Solving the “Problems” of Extended Techniques: Annotated Performance Guides to Sofia Gubaidulina’s Bassoon Works

A document submitted to

The Graduate School of the University of Cincinnati

in partial fulfillment of the requirements for the degree of

DOCTOR OF MUSICAL ARTS

in the Performance Studies Division of the College‐Conservatory of Music

by

Amy Marinello Pollard

May 2012

Advisor: Dr. Terence Milligan, DMA

B.M., Louisiana State University, 2004

M.M., The University of Cincinnati College‐Conservatory of Music, 2006

ABSTRACT

This study focuses on the utilization and execution of extended techniques in the bassoon works of Sofia Gubaidulina: the Duo Sonata for Two Bassoons, the

Concerto for Bassoon and Low Strings, and Quasi Hoquetus for viola, bassoon, and piano. There is an historical background presented for the development of extended techniques for woodwind instruments, focusing on the bassoon in particular.

Furthermore, the extended techniques used in each of Gubaidulina’s bassoon works are described and performance suggestions are provided for these sonorities. Each extended technique is supplemented by fingering options and ideas about changes to embouchure pressure, air pressure, and embouchure position in order to successfully achieve each effect. The study is designed to assist performers in their negotiation of contemporary techniques that are unfamiliar and make Gubaidulina’s works more accessible to bassoonists.

iii iv ACKNOWLEDGEMENTS

I offer my sincere appreciation and deepest gratitude to my committee, Dr.

Terence Milligan, Dr. Miguel Roig‐Francoli, and Professor William Winstead. Your guidance and support throughout this process has been phenomenal. I especially thank you for your willingness to work with me long‐distance and for being so flexible with your time as a result. You have all served as excellent role models, both as musicians and as educators, and I am thankful that I have had the opportunity to learn from you during my studies at CCM.

Additional thanks to William Winstead, my major professor and one of the greatest musicians I have ever known. You have been an inspiration, a mentor, and a friend beyond measure. I thank you for all of your assistance, encouragement, and guidance throughout the years. I know that I would not be where I am today without your effort.

To my friends and colleagues, thank you for your care and advice during this endeavor. You consistently encouraged me and nudged me forward, even when the stress and difficulty became overwhelming. I am lucky to have such great people in my life.

To my parents, Chris and Cathy Gross, thank you for always believing in me and providing whatever I needed in order to succeed. From my first flute for band class, to my first bassoon lesson, to my most recent move to Georgia, you have been by my side with love and support. I am grateful that you have helped nurture my love for music and that you have been amazing cheerleaders along the journey. I

v love you both deeply and thank you for still taking the time to come to my performances!

Finally, I would like to thank my husband, Scott, for his unending love and encouragement during this process. You have urged me to persevere through each challenge, even when the tasks seemed insurmountable. You have listened to hours of commentary about bassoon fingerings and effects that I am certain are of very little interest to a percussionist! You have offered to do anything and everything to make my load easier to carry and for that, I am eternally grateful. Thank you for everything.

vi TABLE OF CONTENTS

Introduction...... 1

Chapter 1 An Historical Background of Extended Techniques: Bartolozzi and Penazzi...... 4

Chapter 2 Explanation of Individual Techniques...... 12

Fluttertongue...... 12 Harmonics...... 14 Quartertones...... 16 Multiphonics...... 22

Chapter 3 Notes About Sofia Gubaidulina...... 28

Chapter 4 Concerto for Bassoon and Low Strings...... 33

Performance Suggestions and Solutions...... 38 Fluttertongue...... 38 Aleatoric Rhythms and Unusual Metric Aspects...... 44 Multiphonics...... 51 Ridendo, "The Scream," and Other Effects...... 59

Chapter 5 Duo Sonata for Two Bassoons...... 67

Performance Suggestions and Solutions...... 72 Fluttertongue...... 72 Harmonics...... 74 Quartertones...... 76 Multiphonics...... 81

Chapter 6 Quasi Hoquetus...... 89

Performance Suggestions and Solutions...... 93 Multiphonics...... 93 Fluttertongue...... 99

Conclusion...... 103

vii Bibliography...... 105

Introduction to the Appendices...... 108

Appendix A Multiphonics in the Concerto for Bassoon and Low Strings...... 113

Appendix B Ridendo Sections and "The Scream" in the Concerto for Bassoon and Low Strings...... 124

Appendix C Harmonics in the Duo Sonata for Two Bassoons...... 130

Appendix D Quartertones in the Duo Sonata for Two Bassoons...... 131

Appendix E Multiphonics in the Duo Sonata for Two Bassoons...... 153

Appendix F Multiphonics in Quasi Hoquetus...... 172

viii Introduction

The amount of repertoire written for bassoon has increased by a significant amount over the last seventy years. While composers virtually ignored the bassoon as a solo instrument during the romantic era, the twentieth century and subsequent years featured a large number of works for solo bassoon and smaller chamber works involving bassoon. These works represent a wave of new ideas, techniques, sounds, and styles that are limited only by the imagination of the composer. The

"dissolution of tonality" in the early twentieth century and the breaking of traditional forms and harmonies allowed composers to craft musical works that had no rules, no boundaries, and no precedents.

With the expansion of the compositional styles and forms in the twentieth century, there was also an increase in the types of sounds composers sought from instrumentalists. Composers stretched the boundaries of instruments to their physical limits before turning to electronic means to further enhance the musical palette. The landmark text, New Sounds for Woodwinds, written in 1967 by Bruno

Bartolozzi, expanded the sound possibilities of acoustic woodwinds without utilizing electronic means. Bartolozzi discovered that woodwind instruments were able to produce a vast array of unusual tones, timbres, and effects never before imagined. He provided instructions of how to achieve these "extended techniques" in his text, as a proposed resource for composers and performers in their continued quest for new sounds.

1 As information about extended techniques began to disseminate, many composers were eager to incorporate these sounds into their new compositions.

The bassoon proved to be an excellent instrument for achieving these sounds. That aspect, paired with the increase of bassoon repertoire in production during the second half of the twentieth century, resulted in a large number of works for bassoon requiring the performance of extended techniques. Among this repertoire are three works by the accomplished Russian composer, Sofia Gubaidulina. The

Concerto for Bassoon and Low Strings, Duo Sonata for two bassoons, and Quasi

Hoquetus for bassoon, viola, and piano, are all representative of Gubaidulina’s unique compositional style, and they all feature extended techniques to be executed by the bassoonist.

These works are well crafted and fascinating additions to the bassoon repertoire. Unfortunately, due to the usage of extended techniques they are not often performed or approached by many bassoonists. The execution of extended techniques is not common practice for most performers, and there is a lack of readily available resources that offer pedagogical advice on how to successfully navigate these challenges. Unfortunately, the text of Bartolozzi did not become a widely used resource, and many bassoonists are unaware of its existence.

Performers face the challenges of discovering fingerings for harmonics and quartertones as well as deciphering the fingerings provided for the multiphonics, and determining a course of action for multiphonic fingerings provided that do not produce the indicated effect. Performers must also make changes to their physical setups to achieve the desired effects such as executing a fluttertongue, creating a

2 "ridendo" effect, and achieving the "scream" that is notated in the concerto. These challenges can prove extremely daunting, especially for the bassoonist who has not previously ventured into contemporary works with extended techniques. Also, the anxiety of deciphering these indications can increase if the performer is without the guidance of a teacher or colleague who has had experience in executing these effects. For this reason, many bassoonists turn away from the works of Gubaidulina due to the difficulty of deciphering the notation and achieving the extended techniques.

With this document, I have created annotated performance guides to the bassoon works of Gubaiulina that provide suggestions for each of the extended techniques included within the work. These include information about embouchure pressure and position, air pressure, and fingerings for all quartertones, multiphonics, harmonics, and fluttertongued portions of the works in addition to other effects included in the concerto. My sincere hope is to make these works more accessible and approachable to a wide variety of bassoonists. If there are reference guides available that give fingering options for these techniques as well as providing explanation for the execution of the effects, it is possible that more performers will program these works and present them on recitals and concerts. Too often, people avoid music that is unfamiliar or confusing, regardless of the artistic merit of the compositions. With the creation of these performance guides and analyses of

Gubaidulina's bassoon works, I believe that more bassoonists will be willing to explore these incredible pieces.

3 Chapter One

An Historical Background of Extended Techniques: Bartolozzi and Penazzi

The bassoon repertoire of the last half‐century has featured explorations into uncharted territory in terms of tonality and timbre. Bruno Bartolozzi’s 1967 publication, New Sounds for Woodwinds, introduced a great variety of unusual timbres and effects that are capable on woodwind instruments. Bartolozzi discovered that woodwind instruments are able to achieve new sonorities, both monophonic and multiphonic, without any physical alteration to the instrument itself. These effects are produced by using a variety of different fingerings, embouchure tensions and positions, air speeds, and tongue motions. In his publication Bartolozzi emphasized the fact that new sounds could be achieved when performers deviated from the standardized manner of performing technique that stresses the “purity and ‘beauty’ of sound obtained through uniformity of timbre.”1

He noted that contemporary music does not require expression only through beauty of sound but that there are infinite possibilities for sound phenomena that can be organized within musical constructs. Bartolozzi presented composers of contemporary woodwind music with a variety of sonorities that go beyond the standard single, "beautiful" tones. These new “extended techniques” included harmonics, timbral shifts, quartertones, and multiphonics. In this groundbreaking text, Bartolozzi provided fingering charts and technical advice on how to achieve these effects on flute, oboe, clarinet, and bassoon. Suddenly composers had access

1 Bruno Bartolozzi, New Sounds for Woodwinds, trans. Reginald Smith Brindle (London: Oxford University Press, 1967), 5.

4 to an entirely new palette of sounds and timbres for their creations. Performers also now had the benefit of a pedagogical reference for achieving these techniques.

Bartolozzi contended that the need for “new sonorities” was essential for the continued progression of music using traditional instruments. So many composers were moving away from traditional instruments in the search for new means of expression, different sounds, and expanded realms of possibility. In addition, the invention and exponential growth of electronic music further emphasized the lack of sonic flexibility of the traditional woodwind instruments. Electronic equipment enabled composers to explore entirely new tonalities and write microtonal melodies. With computers and other electronic equipment, composers were able to create vast sound clusters, phase shifts, and other effects never before imagined. In order to compete with this, it was necessary to discover new means of sound production on traditional instruments without physically altering the instrument itself.

