ab, G, Ab, Bb, B 174 bsn sixteenths C, B, C, D, Eb 177 bsn sixteenths D, C#, D, E, F 189 – 190 bsn quarters on the second half of beats A, G#, A, B, C 190 – 191 bsn quarters on the second half of beats C, B, C, D, Eb 191 bsn sixteenths, eighth Eb, D, Eb, F, F# 204 – 205 bsn sixteenths Bb, A, Bb, C, C# 216 – 217 fl, enhn, cl, sixteenths, sustained D, C#, D, E, F vlns 222 bsn sixteenths B, Bb, B, C#, D 224 bsn sixteenths, sustained Ab, G, Ab, Bb, B 224 ob, enhn, frhn sixteenths, eighth F#, F, F#, G#, A Table 13: Motive 3, Mvt. 2

132

Measure Instruments Pitches Intervals Chord 7 vln I G# – A tritone – fifth D 9 – 10 brass F – F# m3 – M3 D 9 – 10 bcl, b D – Eb unison – half step D 12 – 13 bsn F – F# m3 – M3 D 22 bsn A – Bb m3 – M3 F# 22 vla F# – G unison – half step F# 25 bsn G – Ab m3 – M3 E 26 bsn C – C# m3 – M3 Against E 27 vlns E – F tritone – fifth Bb 28 tpt A – Bb m3 – M3 F# 29 tpt C – C# tritone – fifth F# 30 tpt D# – E M6 – m7 F# 30 fl, vlns Bb – B tritone – fifth E 31 ob, enhn, vln II, clo E – F unison – half step E 33 – 34 bcl, b C# – D M7 to unison D 34 tpt F – Gb m3 – M3 D 36 tpt B – C M6 – m7 D 49 pic, ob E – F m3 – M3 C# 49 – 50 bsn B – C tritone – fifth F 53 tpt B – C M6 – m7 D 54 pic, ob B – C M6 – m7 D 54 – 55 pic, ob D – Eb unison – half step D 58 bsn F – F# m3 – M3 D 59 bsn G# – A tritone – fifth D 59 – 60 bsn B – C M6 – m7 D 64 bsn G – Ab tritone – fifth C# 80 – 81 pic F – F# M3 – m3 against F 81 pic, vln I G# – A leading tone – A unison 94 bsn G# – A 96 bsn B – C 105 – 106 bsn B – C tritone – fifth F 110 pic, fl, ob, cl F# – G m3 – M3 Eb 110 enhn, bcl, vlns A – Bb tritone – fifth Eb 111 enhn, bcl, vlns Bb – B leading tone – B unison 113 – 114 bsn D – Eb m3 – M3 B 113 – 114 bcl, b B – C Unison – ½ step B Continued Table 14: Motive 4a, Mvt. 1

133

Table 14 continued

116 – 117 bsn D – Eb m3 – M3 B 121 bsn F – F# M3 – m3 Against A 124 – 125 bsn F – F# M3 – m3 Against A 126 bsn F – F# M3 – m3 Against A 126 – 127 vlns, vla A – Bb m3 – M3 F# 141 – 144 bsn, vla F – F# m3 – M3 D

Measure Instrumentation Pitches Intervals Chord 3 – 4 bcl, clo, b D – Eb unison – half D step 4 ob, enhn, vla A – Bb tritone – fifth Eb 14 bsn E – F tritone – fifth Bb 17 bsn D – Eb m3 – M3 B 21 bsn B – C tritone – fifth F 28 vlns B – C tritone – fifth F 37 fl, cl, vlns G# – A tritone – fifth D 45 bsn B – C leading tone – C unison 70 –71 bsn C – Db tritone – fifth F# 78 – 79 bsn G# – A tritone – fifth D 79 pic, fl E – F m3 – M3 C# 80 bsn A – Bb M3 – m3 C# 81 pic, fl F# – G M3 – m3 Bb 112g – bsn C# – D M3 – m3 Against F 112h 113 bsn F – F# m3 – M3 D 113 – vln II D – Eb M3 – m3 Against F# 114 115 bsn Bb – B m3 – M3 G 116 vln II G – G# m3 – M2 Against Bb 116 bsn Bb – B M2 – m3 G# 117f bsn D – Eb M3 – m3 Against F# 117h bsn C – Db M2 – m3 Against Bb 117m bsn F – F# 117o bsn G# – A Continued

Table 15: Motive 4a, Mvt. 2 134

Table 15 continued

118 tpt G# – A m3 – M3 F 119 tpt B – C tritone – fifth F 120 tpt D – Eb M6 – m7 F 121 pic, fl, cl, vlns A – Bb tritone – fifth D# 124 – bcl, b C – C# M3 – m3 Against E 125 127 pic, fl, cl, tpt Bb – B M6 – flat C# seventh 129 bsn Bb – B M6 – flat C# seventh 131 bsn Db - D unison – half C# step 138 bsn B – C tritone – fifth D 148 bsn F# – G Tritone – Fifth C 150 bsn E – F m3 – M3 C# 155 bsn C# – D tritone – fifth G 162 vlns C# – D tritone – fifth G 171 fl, cl, vlns Bb – B 179 bsn C# – D leading tone – D unison 206 – 207 bsn C – Db M2 – m3 Bb 225 bsn C# – D m3 – M3 Bb

135

Measures Instrumentation Pitches Intervals Chord 1 ob, enhn, vla F# – F M3 – m3 D 8 pic, ob F – E fifth – tritone Bb 11 bsn Bb – A M3 – m3 F# 18 bsn F# – E# unison – F# leading tone 40 bsn Bb – A m3 – M2 G 55 tpt C – B unison – C leading tone 83 bsn, b C# – C half step – C unison 85 ob, enhn, bcl, frhn, clo F# – F M3 – m3 D 86 – 87 ob, enhn, bcl, frhn, clo F# – F M3 – m3 D 88 pic, fl, cl, tpt, vla D – C# unison – D leading tone 117p – bsn (lower voice) C# – C unison – leading C# 117q tone 117r bsn A – G# m3 – M3 C 135 bsn Ab – G M3 – m3 E 142 pic, ob G – F# fifth – tritone C 145 bsn C – B M3 – m3 Ab 152 bsn Ab – G unison – Ab leading tone 174 bsn C – B m3 – M2 A 191 bsn Eb – D unison – leading Eb tone 214 fl, enhn, cl, vlns F – E M3 – m3 C# 217 frhn, tb, vla, clo F# – F M3 – m3 D 217 – 218 frhn, tb, vla, clo F# – F M3 – m3 D 219 ob, enhn, cl, tpt D – C# unison – leading D tone 219 – 220 frhn, tb, vla, clo F# – F M3 – m3 D 219 – 220 ob, enhn, cl, tpt D – C# unison – leading D tone Table 16: Motive 4b, Mvt. 2

136

Measure Instruments Pitches Rhythm 6 – 7 vln I, b G#, A, D vln I – half, quarter, b – sustain 17 bsn B, C, F eighth, quarter, quarter 36 – 37 tpt B, C, F half, half, sustain 49 – 50 bsn B, C, F half, dotted half, quarter 51 – 52 bsn B#, C#, F# eighth, half, whole 53 – 54 tpt B, C, F quarter, half, quarter 54 – 55 tpt B#, C#, F# sixteenth, dotted half, half + eighth 59 – 61 bsn B, C, F quarter, sustain, sustain 68 bsn C#, D, G eighth, half, quarter 69 bsn D, Eb, Ab eighth, half, quarter 74 – 75 bsn A, Bb, Eb sixteenth, dotted half, quarter 75 – 76 bsn Bb, B, E dotted half, quarter, eighth (split) 95 – 100 bsn B, C, F quarter + dotted eighth, dotted half, rest, sixteenth 136 bsn A, Bb, Eb eighth, quarter, quarter Table 17: Motive 5, Mvt. 1

Measure Instruments Pitches Rhythm 21 – 24 bsn B, C, F dotted half, dotted half, sustain 28 – 29 vlns B, C, F dotted half, dotted half, half 30 – 31 vlns C, Db, F# eighth, half, dotted half 115 – bsn Bb, B, E dotted half, dotted half, sixteenth 117A 127 – 128 tpt Bb, B, E half, quarter, eighth 130 – 132 bsn Db, D, G dotted quarter, half + eighth, sustain 154 – 157 bsn C#, D, G dotted half, dotted half, sustain 162 – 163 vlns C#, D, G dotted half, dotted half, half 164 – 165 vlns D, E, G# eighth, half, dotted half Table 18: Motive 5, Mvt. 2

137

Measure Instruments 6a/6b Amount of 6a/alteration of 6b 14 bsn 6a entire 23 bsn 6b none 28 – 30 fl, cl, vln 6a entire 32 – 33 ob, enhn, vln II, clo 6a partial, end 35 – 36 tpt 6a partial, end 46 – 47 bsn 6a partial, beginning 52 tpt 6b in sixteenths 54 tpt 6b in sixteenths 118- 119 bsn 6a entire 122 ob 6a partial, beginning 122 fl 6a partial, beginning 128 – 130 bsn 6a entire 144 bsn 6b none Table 19: Motive 6, Mvt. 1