Through exploration, Bartolozzi and his colleagues discovered that woodwinds are capable of producing microtonal scales as well as a variety of timbral effects by deviating from the normative physical approaches to the instruments. Until this time, performers strove to master their instruments for the production of sounds appropriate for the canon of "classical" art music. Due to their mixed method of sound production and extensive keywork systems, woodwind instruments present many possible fingerings for each note. These differ from one another in terms of pitch, timbre, and stability as well as the obvious changes in physical technique. Performers determine the best fingering options for their

5 particular instrument in order to effectively perform with a beautiful, homogenous tone with excellent intonation. The technical execution between notes is also a large concern and often performers will insert an “alternate” fingering from their normal choice in order to more effectively navigate a technically challenging passage. In addition, performers must determine the correct reed setup, embouchure, and airspeed combination required to produce beautiful tones and proper intonation using these fingerings.

In order to create the sonorities introduced by Bartolozzi, performers often needed to drastically alter their physical approaches to the instruments. In many cases these changes are in direct opposition to the routine motions performers spend their careers perfecting. These techniques require the same diligent practice as “normal tones” so that performers can execute them consistently and reliably.

New Sounds for Woodwinds was revolutionary for its time and expanded the performance capabilities on all orchestral woodwind instruments. Bartolozzi worked extensively with Sergio Penazzi, a prominent Italian bassoonist and pedagogue, to develop the bassoon portion of his text. In fact, Bartolozzi mentioned

Penazzi in the acknowledgements section, stating that that without Penazzi’s help

“this book could never have been written.” Penazzi and Bartolozzi began collaborating in 1961 and Penazzi performed Bartolozzi’s Concertazioni for bassoon, strings, and percussion on the Italian radio in 1965. Penazzi stated that this work was the first to apply the extended techniques presented by Bartolozzi.2

2 Sergio Penazzi, Metodo per fagotto, Nuova tecnica per strumenti a fiato di legno (Milan: Edizioni Suvini Zerboni, 1971), 3.

6 Penazzi further contributed to the development of extended techniques by authoring a text Metodo per Fagotto within Bartolozzi’s series, Nuova tecnica per strumenti a fiato di legno, published in 1971.3 This text provides a greatly extended explanation of the techniques introduced by Bartolozzi and gives increased guidance to performers on how these sounds can be achieved. Penazzi began his investigation of the technical resources of woodwinds in 1958 and throughout his life he continued the development and promotion of extended techniques on the bassoon.4 The culmination of his efforts was realized in the 1982 publication of the text; The bassoon, other techniques: New sources of musical expression. This 137 page volume explores both “simple sounds” and “multiple sounds” in great depth and is also accompanied by two discs of recordings of Penazzi himself playing examples from the text. Performers in particular benefitted from this text as Penazzi provided extensive fingering charts and embouchure descriptions. He even used a computer at the Centro di Sonologica Computazionale of the University of Padua to generate graphs of the soundwaves generated by multiphonics.

While performers directly benefitted from the immense research of

Bartolozzi and Penazzi, composers also learned of new sounds and effects they were able to utilize within their works. In addition they were also able to provide performers with fingerings and notational systems to ensure proper production and achievement of these sounds. These texts provided composers and performers with a somewhat “standardized” system of extended technique notation and

3 Ibid. 4 Sergio Penazzi, The Bassoon: Other Techniques: New Sources of Musical Expression (Milan: Ricordi, 1982), 3.

7 performance practice. The intention of Bartolozzi and Penazzi was to create a long‐ lasting resource that would be frequently utilized and help extended techniques to become a commonplace practice amongst performers. If composers used these new sounds in their compositions the execution of these timbres would need to be included in the general technique of woodwind performers.

Although these resources were available and some composers such as

Gubaidulina took advantage of them, the results of these endeavors were not enduring. Currently, Bartolozzi’s landmark text is not widely available and both of

Penazzi’s texts are no longer published. These resources have not been fully integrated into instrumental pedagogy, and therefore performers who approach a piece with extended techniques have very little guidance for successful physical execution of these effects.

There are, however, new publications and resources that are now available to assist bassoonists in the mastering of extended techniques. Dieter Hähnchen's

2010 text, Contemporary Music for Bassoon, addresses many of the issues of notation and execution. He devised a practical fingering notation for multiphonics that he first published in 1986. He observed that Bartolozzi's "complex notation and complicated performance of multiphonics prevented these sounds from becoming well known."5 Hähnchen's notation system is extremely helpful because each fingering can be written in without a template, so there is no additional chart needed to aid interpretation. An additional and indispensible resource for extended techniques is the "Bassoon‐Family Fingering Companion" page hosted on the

5 Dieter Hähnchen, ed., Contemporary Music for Bassoon for Education (Leipzig: Friedrich Hofmeister Musikverlag, 2010), 15.

8 International Double Reed Society Website.6 This site is a compilation of fingerings from dozens of academic journals and other pedagogical bassoon texts. There are harmonic fingerings from Terry Ewell and Bartolozzi. The microtone fingerings cover many different octave divisions including quartertone fingerings from

Bartolozzi, Johnny Reinhard, and Scott Vigder. There are a number of multiphonic fingerings of Bartolozzi, John Steinmetz, and Don Christlieb. These multiphonics have also been recorded by Terry Ewell and Lisa Hoyt and the recorded material is available on the website adjacent to the corresponding fingering. The concept is not only to provide a resource for performers but also to give composers accurate information of possible sounds on the bassoon and what fingerings to indicate.

It is evident that Gubaidulina consulted Bartolozzi’s text during the composition of the Duo Sonata based on the inclusion of fingerings within her score and the printed indication “fingerings after Bartolozzi.” However, Gubaidulina changed her notational style frequently between using a numbered fingering image and written instructions about altering standard fingerings. The Concerto for

Bassoon and Low Strings includes fingerings and key numbers for each multiphonic, but there is no mention of Bartolozzi, only the indication that these fingerings should create a "multiphonic."7 Later in the work, Gubaidulina occasionally did not even provide fingerings for multiphonics but rather used an open, inverted triangle as a signal for the effect. Quasi Hoquetus has the least guidance of the three works.

6 http://idrs.org/resources/BSNFING/FINGHOME/HTM 7 Sofia Gubaidulina, Concerto for Bassoon and Low Strings (Hamburg: Musikverlag Hans Sikorski, 2001), 30.

9 The multiphonics in this piece are notated as stacks of pitches with no fingerings provided or any indication of which note should be used as the fundamental.

Neither Bartolozzi nor New Sounds for Woodwinds are commonly known in contemporary bassoon curricula. A performer who desires to study and prepare the

Duo Sonata must complete a monumental amount of research before even beginning to practice the work. It is necessary to discover the identity and role of Bartolozzi within the subject of extended techniques and then obtain his text so that the multiphonic fingerings within the score can be properly interpreted. Subsequently the performer needs to research quartertone fingerings and harmonic fingerings for the effects located within the Duo Sonata. When approaching the Concerto for

Bassoon and Low Strings or Quasi Hoquetus the amount of research becomes even greater. Without any guidance towards the identity of the keys indicated by the numbers in Gubaidulina's provided fingerings, the performer must experiment to find solutions or use other fingerings entirely. Within the trio, the task of finding multiphonic fingerings that approximate the notated pitch stacks is quite overwhelming. The performer will need to compile a large assortment of possible multiphonic fingerings and then perhaps record each within the given texture to determine the best fit for the musical setting.

Finally, after all this extensive investigation the performer can begin to experiment with the physical execution of these new sounds to master the techniques and later integrate them into the musical texture. These techniques need diligent practice so that they can be easily achieved and the performer can prevent any breaks or hesitations within the musical line. These challenges are

10 immense, and many performers may be turned away from these works due to a lack of guidance.

11 Chapter Two

Explanation of Individual Techniques

Within the bassoon works of Gubaidulina, there are many demands on the performer to create sounds or effects that are foreign from the normative manner of playing. Some of these demands are unusual rhythms or pitch bending and others are considered "true" extended techniques. These extended techniques are those effects that require the performer to make a considerable change to his normative playing procedure. The four "true" extended techniques in Gubaidulina's bassoon works include fluttertonguing, harmonics, quartertones, and multiphonics. The historical origins and descriptions of these four techniques are detailed below.

There are other effects in Gubaidulina's bassoon works that warrant explanation and these will be addressed in later chapters.

A. Fluttertongue

The fluttertonguing technique has been utilized in wind composition since the late nineteenth century, and it has become a popular inclusion in music of the twentieth and twenty‐first centuries. Fluttertonguing appears in orchestral compositions of Strauss, Debussy, Mahler, Shostakovich, and Schoenberg, among others. It is often used to create a specific emotion such as extreme intensity or aggression.

On woodwind instruments, the fluttertongue is most commonly produced by rolling or trilling the tongue very quickly as in pronouncing a rolled “r” in the

12 Spanish languages. Penazzi states that the fluttertongue is difficult to achieve on bassoon because the performer must simultaneously apply pressure on the reed with his lips to help maintain pitch and also flutter the tongue. This requires a considerable amount of air, and Penazzi warns that it should only be used on phrases and notes that are not very long in duration.8 Not all performers are physically capable of producing this effect independently, let alone when the reed, embouchure, and airstream become involved. Gardner Read contends that the ability for wind players to fluttertongue is more hereditary than acquired.9

Those performers who are unable to roll their tongue substitute a type of

“growl” achieved with the back of the throat. This has been described as similar to the action of gargling a liquid in the mouth. Both fluttering and growling are possible on bassoon, as well as a third, more vague option. Some performers advocate substituting what is commonly known as “diddle tonguing.” This involves an imprecise, quick wiggling of the tongue against the tip of the bassoon reed, either in a vertical or horizontal motion. The goal is to intersect the airstream in a

“fluttering” motion to try and approximate the sound achieved with a solid tongue roll. This is not terribly successful because it is very difficult to achieve a consistent motion that is fast enough. It is also extremely challenging because any contact of the tongue with the reed makes the continuation of the underlying tone less likely.

This is especially true in the upper register of the bassoon where the tones are unstable and rather sensitive to reed manipulation.

8 Sergio Penazzi, The Bassoon: Other Techniques: New Sources of Musical Expression (Milan: Ricordi, 1982), 60. 9 Gardner Read, Compendium of Modern Instrumental Techniques (Greensport, Conn.: Greenwood Press, 1993), 144.

13 B. Harmonics

The possibilities for production of what Bartolozzi termed “new sonorities” on bassoon are achievable due to the fact that woodwind instruments are comprised of a mixed system of sound production. Each of these systems has a different intonation tendency. The low register of the bassoon consists of the fundamental tones of the instrument. These notes are based on the tempered chromatic scale by the construction of the instrument. The upper registers are comprised of various natural harmonics of these fundamental tones, the intonation of which is analogous to the natural scale.10

Bartolozzi contends that there are two different types of harmonics possible on woodwind instruments; natural harmonics that are derived from the fundamental tones of the instruments, and artificial harmonics that are derived from a number of sounds of the same pitch obtained by different fingerings. These artificial harmonics are the tones that generally constitute the upper registers of all woodwind instruments. The most commonly utilized fingerings for these pitches are chosen based on intonation, timbre, and ease of execution. For many of these notes there are dozens of possibilities, such as “ninety eight fingerings on oboe for B above middle C with a variety of tone colors” and pitches.11 Hähnchen contends that bassoon has the most overtones of all instruments and that B flat 1 played at a loud dynamic has around 220 overtones.12

10 Bruno Bartolozzi, New Sounds for Woodwinds, trans. Reginald Smith Brindle (London: Oxford University Press, 1967), 12. 11 Ibid., 14. 12 Dieter Hähnchen, ed., Contemporary Music for Bassoon for Education (Leipzig: Friedrich Hofmeister Musikverlag, 2010), 13.

14 In terms of “new sonorities,” composers intend for the “natural” or “true” harmonics that are derived from overblown, unaltered fundamental fingerings and are distinguished by timbral differentiations and often intonation variations from normal tones.

The bassoon consists of a “cylyndro‐conical” shaped bore and overblows at the octave, producing even‐ and odd‐ numbered partials of the harmonic series.13 It has the most flexible fingering system of any woodwind instrument. The bassoon also features a wide variation in pitch and response between individual instruments. There is great variance with bassoons in regards to achieving harmonics from unaltered fingerings, and the harmonics are not generally as reliable in production as with other woodwinds. Ralph Verdi suggests that, for this reason, harmonics on bassoon are “not recommended for universal performance with the same degree of confidence as other woodwinds.”14 Also, compared to the other woodwinds, there is the least amount of material in texts and scores about production of harmonics on bassoon.

In his Compendium of Modern Instrumental Techniques, Gardner Read actually claims, “normally, harmonics are not available to the clarinet or bassoon.”15

Although there is considerable variation in intonation and tone quality, the easiest true harmonics to produce on bassoon occur at the twelfth from the lowest fundamentals of the bassoon from Bb1 to C#2 inclusive. Hähnchen states that these low fundamentals can be overblown into the 2nd (octave), 3rd (twelfth), 4th (two

13 Ralph Carl Verdi, “A Study of Harmonics for Woodwind Instruments” (Ph.D. diss., The Catholic University of America, 1999), 409. 14 Ibid., 429. 15 Read, Compendium, 56.

15 octaves), and 6th (two octaves plus a twelfth) partials. The 4th and 6th partials require very high lip pressure, however, and are better achieved through other means.16 As more tone holes are opened for each higher fundamental, the true harmonics become more difficult to produce. These harmonics of the low fundamentals are most easily produced by altering the airstream and partially opening the first tone hole of the wing joint. Harmonics at the seventeenth are also possible from the low fundamentals D2 and E‐flat2, achieved by venting the first two tone holes of the wing joint. Because the timbre difference is very subtle between these "true harmonics" and the artificial harmonics that comprise the upper register of the bassoon, it is important to not obscure the "true harmonics" with vibrato during execution.

C. Quartertones

The system of microtones in music, or divisions of the octave beyond the

Western twelve‐tone chromatic scale, has been used throughout history, dating as far back as Ancient Greece. There are examples of quartertones used in music by

Vincento in the Renaissance, Alois Haba’s quartertone piano in the 1920s, Charles

Ives’ Three QuarterTone Pieces of 1918, Bartok’s Violin Concerto of 1938, and music of Darius Milhaud in the 1930s and 1940s.17 Microtonal composition became much more prevalent in the latter half of the twentieth century as composers continued to search for new mediums of expression. Carlton Gamer suggested that this increased

16 Hähnchen, Contemporary Music, 13. 17 David Cope, New Directions in Music, 6th ed. (Madison, Wis.: Brown and Benchmark, 1993), 67.

16 interest in microtones was possibly due to a desire in various arts to return to fundamentals, as microtonal scale divisions were common explorations in Ancient

Greece. This trend was analogous to Schoenberg’s twelve‐tone row and serial compositions, the paintings of Mondrian, the sculptures of Brancusi, and the foundations of mathematics that were explored by Russell and Whitehead.18

Microtones have many different tone systems that range from five to over seventy‐two pitch divisions per octave.19 These systems can be divided into three distinct categories. The first category includes those systems that are based on the standard twelve‐tone, equal temperament system of Western music. This consists of systems that divide the octave into twenty‐four and thirty‐six notes per octave, as well as other twelve‐fold divisions. The second category includes divisible tone systems such as those that separate the octave into tones of numbers nine, ten, fifteen, eighteen, etcetera. The final category is comprised of systems that partition the octave into prime number divisions such as eleven, nineteen, twenty‐three, thirty‐one, fifty‐three, etcetera.

One of the most common systems in use by composers is the twenty‐four tone division of the octave referred to as the quartertone system. This nomenclature exists because the distance between each tone is one‐quarter the size of the standard whole tone of the equal tempered chromatic scale. The quartertone system, therefore, divides each semitone of the chromatic scale exactly in half.

Within the equal temperament system, each semitone is comprised of one hundred

18 Carlton Gamer and Robin Wilson, “Microtones and Projective Planes,” in Music and Mathematics: from Pythagoras to Fractals (Oxford: Oxford University Press, 2003), 150. 19 Leo de Vries, “The Microtone Question,” Music Notation News 11, no. 2 (2001): 14.

17 cents, a small unit of measure that refers to the pitch of each tone. Each quartertone exists at an interval fifty cents apart from the next. This aspect is extremely important in establishing true quartertones, and therefore the usage of a chromatic tuner that indicates cents and will measure pitch precisely is essential during realization of these pitches.

Microtonal composition has become a staple of avant‐garde music in both instrumental and vocal genres. In the early twentieth century, Schoenberg expressed a concern for the future of microtonal music stating, “the efforts made here and there to write music using one‐third and quarter‐tones are destined to failure as long as the instruments capable of playing such music are so few.”20 For many years, string instruments were thought to be the only instruments possible of producing microtones, due to the ability of performers to easily adjust pitch with their finger position on each string.

The work of Bartolozzi and his colleagues for New Sounds for Woodwind reveals that woodwind instruments are capable of producing sounds smaller than one‐eighth of a tone, as well as divisions of one‐sixth, one‐quarter, and one‐third.21

These tones are not obtained through an approximate method of lip adjustment to the normative fingerings, but through a well‐defined system of fingerings for each microtone. The complex fingering system of the woodwind instruments introduces vast possibilities for achievement of microtones. There are an assortment of fingerings for each quartertone that differ slightly regarding pitch and timbre.

These fingerings must be chosen based on which achieves the best pitch, timbre,

20 Bartolozzi, New Sounds, 26. 21 Ibid., 27.

18 and ease of technical execution for each quartertone, just as a performer chooses their system of “standard” fingerings for the equal tempered scale.

Especially noteworthy for the production of true quartertones, the bassoon is notorious throughout history for its shortcomings in regard to intonation. Hector

Berlioz noted in his treatise on orchestration and instrumentation that “this instrument leaves much to desire on the score of intonation and precision.”22 It is the least evolved of all the woodwinds in terms of mechanical and physical development and produces a very uneven scale. Over twenty‐three keys have been added to the bassoon in attempts to solve these intonation problems. This extensive keywork allows the modern bassoonist to create many different fingering combinations for the same tone. It also provides the bassoon with a natural propensity towards the creation of quartertones and other microtones.

Penazzi developed many fingering options for quartertones that he published in his own two bassoon texts and in conjunction with Bartolozzi. In addition to this,

Johnny Reinhard, a bassoonist and composer, has done extensive research in microtonal production on bassoon. He has expanded Penazzi’s fingering chart with more numerous options for each quartertone. Reinhard is a strong advocate for the inclusion of microtones in modern composition and performance and he promotes the practice of microtones just as a performer learns other notes and scales on the bassoon. He states that, “by retaining the orthodoxy of a disciplined embouchure, by studying the enclosed charts, and by consulting periodically with an enlightened musician or tuning machine, one may perform microtonally with confidence. As

22 Johnny Reinhard, “The Microtonal Bassoon,” The Double Reed 10, no. 2 (Fall 1987): 39.

19 with so‐called ‘normal’ fingerings, one should never simply ‘press and blow.’ One must hear a desired musical tone in the mind before emitting sound in order to insure its accuracy.”23

Reinhard provides fingering options for both the thirty‐one tone octave division and the twenty‐four tone octave division, or quartertone scale. He attempted to find fingerings that will work for the majority of German system bassoons. Since bassoons vary so widely between each individual instrument, not every fingering will work for every performer’s setup. Reinhard emphasizes the importance of perceiving these fingerings as an outline from which to build a new tonal vocabulary. Some of the quartertones have noticeably different timbres than their twelve‐tone neighbors. These can be “tamed” with embouchure adjustments and tone hole shadings with the fingers. Many of the quartertone fingerings are awkward, but “mastering them as one would an etude will develop a healthy and flexible set of hands.”24 The lowest octave of the bassoon, comprised of fundamental tones, is the least pitch malleable, due to the fact that these tones have the fewest number of key combinations. The first tetrachord of the instrument must be manipulated with embouchure alone to achieve quartertones, and then beginning with E2, additional keys can be added and/or subtracted to create quartertones.

The possibility for quartertone fingering options increases in the upper registers of the bassoon.