Measure Instruments 6a/6b Amount of 6a/alteration of 6b 12 bsn 6b sixteenths 112C bsn 6a partial, beginning 114 bsn 6a partial, beginning 115 vln II 6a partial, beginning 119 – 120 pic, fl, cl, vlns 6a entire 123 – 124 on, enhn, vln II, clo 6a partial, end 126 pic, fl, cl, tpt 6a partial, end 146 bsn 6b sixteenths Table 20: Motive 6, Mvt. 2

Measure Instruments Pitches Rhythm 31 – 32 ob, enhn, vln II, E, F, E, A quarter, half, quarter, dotted quarter clo 33 – 35 tpt F, Gb, F, Bb dotted quarter, half, quarter, dotted quarter 49 – 51 pic, ob E, F, E, A quarter, whole, quarter, sustain 110 – 112 pic, fl, ob F#, G, F#, B dotted half, half, half, sustain Table 21: Motive 7, Mvt. 1

138

Measure Instruments Pitches Rhythm 122 – 123 ob, enhn, vln II, D#, E, D#, quarter, half, quarter, dotted quarter clo G# 124 – 126 pic, fl, cl, tpt F#, G, F#, B dotted quarter, half, quarter, dotted quarter 128 – 131 bsn Bb, B, Bb, dotted half, dotted half, half, dotted Db quarter Table 22: Motive 7, Mvt. 2

Measure Instruments Starting Pitch Triad 42 bsn F C# 48 bsn C# A 71 bsn G# E 80 bsn A F 84 bsn F C# 100 bsn F C# Table 23: Motive 8, Mvt. 1

Measure Instruments Starting Pitch Triad 28 – 29 bcl, clo, b F# D 31 - 32 cl, bcl, vla, clo, b F# D 67 – 68 bcl, vln I, vla G Eb 71 clo, b G Eb 112G bsn F C# 117A bsn E (starts in middle) E 117E bsn F# D 117J bsn Bb F# 117S bsn C# A 162 – 163 bcl, clo, b G# E 165 – 166 cl, bcl, vla, clo, b G# E 203 – 204 bcl, vlns, vla, clo, b Bb F# 207 vln I, vla, clo, b Bb F# 215 – 216 ob, cl, bcl, vla, clo, b C# A Table 24: Motive 8, Mvt. 2

139

Measure Instruments Rhythm Beat Pick up to pic snare four sixteenths, eighth 4 into 1 1 2 – 3 pic snare four sixteenths, eighth 4 into 1 4 pic snare four sixteenths, eighth 2 into 3 11 bsn four sixteenths, half 1 into 2 14 – 15 bsn four sixteenths, sustain 4 into 1 16 – 17 bsn four sixteenths, sustain 3 into 4 23 – 24 bsn four sixteenths, quarter 4 into 1 25 pic snare four sixteenths, eighth 1 into 2 27 pic snare four sixteenths, eighth 1 into 2 45 pic snare, bsn four sixteenths, sixteenth 1(snare) into 2 (bsn) 45 bsn four sixteenths, quarter 2 into 3 46 pic snare, bsn four sixteenths, eighth 2 (snare) into 3 (bsn) 47 – 48 pic snare four sixteenths, eighth 4 into 1 52 – 53 pic snare four sixteenths, eighth 4 into 1 56 pic snare, tbn four sixteenths, eighth 3 (snare) into 4 (tbn) 57 pic snare, tbn four sixteenths, eighth 2 (snare) into 3 (tbn) 60 – 61 pic snare four sixteenths, eighth 4 into 1 70 – 71 bsn four sixteenths, quarter 4 into 1 82 bsn four sixteenths, sustain 1 into 2 134 – 135 pic snare four sixteenths, eighth 4 into 1 136 – 137 pic snare four sixteenths, eighth 4 into 1 138 pic snare four sixteenths, eighth 2 into 3 145 bsn four sixteenths, half 1 into 2 148 – 149 bsn four sixteenths, sustain 4 into 1 150 bsn four sixteenths, sustain 3 into 4 157 – 158 bsn four sixteenths, quarter 4 into 1 159 pic snare four sixteenths, quarter 1 into 2 161 pic snare four sixteenths, eighth 1 into 2 179 pic snare, bsn four sixteenths, sixteenth 1 (snare) into 2 (bsn) 179 bsn four sixteenths, quarter 2 into 3 180 pic snare, bsn four sixteenths, eighth 2 (snare) into 3 (bsn) 181 – 182 pic snare four sixteenths, eighth 4 into 1 188 – 189 pic snare four sixteenths, eighth 4 into 1 192 pic snare, tbn four sixteenths, eighth 3 (snare) into 4 (tbn) 193 pic snare, tbn four sixteenths, eighth 2 (snare) into 3 (tbn) 196 – 197 pic snare four sixteenths, eighth 4 into 1 206 – 207 bsn four sixteenths, quarter 4 into 1 228 – 230 pic snare four sixteenths, eighth 4 into 1 Table 25: Motive 9, Mvt. 2