Supporting Penazzi and Reinhard, Hähnchen has determined that although it is possible to produce mictrotones with a flexible embouchure, if the tones are

23 Ibid. 24 Ibid.

20 indicated as accurately pitched passing notes, they need to be produced with fingerings. Hähnchen points out that from a technical point of view, it is always easier to sharpen notes by a quartertone, and most of these quartertones can be achieved by opening one key beyond the standard fingering for the note.25 In addition, the majority of notes cannot be flattened by means of fingering. Therefore,

Hähnchen argues in his 2010 text, Contemporary Music for Bassoon, that quartertones should only be notated as a quarter step above the adjacent twelve‐ tone note. He demonstrates that adding an upwards‐pointing arrow to the note's accidental is the clearest method of designating the raising of the written note one quartertone.

Hähnchen's methodology is particularly useful due to the fact that he is a bassoonist himself, and he aims to standardize notation for ease of performance.

However, most compositions that include quartertones have a wide variety of notational styles and systems. Some composers will alter accidentals with additional flags, slashes, and lines to indicate quartertones and others will use words, arrows, or abbreviations, such as "1/4," in their works. Each piece usually has its own "key" at the beginning to explain the markings to the performer. Many composers also liberally use markings for a note to be played a quartertone flat, which causes further difficulty in performance due to Hähnchen's observation that the necessary fingering for the quartertone in this case would not be based upon the written note.

For example, if a composer writes a Bb and indicates it should be lowered a quartertone, the performer would likely need to use an altered fingering based on A,

25 Hähnchen, Contemporary Music, 12.

21 and thereby interpreting the note as A raised by a quartertone. These inconsistencies in notation, the difficulties of mastering new fingerings, and the issues of adjusting the ear to hear the fine tuning needed for accurate quartertones, are the main challenges that performers face when preparing pieces with quartertones.

D. Multiphonics

Multitones or multiphonics are the simultaneous generation of a number of different frequency vibrations in the single air column of an instrument.26 These include chords of unusual tone with more than one component discernable as distinct pitches. In regards to reed instruments, multiphonics are a result of the reed and air column vibrating simultaneously at frequencies that are not simply related; meaning the higher frequency is not a multiple of the lower.27 Multiphonics fall into two basic categories in regard to production. One collection contains multiphonics that can be created when a note from the higher registers of the bassoon is played with very little lip pressure or when a note from the low register is played with excessive lip pressure. The other collection creates multiphonics by combining two different fingerings.28 The largest number of possible multiphonics belongs to the latter group.

26 Bartolozzi, New Sounds, 35. 27 John Backus, The Acoustical Foundations of Music, 2nd ed. (New York: W.W. Norton and Co., 1977), 248. 28 Dieter Hähnchen, ed., Modern Music for Bassoon Solo, (Leipzig: VEB Deutscher Verlag für Musik Leipzig, 1986), 123.

22 Many “standard” fingerings are capable of producing multiphonics if adjustment is made to the normative embouchure and airspeed for the fingering.

These multiphonics comprise the first group mentioned above. These fingerings are what Bartolozzi terms “polyvalent,” because they are capable of producing a single sound and then, with adjustments to embouchure and/or airspeed, a chord can be achieved without changing the fingering.29 The easiest of these to generate are those where a high register note is played with a slack embouchure and/or slow airstream. Trying to play notes from the low register with a very tight embouchure and/or very fast airstream often produces a single harmonic rather than a stack of pitches.

Multiphonics are more commonly created through the addition or subtraction of tone holes in regards to standard fingerings. Out of the multiphonic fingerings provided by Bartolozzi and Penazzi in their texts, around sixty are the combined fingering type. These multiphonic fingerings work by creating “two or more possible tube lengths for use in the production of a tone.”30 In combination with adjustments to air in embouchure in some cases, the multiple tube lengths produce between two and six composite tones in a chord. Out of the dozens of partials that exist within a single, “normal” tone, the multiphonic fingerings permit the sounding of certain partials and eliminate others. Hähnchen categorizes these combined fingering multiphonics into nine basic fingerings. The basic multiphonics are created using notes from the lowest register of the bassoon and then opening

29 Bartolozzi, New Sounds, 37. 30 Theodore J. Lapina, “Multitone Fingerings on the Heckel System Bassoon,” NACWPI Journal 25, no. 3 (Spring 1977): 20.

23 the smallest possible tone hole that lies an interval of a third or fourth away from the original fingered low note.31 Dozens more multiphonics can be created from these nine basic fingerings by opening additional tone holes further up the bore of the instrument. Additional multiphonics can be produced from the nine basic fingerings or from their variations just by changes in air stream, lip pressure, and the inclusion of auxiliary keys that lie further down the bore of the bassoon than the initial fingering.

Multiphonic fingerings can produce chords of different timbre and texture.

The "triple sonority" multiphonics tend to be the dominant type produced by the double reed instruments, although many contain four or more tones.32 Bartolozzi claims that every multiphonic fingering can be utilized to emit three different chords simply by changing the position of the embouchure on the reed.33 While in practice this is not true for each fingering, there are a number of multiphonics that a performer can manipulate with embouchure and airspeed in order to create a variety of textures. There is a wide degree of variation available with the types of multiphonics that are possible, especially when altering dynamics, airspeed, and embouchure. Some multiphonic fingerings produce homogenous chords in which most all the chord members sound at the same volume and with a similar timbre.

These can be most often produced with altered fingerings and minimal change to embouchure and airspeed. In his article on multiple sonorities, John Heiss claimed these homogenous chords on bassoon are usually chords in second inversion or

31 Hähnchen, Modern Music, 124. 32 John C. Heiss, "Some Multiple Sonorities for Flute, Oboe, Clarinet, and Bassoon," Perspectives of New Music 7, no. 1 (Autumn‐Winter 1968), 137. 33 Bartolozzi, New Sounds, 41.

24 combinations of partials resulting from a common fundamental.34 Occasionally, two multiphonics created from two different fingerings sound so similar that it is very difficult for the ear to distinguish between them.

Other multiphonic fingerings produce chords in which the composite sounds vary drastically in regard to tone color and dynamic. Within the category of these chords are those that produce two sounds very close together with their relative harmonics. These multiphonics often create the sound phenomena of ‘beats’ caused by the interference in sound vibrations between two sounds emitted very close together.35 Another possibility is the creation of beats due to the production and interaction of differential tones. Performers and composers will often describe these multiphonics as having a "fluttertongue" or "engine noise" timbre. It is possible for "noises" to predominate in certain multiphonics as harmonious partials are suppressed.

Multiphonics are relatively easy to create on bassoon due to the acoustic peculiarity of the instrument. Owing to the complexity of the bassoon fingering system, there are a large number of possibilities for multiphonics. The fundamental fingerings of the low register provide the most opportunities mostly due to the fact that they involve the greatest number of keys. There are thirty‐two different multiphonic fingerings based on B‐flat1 alone. In addition to the resources of

Bartolozzi, Penazzi, and Hähnchen, Theodore Lapina also did extensive research in multiphonic production on bassoon. He experimented with every standard fingering on the bassoon, systematically opening and closing tone holes as well as

34 Heiss, "Multiple Sonorities," 137. 35 Bartolozzi, New Sounds 42.

25 making changes to embouchure and airspeed. Lapina developed a chart that includes three hundred thirty‐six fingerings that produce unique multiphonics on bassoon.36 Concerning the use of special equipment such as different bocals or reeds to produce these effects, Lapina contends that no alteration from a performer’s normal setup is necessary. Rather, “the reed for playing solo or ensemble literature will produce multitones, providing it is a good flexible reed capable of playing the entire range of the bassoon.”37 Hähnchen also emphasizes the importance of having a reed of accurate length, and that the reed must not be too old or blown out. It is helpful to note that in order to successfully achieve many multiphonics, the embouchure must be distorted to great extremes, and there must be variation in the amount of breath support and airspeed. There are additional lists of multiphonics compiled in the 1960s by bassoonists Gary Echols and Sanford

Berry. In these resources, they rate each fingering by how easy it is to produce, and also provide information about necessary embouchure pressure and other items.

These fingerings are included in Charles Lipp's dissertation, New Compositional

Techniques for the Bassoon.

Similarly to quartertones, notation becomes a large issue for multiphonics.

There is much variation in the manner that multiphonics are notated, and it is often the case that each individual work will have a new system that needs to be deciphered by the performer. Some composers will indicate the multiphonic with a symbol, some provide stacks of partials or pitches desired, some provide fingerings both with numerical key designations or lettered key designations, some use

36 Lapina, “Multitone Fingerings,” 21. 37 Ibid., 28.

26 written out instructions for the fingerings, and some composers will ask for the performer to play any multiphonic of choice. Although the initial intention of

Bartolozzi and Penazzi was to create a consistent system for notating multiphonics, their numbered‐key system is confusing for performers and requires repeated reference for retention. Also, very few composers have used the system of

Bartolozzi and Penazzi, but instead they provide their own unique notation for each work. As with quartertones, there is frequently a "key" at the beginning of a work to explain the labeling of multiphonics. Often there is written information within the score or part, or sometimes there is no indication besides a stack of pitches notated on the staff. Hähnchen has attempted to rectify this situation with the creation of both of his texts, but he insists that "without a lucid classification coupled with easy‐ to‐read notation, excessive demands will be made on the performer."38

38 Hähnchen, Modern Music, 124.

27 Chapter Three

Notes About Sofia Gubaidulina

Sofia Gubaidulina was born in 1931 in Tatarstan, Russia. She spent the majority of her youth in the capital, Kazan, and studied piano at the conservatory there. Gubaidulina began studying composition during her studies in Kazan, and after great deliberation, decided to pursue a degree in composition at the Moscow

Conservatory beginning in 1954.39 She struggled for quite some time with this decision after realizing that her energies could no longer be divided between piano and composition and that she “had to choose between two paths.”40

During her studies in Moscow, Gubaidulina was fortunate enough to have a meeting with famed composer Dmitri Shostakovich who reviewed some of her works at the time. Shostakovich was impressed with Gubaidulina’s unique style and talent, and he urged the composer to follow her “own incorrect path.”41 Gubaidulina was left feeling fortified by his praise, later remarking, “I feared nothing, and failure or criticism just ran off my back, and I was indeed able to pursue my own path.”42

Gubaidulina emerged as an intensely thoughtful and planned composer, not always following compositional trends at the same time as her colleagues. She experimented with serialism in the late 1960s toward the end of its popularity and quickly moved away from the intense structure and organization that it required.

39 Michael Kurtz, Sofia Gubaidulina, trans. Christoph K. Lohmann (Bloomington: Indiana University Press, 2007), 37. 40 Ibid., 27. 41 Peter J. Schmelz, Such Freedom, If Only Musical: Unofficial Soviet Music During the Thaw (Oxford: Oxford University Press, 2009), 261. 42 Kurtz, Sofia Gubaidulina, 45.

28 She felt immense pressure and restriction from the Soviet government in regards to her artistic creativity. Throughout the first half of her career, Gubaidulina endured setbacks and roadblocks enacted by the government. She was often considered too popular, and it was thought by some officials that her music was performed too frequently. This resulted in the delay of the premiere of her Concerto for Bassoon and Low Strings among many others.

During the 1970s, Gubaidulina frequently met with fellow composers

Viatcheslav Artyomov and Victor Suslin for improvisatory performance sessions with unusual instruments from the Republic of Soviet Georgia, Armenia, and

Gruziia.43 This trio, self‐titled "Astrea," held weekly sessions of experimentation.

They were fascinated with producing new sounds and timbres from these instruments, and they crafted compositions that explored these exotic and exciting sonorities. This obsession with unusual sounds and effects is reflected within

Gubaidulina’s compositions in her use of quartertones, glissandi, multiphonics, fluttertonguing, harmonics, and other innovative methods of sound production. She has remarked, "the 20th century seeks to look into the depths of its own soul . . . This inescapable longing forces artists to go inside sound. For this reason we composers are preoccupied with glissandi, harmonics, reverberation."44 She achieves a fascinating synthesis of avant‐garde and tradition by using these contemporary effects within classical forms and structures.

43 Kurtz, Sofia Gubaidulina, 119‐120. 44 Vera Lukomsky, "'The Eucharist in my fantasy': Interview with Sofia Gubaidulina," Tempo 206 (October 1998): 33.

29 Gubaidulina's music features a large emphasis on religion, mysticism, and symbolism. Music is a devout undertaking for her, and several of her compositions have religious titles. She has also worked to integrate several different styles of music such as jazz into her music, and she has “made negotiations between serialism, spontaneity, communication, and tradition in her works.”45 Her involvement with Astrea had a large impact on her compositional style, and improvisation became a unifying feature of her works. The level of freedom in each piece varies widely but there are usually several elements within the performance that are left to the interpretation of the performer. Gubaidulina's works each explore new possibilities, and for her, experimentation is part of the compositional process as well as a result.46 She became known for her combination of Eastern and

Western traditions within her music and also for the deep spiritual and philosophical ideals she aims to express with her musical compositions.

Gubaidulina explores a wide variety of rhythmic structures and means of sound production in her works using diatonic, chromatic, and microtonal systems.

With regard to her compositional style, she thinks “the ideal relationship between traditional and modern compositional techniques is for the composer to be in complete command of all methods—new as well as traditional—but in such a way as to not emphasize either one over the other.”47 She is a meticulous and thorough composer, creating detailed plans and drafts for her compositions. Many of these sketches now reside in the Paul Sacher Foundation. Gubaidulina has continuously

45 Schmelz, Such Freedom, 217. 46 Anders Beyer, The Voice of Music: Conversations with Composers of Our Time, translated and edited by Jean Christensen and Anders Beyer (Aldershot: Ashgate Publishing, 2000), 44. 47 Schmelz, Such Freedom, 138.

30 evolved throughout her compositional career, and as fellow composer Alfred

Schnittke remarked, she has shown a great acceptance of "'alien' musical worlds and languages."48 Gubaidulina's early compositions feature usage of unusual sonorities:

"There was a time in my life when I was actively involved in a search for new timbres, new textures, new types of an articulation."49 This "search" is evident in her two earlier bassoon compositions, the 1975 Concerto for Bassoon and Low

Strings and the 1977 Duo Sonata for two bassoons.

Later in her career she became focused on issues of rhythm and rhythmic proportionality in musical form. During this time, she was particularly fond of using the Fibonacci series as a basis for musical form in her compositions. According to

Gubaidulina, "In the Fibonacci series the ratio between any two neighbouring numbers approximates the Golden Section, which I understand as the perfect ratio, representing the universal proportion of life."50 She began experimenting with the

Fibonacci series in the early 1980s and used it to organize the formal construction of the 1985 trio, Quasi Hoquetus for piano, viola, and bassoon. In this composition, as well as others that feature the Fibonacci series, the numerical symbolism is not audibly perceptible, but instead provides a format and plan for the course of the work.

Gubaidulina describes herself as having three different compositional periods: her early works show an interest in instrumental timbres and different

48 Alfred Schnittke, A Schnittke Reader, ed. Alexander Ivashkin, trans. John Goodliffe (Bloomington: Indiana University Press, 2002), 67. 49 Vera Lukomsky and Sofia Gubaidulina, "'Hearing the Subconscious': Interview with Sofia Gubaidulina," Tempo, n.s., 209 (July 1999): 27‐8. 50 Ibid., 28.

31 sound qualities, her second period began in the 1980s when she played with rhythms and numbers, and her more recent works date from 2001, where she has been more interested in quarter tones and different tuning systems.51 She was able to emigrate from Russia in 1990 and settled in the German town of Appen, where she still lives and composes. She remains one of the most successful, popular, and dedicated of the modern Russian composers.

51 Sofia Gubaidulina, "From Where I Sit," interview by Dimitri Smirnov, Gramophone (September 2001): 23.

32 Chapter Four

Concerto for Bassoon and Low Strings

During the 1970s, Gubaidulina was working as a composer in Moscow, making ends meet by writing film scores and taking commissions. She struggled with acquiring permission from the government to premiere some of her compositions, as they were not nationalistic enough in nature and did not serve to glorify Russia and Soviet life. Concurrently, Valery Popov, the famous Russian bassoonist, was eagerly searching to expand the solo bassoon repertoire in existence. Popov was an extraordinarily gifted bassoonist with an attraction to avant‐garde music. He was a member of the Moscow State Symphony Orchestra and also taught at the Moscow conservatory. He commissioned a large number of bassoon works from Russian composers, substantially increasing the volume of contemporary bassoon repertoire. Popov also "single‐handedly helped shaped the style of these commissions by expecting technical brilliance and an abundance of extended playing techniques."52

Popov approached Gubaidulina in 1974 and asked her to write a work for bassoon. Gubaidulina accepted the commission with enthusiasm and devoted herself to understanding the nature of the bassoon and the personality of the performer, Popov. In Gubaidulina's compositions, the composer and the performer are treated as equals. During the compositional process, it was necessary for her to fully explore the relationship between performer and instrument, and in some way

52 Tama Kott and Olga Hadley, " Contemporary Russian Music for Bassoon Part 1: Sonatas for Solo and Accompanied Bassoon," The Double Reed 28, no. 2 (2005): 27.

33 the performer usually participates in the compositional process as well.53 This attitude is reflected in the amount of improvisation that Gubaidulina incorporates in her compositions. The performer is often given control over certain elements such as rhythm, pitch, and tempo. The amount and frequency of the performer's freedom varies widely between works, but it is an important element of

Gubaidulina's compositional aesthetic.

When Gubaidulina began working on the Concerto for Bassoon and Low

Strings, she visited Popov at the Moscow Conservatory and observed several of his lessons. She remarked, “I had never heard a bassoon with such a voice . . . Gradually

I began to penetrate into the essence of the instrument itself, to understand it like some character in a play.”54 When she had completed the score, she sent a copy to

Popov, who was delighted with the piece. He was impressed with the large number of extended techniques and unusual timbres within the concerto. Popov thought that in regards to technique that it was a "sensational expansion of the bassoon's possibilities."55

Upon completion of the concerto, Gubaidulina presented the piece to the

Commission for Chamber and Symphonic Music in hopes of receiving some positive feedback that might result in permission for a performance. However, the work was met with a combination of criticism and praise, and Gubaidulina's struggles for performance allowances continued after denial from the commission. Several months later, the Composers Union considered programming the Concerto for

53 Michael Kurtz, Sofia Gubaidulina, trans. Christoph K. Lohmann (Bloomington: Indiana University Press, 2007), 116. 54 Ibid. 55 Ibid., 117.

34 Bassoon and Low Strings for their annual congress of the Moscow affiliate. Seratim

Tulikov, president of the Moscow affiliate, objected strongly to this idea. Adding to this negative reaction, Evgeny Makarov, director of the Artistic Council, stated that

Gubaidulina and other composers like her needed to be "cut off."56 After much turmoil and struggle, the work was finally premiered on May 6, 1975 in the Hall of the Composers Union, Moscow. The work was conducted by Pyotr Meshchaninov, and Popov performed the bassoon solo part, receiving many accolades for his performance. Despite the success of securing a premiere of the concerto,

Gubaidulina continued to experience difficulties with performances of the piece in the future. For example, Edison Denisov desired to program the concerto for his continuing concert series, "New Works by Moscow Composers." However, Denisov did not receive permission from the government to present the concerto until his eighth request; a process that spanned several years of effort.

Gubaidulina created an unusual work that is, in many ways, an "anti‐ concerto." At times, the soloist and the ensemble have equal roles, and unlike the

"classical concerto" model, the ensemble of low strings often presents new material and develops motives independently of the bassoon soloist. In fact, the third movement is presented by the strings alone after the twenty‐two measure opening with bassoon. The form of the work is also unusual in that the first, third, and fifth movements create an over‐arching sonata form, while movements two and four serve as intermezzi. Although these individual movements are based on classical forms, the forms are not utilized in their usual manner for this genre. Gubaidulina

56 Ibid.

35 shows a foundation steeped in traditional forms and concepts, but creates something entirely new with her musical language and dramatic presentation. In the concerto, she strove to present a "'life‐drama' of the bassoon, which—like a

Chaplinesque representative of the lower class—is exposed to the aggressions of the

'low strings.'"57 Gubaidulina has portrayed the bassoonist as an individual that is provoked by the mob‐like celli and basses. The crowd pinches and grabs at the soloist, attacking and mocking the musical motives that the soloist presents.