140

Measure Instruments Pitches Alteration 5 – 6 ob B, Bb, Ab, G None 6 – 7 fl, vln I B, Bb, Ab, G None 7 ob B, Bb, Ab, G Partial 8 – 10 pic, ob F, E, D, C# Augmented 9 – 10 fl, vln I B, Bb, Ab, G None 15 – 16 fl, vln I B, Bb, Ab, G None 34 – 35 fl, cl, vlns D, C#, B, A# None 36 fl, cl, vlns D, C#, B, A# Partial 42 – 43 bsn G, F#, E, D# Partial 46 – 47 bsn C, B, A, G# None 51 – 52 bsn A, G#, F#, E# Partial 66 – 72 ob, enhn, vln I, vla G, F#, E Augmented, Partial 72 bsn Db, C, Bb, A Partial 73 – 74 bsn Db, C, Bb, A None 75 bsn Db, C, Bb, A None 78 pic, fl D, C#, B, A# Partial 139 – 140 ob Db, C, Bb, A None 140 – 141 fl, vln I Db, C, Bb, A None 141 ob Db, C, Bb, A Partial 142 – 144 pic, ob G, F#, E, D# Augmented 143 – 144 fl, vln I Db, C, Bb, A None 149 – 150 fl, vln I Db, C, BB, A None 168 – 169 fl, cl, vlns. E, D#, C#, C None 170 fl, cl, vlns. E, D#, C#, C Partial 176 – 177 bsn A, G#, F#, E# Partial 180 – 181 bsn D, C#, B, A# None 187 – 188 bsn C, B, D, G# Partial 202 – 203 ob, enhn, vln I, vla Eb, D, C Partial 208 bsn Db, C, Bb, A Partial 209 – 220 bsn Db, C, Bb, A None 211 bsn Db, C, Bb, A Partial Table 26: Motive 10, Mvt. 2

141

Measure Instruments Starting Starting Beat beats between Pitch Motives 2 and 3 18 – 20 bsn F# Second half of beat 3 3 40 – 41 bsn Bb Second half of beat 2.5 3 43 – 45 bsn C Beat 4 2.5 68 – 70 bsn G Beat 4 3.5 152 – 154 bsn Ab Second half of beat 3 3 174 – 176 bsn C Second half of beat 2.5 3 177 – 179 bsn D Beat 4 2.5 204 – 206 bsn Bb Beat 4 3 222 – 224 bsn B Beat 4 5 (starts and ends with motive 3, no motive 2) Table 27: Motive 11, Mvt. 2

142

Appendix D: Fingering Charts

Pitch Location on Fingering Staff F#1/Gb1

G#1/Ab1

F#2/Gb2

G#2/Ab2

Continued

Table 28: Standard Fingerings

143

Table 28 continued

C#3/Db3

F#3/Gb3

144

Pitch Location on Staff Number Fingering E1 1

F#1/Gb1 2

G#1/Ab1 3

D#2/Eb2 4

F#2/Gb2 5

Continued

Table 29: Alternate Fingerings

145

Table 29 continued

F#2/Gb2 6

G#2/Ab2 7

Flick

A key

G#2/Ab2 8

A#3/Bb3 9

Flick

C key

C3 10

Flick

C key

C#3/Db3 11

Continued 146

Table 29 continued

D#3/Eb3 12

D#3/Eb3 13

E3 14

E3 15

F#3/Gb3 16

G#3/Ab3 17

Continued 147

Table 29 continued

G#3/Ab3 18

A3 19

A3 20

B4 21

C4 22

D#4/Eb4 23

Continued 148

Table 29 continued

E4 24

149

Appendix E: Cadenza with Identified Measure Letters

c b d e f

j h i g

Figure 26: Bassoon Cadenza, m. 112

150

b a

d c e

f k g h i j

o p l m n

r q s

Figure 27: Bassoon Cadenza, m. 117

151