Gubaidulina explained the "interactions between the soloist and the surrounding instruments are complex, contradictory, as in a dramatic scene full of action. The concerto includes moments of reconciliation and hostility, tragedy and loneliness."58

The concerto presents great demands on the performer to display the wide range of emotions and drama throughout the work, as well as executing the difficult extended techniques within the appropriate contexts. It is essential to note that the multiphonics and fluttertonguing sections that Gubaidulina includes are designed to create a wider palette of expression, and to give more color and depth to the emotional drama that unfolds. These elements do not exist merely to be avant‐ garde or to make the piece more difficult. These effects are meant to be, and should always be performed as, purposeful expression that is an essential aspect of the music itself. Each element of the work contributes to the character, and therefore the performer must undertake the responsibility of learning and mastering these extended techniques seriously. These sounds must be a seamless extension of the performer's "traditional" methods of playing.

57 Ibid. 58 Ibid., 116.

36 At the time of the composition of the concerto, Gubaidulina was heavily involved with her improvisational group, Astrea. The influence of her work with the trio is clearly evident in the Concerto for Bassoon and Low Strings, where many unusual sounds and effects are required of all the instruments involved. Not only has Gubaidulina expanded the expression of the bassoon part with multiphonics, fluttertonguing, aleatoric rhythms, pitch bends, improvisational sections, and other unusual sounds, but she also asks the strings to play unusual harmonics, ricochet techniques with the bow, extensive quarter tone sections, glissandi, as well as aleatoric rhythms and improvised passages. The work also contains lengthy sections of jazz and pop music stemming from the film music she was composing at the time. Within this concerto, this "life drama" for bassoon, she has used a wide variety of timbres and colors to create characters as clearly and vividly as possible.

Every sound has a purpose and every section must have character and energy.

37 Analysis of Extended Techniques within the Concerto for Bassoon and Low Strings

with Performance Suggestions and Solutions

A. Fluttertongue

The execution of fluttertonguing on bassoon presents several problems, especially concerning the embouchure and airspeed. The most common technique of rolling the tongue produces an excellent fluttertongue after solving a few issues of execution.

In general, the embouchure for the fluttertongue needs to be rounded by bringing the corners of the mouth inwards and forwards. Also, the height of the inside of the mouth should be relatively narrow, so that it is possible to move the tongue very rapidly between the roof and floor of the mouth. The fluttertongue must be engaged after the note is articulated for optimal execution. To achieve the best sound and highest level of success, the tongue should be pulled rather far back in the mouth with the tip of the tongue hovering in the middle of the mouth cavity.

This position prevents the tip of the tongue from coming in contact with the reed and stopping the airflow. Due to the pulled back position of the tongue, it is very difficult to articulate notes with a fluttertongue. There is a small amount of time required for the tongue to “rebound” from the articulation and begin to roll or flutter. A significant factor in this rebound time is the fact that articulation on bassoon occurs with motion at the front of the tongue, and the rolling motion of the fluttertongue is created with muscles at the back of the tongue. It is possible to practice this action by using the syllable "too" for the articulation and then a rolled

38 "r" immediately following. The airspeed required to execute the fluttertongue must be fast and focused with a significant amount of stomach support. The airstream must be intense enough to maintain the correct pitch and core of the sound while the tongue oscillates. It is very common for the pitch to be flat when fluttertonguing, and a faster airstream can be beneficial for this reason. It is helpful to practice long tones with fluttertonguing to further develop this skill.

The first appearance of fluttertongue in the concerto is in the first movement at rehearsal 21. The solo bassoon has an F#4 dotted quarter note with three slashes through the stem and the designation "frull." This is an abbreviation of the Italian verb, "frullare," meaning "to flutter." This note is followed by a G#4 eighth note with an accent and only two slashes through the stem. The fluttertongue indication appears as three slashes on the stems of notes with values of a quarter note and longer, but only two slashes appear on the eighth note stem as if the flag constitutes the third slash (figure 1).

Figure 1: Rehearsal 21 of the concerto, movement 1

Taking into account the crescendo underneath both notes and the breath mark following, the G# eighth note is most likely a continuation of the fluttertongue from the previous note and serves as an accented ending of the phrase. This is the

39 interpretation presented by Valery Popov in his recording of the concerto on the compact disc Sofia Gubaidulina: Works for Bassoon.59 This recording is a fantastic resource for performers of the concerto, the Duo Sonata, and/or Quasi Hoquetus.

Although Gubaidulina herself was not involved in the recording process, she had worked extensively with Popov on all three of these works in their conception and development. In order to successfully execute these two fluttertongued notes from figure 1, it is important for the performer to ensure that the airstream is fast and the embouchure is providing enough support. If there is not enough energy from these two elements, a multiphonic is likely to be produced instead of the fluttertongued

F#4.

This is one of the "polyvalent" fingerings that Bartolozzi mentioned in New

Sounds for Woodwinds; a fingering that is capable of creating a single tone and also a chord through changes to airspeed and embouchure pressure. Also, when executing the fluttertongue it is common for notes to be rather flat in pitch, and therefore a faster airspeed and increased embouchure pressure are necessary elements for this technique. Due to the combination of these factors, it is especially crucial for the performer to have a tightened embouchure and use an intense airstream on the F#4 in this instance. The written dynamic of forte is fortuitous in this case, as it also requires a greater amount and intensity of air. In order to successfully execute the

G#4 eighth note, it is best to create an "articulation" through a pulsation of the airstream with the stomach muscles, so that the fluttertongue motion is not interrupted. This works well musically as there is a crescendo connecting the two

59 Valery Popov, Gubaidulina: Works for Bassoon, Chandos, 1999, compact disc.

40 notes, and the G# is a punctuated end to the phrase. Since it is quite difficult to articulate while fluttertonguing, another option would be to stop the fluttertongue on the F# before its designated value so that the tongue can successfully articulate the reed for the G#.

The next fluttertongue passage follows shortly afterwards in the first movement, beginning the second measure of rehearsal 23 and extending through rehearsal 24. This section features isolated half notes that ascend from G4 to Bb4.

Each fluttertongued note crescendos from ff to fff. Due to the fact that these notes are in the upper register, it is best to use a more flattened, "hard cushion" embouchure along with strong core muscle support and fast air. The fluttertongue can be executed very quickly if these notes are begun with the air alone and not with an articulation. Although this is not standard practice for beginning a note on bassoon, using an "air attack" in this register frees the tongue to flutter almost immediately, and it should not cause any issues if the embouchure and air are used correctly.

In the first movement at rehearsal 25 there is a G3 quarter note that is fluttertongued and leads to an accented Ab3 sixteenth note. It is clear in this case that the Ab should be articulated and performed as indicated (figure 2).

Figure 2: Rehearsal 25 of the concerto, movement 1

41 With the execution of the fluttertongue on the G3 it is better to have an embouchure that is slightly more open while still maintaining firm contact with the lips. The "half‐hole" notes on the bassoon can be especially finicky when a fluttertongue is added to them. The performer should experiment with different embouchure settings and airspeed to determine the most reliable set‐up for the note. The forte dynamic for this note allows for more confidence in execution, but it is not recommended to use an air attack for this note. Due to the short length of the note, the tongue must move very quickly to begin the fluttertongue and then end it in time to articulate the Ab. Using consistent abdominal support throughout this motive should help to accomplish positive results.

The remaining fluttertongue techniques in the first movement are all in the lower register of the bassoon. Leading into rehearsal 27, a trill on D#2 is slurred with a dotted line into a fluttertongued D#2 dotted quarter note. This is then followed by an articulated, fluttertongued E2 eighth note. To successfully move from the trill to the fluttertongue without a gap, it is advisable to begin the fluttertongue motion before ending the trill. Also, it can help to move between the fluttered D# and the fluttered E without an articulation, so that the fluttertongue is not interrupted. Another fluttertongue note is indicated in the measure after 27, where an Eb2 is tied from an ordinary note and then resolves to an E2 fluttertongue under a slur (figure 3). When moving from the ordinary Eb to the fluttertongue, the performer should attempt to pull the tongue farther back in the mouth leading up to the Eb, and then tighten the lips slightly when beginning the fluttertongue. The slur

42 between the fluttertongued Eb and E makes their realization less problematic than the previous example.

The last fluttertongue section of the movement begins in the following measure and features chromatic motion wandering between E2 and B1 (figure 3).

These notes are all under a continuous slur which, as stated previously, makes the fluttertongue easier to achieve.

Figure 3: Rehearsal 27 of the concerto, movement 1

The performer should focus on keeping the tongue motion relatively constant while changing fingerings and adjusting the embouchure as needed for specific notes. Encouraging the notes of this register to speak properly with a fluttertongue can be an issue. The airstream should be wide and strong so that the notes have a solid core. It can be helpful to pull the reed out of the mouth slightly, moving the embouchure towards the tip of the reed. Due to the addition of the fluttertongue, the lips can provide more support for these notes as compared to

"normal" execution in this register. Although the increased lip pressure may cause pitch to rise, it does increase the chance for success of the technique in this extreme register. Again, the performer should experiment with several different physical setups for these notes, and observe which changes create the greatest results. With the longer slurred passages such as this, it is very useful to practice the phrase

43 without the fluttertongue technique to focus on good musical shape and a centered sound. The fluttertongue can then be added to that foundation to create the altered timbre.

Gubaidulina does not use the fluttertongue technique again until the fifth movement. It appears at rehearsal 26 with a rising chromatic line of fluttertongued quarter notes spanning from F4 to Bb4. These are all marked fff in dynamic, and the motive is reminiscent of the rising half note line in rehearsal 23‐24 of movement 1.

Here the notes are shorter in length and span a larger range, but the same basic principles apply for effective achievement. A flattened embouchure can help, as well as using an air attack for each note. This is particularly important in this section from the fifth movement because the duration of the notes is so brief. Using a breath attack will enable the fluttertongue to begin immediately so that it is perceptible to the audience.

B. Aleatoric rhythms and unusual metric aspects

The Concerto for Bassoon and Low Strings contains a large number of unusual metric and rhythmic aspects. A great amount of freedom is granted to the performers within the work through extended use of non‐metrical passages and aleatoric rhythms in all parts. Within her compositions, Gubaidulina has shown a disinterest in writing specific notes and rhythms. Instead, she encourages improvisation on the part of the performer. When coaching musicians for a performance of her compositions, she urges them to change fingerings or notes

44 however necessary in order to create the correct character of the work.60 This propensity for an improvisation effect is evidence of the influence of her endeavors with her trio, Astrea, at the time of the concerto composition.

Gubaidulina creates an improvised sense in the concerto through several different aspects. One of these is her use of aleatoric rhythms. These are passages in which a series of notes is written with expanding or contracting beams, indicating that the performer should accelerate or slow the notes at will. If this occurs within a metered section, then the performer must create these changes over a specific time construct. For example, in the solo bassoon part at rehearsal 18 in the first movement, an aleatoric rhythm is written over one beat of time in 3/4 meter (figure

4).

Figure 4: rehearsal 18 in the concerto, movement 1

However, there are also passages that feature aleatoric rhythms without a given metrical construct. In these situations, the performer has even more freedom to determine how quickly or slowly they wish to alter the time relationship between notes. For instance, at rehearsal 3 in the third movement, a solo contrabass is provided with a series of aleatoric rhythms without a governing meter (figure 5).

60 Julie Feves of California Institute of the Arts, interview by author, 1 July 2011.

45

Figure 5: rehearsal 3 in the concerto, movement 3

Here, the bass soloist is able to determine his own pace for each motive with the only governance being that he should speed up the notes as the beams get farther apart from one another and slow down as the beams converge.

Throughout the concerto, Gubaidulina frequently uses non‐metrical passages to create independence of lines. In some instances, the solo bassoon line will be written without meter while the ensemble continues underneath in steadily metered time. In these sections the bassoon dances freely above the other lines until they realign at the end of the passage. For example, in the first movement, the bassoon departs from the strings in the third measure of rehearsal 20 and does not meet up with the ensemble's meter until rehearsal 23 (figure 6).

Figure 6: rehearsal 21 in the concerto, movement 1

46 Other sections feature the entire ensemble in non‐metric passages, where each player determines his own speed of performance. Gubaidulina usually labeled these portions in seconds in order to indicate the specific length of time that the section should last. In the first movement at rehearsal 25, all of the parts are labeled without meter in a passage that should last about twenty seconds until the next event at rehearsal 26 (figure 7). Each part has its own musical material with individual phrasing and rhythms. The bassoon solo has new material that continues until rehearsal 26 but the string parts each repeat their written notes until the section is finished.

Figure 7: rehearsal 25 in the concerto, movement 1

The conductor serves an essential role in these passages by keeping track of how much time has passed and then giving a cue for the end of the section. When the bassoonist is practicing alone, however, it is advantageous to use a stopwatch or a

47 timer to help indicate the exact time passage. Through this practice, the performer can gain a better idea of the relative speed of each section.

The layering of these different improvised parts shown in figure 7 creates an effect of "all hell breaking loose,"61 and is Gubaidulina's method of depicting the soloist being physically assaulted by the crowd of low, aggressive strings. These non‐metrical passages occur throughout the concerto and create unique timbres with a suspension of time. They are particularly present in the first, third and fifth movements, and occur both in the solo bassoon and in the string parts. Typically indicated in the score with a "turn" symbol, they are also indicated with slashes through the first stem and beam of each passage as seen in figure 7 above. The fifth movement begins with non‐metrical passages in the strings with a metered solo bassoon entrance at rehearsal 2. This texture continues for a large portion of the movement until rehearsal 20 where the strings join the bassoon's continuous 2/4 meter.

Gubaidulina has also created metrical interest with independent meters in different parts. In the third movement beginning at rehearsal 2, the solo bassoon and third cello parts diverge from the remaining strings with alternating meters of

11/8, 7/8, 5/8, 8/8, and 4/8 (figure 8). Meanwhile, the other strings continue onwards in 3/4 meter creating instability and competing metrical accents.

61 Ibid.

48

Figure 8: rehearsal 2 of the concerto, movement 3

This metrical layering occurs in the first and third movement primarily, and creates the atmosphere of two conversations happening at once.

Gubaidulina generates a sense of improvisation and freedom throughout the concerto with indications of rubato, quasi cadenza, and recitando. She also indicates taking time through several means, including breath marks and three different types of fermata markings. The fermatas used are the typical rounded top, one with a pointed, triangular top, and one with a square top. These are used to indicate held notes, and they are most frequently used between notes to indicate pauses, at the ends of sections, and over rests to extend their length. The performers should agree on the interpretation of these symbols and how each one is different. There appears to be a hierarchy in terms of length of time with each symbol. In increasing order of length, the shortest break is the breath mark, followed by the triangular fermata, then the rounded fermata, and then the square fermata designates the longest

49 length. The breath mark is commonly used in music as a short break, and the rounded fermata is also a standard symbol. The triangular fermata is most similar in appearance to a marcato accent, which is generally shorter in length than a regular accent. For this reason, the triangular fermatas are likely shorter in length than the typical, rounded fermatas. The square fermata is found at the ends of musical phrases and sections, as seen in figure 9.

Figure 9: movement 4 of the concerto showing usage of the square fermata

Due to its usage in this manner, it is probable that this fermata is the longest of all the other time symbols, signifying a large pause and cadential effect. The square fermata is used sparingly throughout the concerto, and it is consistently utilized at the end of a phrase. As seen in figure 10, there is interaction between all of these symbols and the interpretation of their relative length must be left to the performer.

50

Figure 10: movement 3 of the concerto showing interaction of time symbols

With each of these temporal indications, Gubaidulina seeks for a method to represent the character of the work as best as possible. The importance is not accuracy, but rather feeling, emotion, and expression. The performers should endeavor to interpret the symbols as a guideline for creating coherent phrases and sections that effectively convey the content of the music.

C. Multiphonics

Gubaidulina utilizes multiphonics within the second, fourth, and fifth movements of the concerto, but they present several challenges to the performer when attempting to realize the notation. The first instance of a multiphonic in the concerto is the measure before rehearsal 3 in movement two62 (figure 11).

62 Sofia Gubaidulina, Concerto for Bassoon and Low Strings (Hamburg: Musikverlag Hans Sikorski, 2001), 30.

51

Figure 11: rehearsal 3 of the concerto, movement 2

The multiphonic is represented by an outlined, inverted triangle with a line extending to the right signifying duration. The triangle has a fingering notation provided above and an asterisk in the score indicating that it is a multiphonic. The fingering notation is rather perplexing, however, as it contains circles representing tone holes for the left and right hands, but it also shows numbers signifying specific keys on the bassoon. Without a provided fingering chart or reference, it is impossible to know which keys Gubaidulina is designating with the numbers used.

The bassoon has over twenty different keys, and each person may interpret "5" to be a different key. As Hähnchen points out in Contemporary Music for Solo Bassoon, it is not helpful to use numbered key notation for extended techniques because the meaning of the numbers would need to be researched each time.63

Therefore, when a performer begins work on Gubaidulina's concerto, finding fingering indications that are not easily understood can be disconcerting. At this point the performer either needs to do further research, or ignore the indicated notation and use other multiphonics instead. However, if the performer has knowledge of other of Gubaidulina's works, the search for the identity of these numbers becomes clearer. In the Duo Sonata of 1977, Gubaidulina provides very

63 Dieter Hähnchen, ed., Contemporary Music for Bassoon for Education (Leipzig: Friedrich Hofmeister Musikverlag, 2010), 120.

52 similar fingerings for multiphonics, with the additional note of “fingering and number of keys after Bartolozzi.”64

While this gives further information for discovering the explanation of the numbers, there is still a large amount of research the performer needs to complete.

The performer first must uncover the identity of Bruno Bartolozzi, a name not familiar to most bassoonists. Next, the performer needs to search for Bartolozzi's text, New Sounds for Woodwinds, which contains the appropriate fingering charts with numerical details. As stated previously, this text is out of print and not readily available for public use. Many academic libraries do not own copies of the text, and patrons often need to request the volume through interlibrary loan. It is truly a difficult endeavor to obtain the necessary resources to merely interpret what is printed in Gubaidulina's score before practicing these gestures can begin. Appendix

A contains a pictorial chart of the multiphonic fingerings necessary for performance of the Concerto for Bassoon and Low Strings along with performance suggestions about changes to the airstream and embouchure. The physical manipulations can assist in successfully achieving a multiphonic with each fingering. If these suggestions do not work for every performer, they can serve as a basic guideline of methods of experimentation and provide a starting point for exploration into these techniques. The performer should consider the fact that many multiphonics require a large physical change from normal playing practices. The performer should be creative in altering his approach, as well as diligent in notating personal solutions.

64 Sofia Gubaidulina, Duo Sonata for 2 Bassoons (Hamburg: Sikorski, 1998), 9.

53 After the performer has located information regarding the fingering notation for the multiphonics, another issue arises in that many of the given fingerings do not reliably produce a multiphonic. It should be taken into account that each performer's physical set‐up varies with reed and embouchure, and different bassoons may also produce different results with multiphonic fingerings. However, through experimentation with other reeds, performers, and instruments, many of the multiphonic fingerings from the concerto are too fickle and unpredictable to be used in a performance setting. For example, the first multiphonic fingering provided the measure before rehearsal 5 in movement two, is generally defective in producing a multiphonic regardless of changes to embouchure, air speed, or air direction (figure 12). Provided Gubaidulina's insistence on character over precision, the best option for a performer in this situation is to determine other multiphonic fingerings that consistently work within the musical context.

Figure 12: first multiphonic in the measure before rehearsal 5 of the concerto, movement 2

There are no pitch references provided for the multiphonic fingerings in the concerto, unlike later works in which Gubaidulina notates stacked chords along with fingering indications. Due to this fact, the performer will likely have success using the provided fingering as a foundation, and then experimenting with that fingering

54 to discover a usable multiphonic. There are several multiphonics within the work that are tied over from an existing pitch, so with these instances it is best to locate a multiphonic that contains the initial sounding pitch as part of the structure. For instance, the multiphonic shown in figure 12 is tied from a B4. When the performer begins searching for an effective fingering, the musical integrity would be maintained with a multiphonic that includes B4 in its stack of tones. A reliable fingering from Penazzi's text, Metodo per Fagotto, involves an altered version of

Gubaidulina's provided fingering: opening the third tone hole of the left hand, not opening the Eb key with the left hand pinky, and then in the right hand only closing the second tone hole. (See Appendix A for a full list of fingerings)

When searching for multiphonic fingering replacements, it is important to consider the notes that follow as well. The performer must be able to move through the multiphonics without great difficulty in terms of finger technique and embouchure. For example, the multiphonic notated immediately before rehearsal 5 in movement two is presented as a trill and does not work with the provided fingering. A very secure multiphonic option can be achieved by using the provided fingering, and then merely opening the third tone hole of the left hand and opening the first tone hole of the right hand. However, using this altered fingering as a basis, there are no possible ways to trill to another multiphonic, as is requested in the score. Although this is one of the fullest and most stable multiphonics that can be achieved through altering the given fingering, it does not work when attempting to trill to another multiphonic and therefore it is not a viable fingering option. The

55 performer must search for a multiphonic fingering that will also produce a trill to another multiphonic in order to create the notated sounds.

All of the multiphonics in the concerto have a specific, musical purpose.

Gubaidulina uses these effects to create the character she envisioned for the work, and it is essential to consider the multiphonics as elements within a musical phrase.

The multiphonics are notated with specific dynamics, and many have crescendo or diminuendo markings as well. When choosing alternate fingerings for multiphonics, the performer needs to decide upon a multiphonic that is able to be executed at the designated dynamic. Some multiphonics will compress into a single tone if they are played at a soft dynamic, and others cannot maintain all their tones when executed with a crescendo. These factors need to be considered when the performer experiments with fingering options and makes decisions for performance.

A final element of the multiphonics in the concerto that proves confusing is the use of graphic notation within the score. Because the multiphonics are represented by an inverted triangle, and not a stack of pitches on a staff, it is extremely difficult to determine the sound concept that Gubaidulina desired. It is impossible to know whether these multiphonics should be consonant or dissonant in their construction, whether they should be full or shallow in texture, and whether they should favor higher or lower pitches. When there is more than one multiphonic that occurs consecutively, such as at rehearsal 6 in movement four, the triangles are arranged within the space to imply pitch hierarchy amongst them

(figure 13). The pitch within a multiphonic is either determined by what tones are most present in the sound or by the highest sounding tone.

56

Figure 13: rehearsal 5 of the concerto, movement 4

Using relative position of the top of each triangle as a basis for pitch analysis, in figure 13 it could be assumed that the first notated multiphonic is lower in pitch than the second one, but higher in pitch than the fourth. This appears to be a logical conclusion, and also provides further guidance when considering replacing any of the provided fingerings that may not work. When examining the second half of this example, however, further issues arrive. After the triangular fermata, a single multiphonic with fingering is given, followed by four more multiphonic indications without fingerings. It is possible to assume that the fingering for the first multiphonic should be used for the repeated ones that follow. This method creates a pleasing musical phrase and is in keeping with the fact that each change in multiphonic sound throughout the score was accompanied by a new fingering notation. However, the first triangle is notated at a higher level than the subsequent triangles which could imply that those four multiphonics should have a lower pitch level than the first despite the lack of a notated fingering change. Due to the ambiguity of the notation, this detail is a decision that is best left to the performer.

It is necessary to remember that the ultimate goal in Gubaidulina's music is to express the character and convey the musical phrase. Whatever choice is made, it

57 is essential that these multiphonics are clear and do not "squawk" whatsoever.

Gubaidulina claims that the phrase shown in figure 13 is a section of mysticism in the bassoon cadenza of the fourth movement.65 Here, the soloist is going through a transformation, and each multiphonic needs to be clear and defined. Gubaidulina has voiced her comfort with performers substituting different fingerings and multiphonics in this section, as long as a similar pitch range and shape is maintained. The last multiphonic in this section in particular must not crack, as it crescendos to the climax.

Another confusing element of the notation is Gubaidulina's use of both outlined triangles and solid triangles as seen in figure 13. If comparing the symbols to typical musical notation, it is possible that the outlined triangles might be analogous to half notes, and the solid triangles represent quarter notes in terms of rhythm. This becomes increasingly perplexing, however, when considering the solid lines extending from both the open and solid triangles, presumably representing the temporal length of the multiphonic. Also within this passage there are triangles that are given without extending lines, triangles that are written with staccato markings above them, and a triangle with both an extending line and a fermata. Gubaidulina has also given an indication that this particular section should last around nineteen seconds in duration. This is another example of Gubaidulina's composed improvisation and freedom within the work. There is a general roadmap for the performer to follow, but many of the decisions are left open to personal interpretation. The graphic notation for the multiphonics may be interpreted in a

65 Feves, interview.

58 number of different manners, with phrase and character guiding these decisions. It is particularly important for the performer to have a defined plan for reading these symbols and thoroughly incorporate it into practice.

D. Ridendo, "the scream," and other effects

There are several other unusual sounds that Gubaidulina creates in the concerto that bear mentioning. There are two extended trill sections in the concerto, rehearsal 26 in movement one and rehearsal 4 in movement four, that require attention and diligent practice. The first of these, as shown in figure 14, is especially troublesome as it contains trills at the very uppermost notes of the bassoon range, E5‐F5.

Figure 14: rehearsal 26 of the concerto, movement 1

These trills are accompanied by extreme dynamic changes as well that can be challenging to execute while still keeping a core to the sound. An element that may assist the performer with these trills is using a special bocal with thinner walls and a smaller bore. Also, it can be good to use a reed with a slightly thicker spine in the back of the reed to provide greater support in the upper register. The performer should take care to ensure that these trills are executed smoothly and exactly,

59 creating a serious and connected sound. All of the trills in the work should be the range of a half‐step, and both of these trill sections should be presented as legato as possible with minimal breaks at the points of articulation.

Gubaidulina requires an unusual trill technique of the solo bassoon in the fourth movement cadenza of the concerto. At rehearsal 2 in the fourth movement, there are a series of pitches with jagged lines above each and a notation that these should be "fast lateral movements with a finger on the E key"66 (figure 15).

Figure 15: rehearsal 2 of the concerto, movement 4

In this section, the performer should play the written notes, and continuously trill the low E key with the right thumb on each note. This will create a small alteration in pitch on each note and change the timbre greatly on several. This section is also labeled with the indication "con paura," meaning "with fear." The effect of the trilling motion with the E key should create a sense of nervousness and trembling on each note.

"The scream" notated in the fourth movement cadenza is a subject of debate amongst performers of the concerto. Approaching rehearsal 8 in the movement,

Gubaidulina has written a D5 whole note with a waving line extending from it, and the indication "frai denti," meaning "between the teeth" (figure 16). This culminates

66 Gubaidulina, Concerto, 48.

60 in a rectangular box with an "X" through it and the instruction "quasi 'clamore,'" translating to "like a 'scream.'"

Figure 16: rehearsal 8 of the concerto, movement 4

The directive for "between the teeth" requires the performer to place his teeth on the reed itself, rather than the normative embouchure that would have the performer curl his lips over the teeth and then insert the reed between the lips. The direct contact of the teeth on the reed creates a rather harsh, thin sound, especially in this extreme high register of the bassoon. Also, placing the teeth onto the reed causes a larger fluctuation in the pitch and tone of the note as a result of jaw pressure than with a normal, lip‐contact embouchure. Using the teeth in this manner can allow the performer to create the wide waves of pitch that are indicated in the score on this note.

The following "scream" directive causes a few more questions. Many bassoonists choose to sing or create a throat noise, while still playing the preceding

D5 on bassoon, in order to produce a loud, raucous sound similar to a scream. Some performers have actually stopped playing the bassoon and emitted a purely vocal scream. Others choose to insert a particularly aggressive multiphonic that is successful at an extremely loud dynamic. Although Gubaidulina has said that her initial intention was to have the sound created by the first of these three methods,

61 she has admitted to being satisfied with any number of options, including the substitution of a multiphonic.67

Another unusual effect that Gubaidulina includes in the concerto is the two sections for bassoon labeled "ridendo" (alla saxofono). These occur at rehearsal 9 in the fourth movement and the measure before rehearsal 28 in movement 5 (figure

17). The notes in these sections are represented through graphic notation by inverted solid triangles with curved lines crossing horizontally through the middle of each triangle. Some triangles are isolated and others are linked together with the curved lines to form phrases. The triangles are presented at different height positions within the space of the "staff," which presumably indicates the relative register of the pitches.

Figure 17: rehearsal 9 in the concerto, movement 4

"Ridendo" translates as "laughing," and in this instance, the curved lines through the triangles help to create a "laughing" sound by designating pitch bends on each note. The precise notes are up to the discretion of the performer, but

Gubaidulina has expressed a desire for sounds within the high register that are

67 Feves, interview.

62 mainly chromatic in relationship.68 There should not be any harmonic implication within the section. The character of this section should be tragic, hopeless, and comically distraught.

The performer should consider the arrangement of triangles vertically on the score when working to find a solution for the notes he wishes to use. For instance, the second "phrase" following the first breath mark begins on a higher pitch than the first phrase. The easiest method of creating these quick pitch bends is to use embouchure manipulation on the reed. Because the wavy lines extend up and down, it can be inferred that the pitch bends should occur in both of these directions as well. It is possible to create higher pitch by tightening the lips, closing the jaws, and pushing upwards on the reed with the lower jaw. Lower pitches can be obtained by loosening the lips, opening the jaws, and pushing downwards on the reed with the upper jaw. Although performers can greatly affect pitch with air speed and direction, in this circumstance it is not advisable due to the quickness in which the changes need to occur. Also, many of these notes are connected through slurs, which require the air stream to be more continuous. It might be possible to alter the air stream drastically for the solitary pitches and then rely mainly on embouchure manipulation to achieve the pitch bends on the slurred notes.

At the end of the "ridendo" section in movement four, there is an indication for "more and more 'hang‐over.'" This expresses a need for slower pitch bends and a lingering on the lower half of the pitch bending. The performer may also want to slow the tempo at the end of this section to further emphasize this effect. The

68 Ibid.

63 closing of the "ridendo" section in the fifth movement contains the additional directive "lugubre," meaning "gloomy." This is an intensification of the tragic hopelessness of the "ridendo" from the fourth movement so perhaps a greater ritardando would be effective to highlight this aspect.

Some performers may feel comfort in writing a notated version of these triangles along with a rhythmic construct for ease and security in performance.

Others may enjoy the challenge and unpredictability of improvisation during the performance. A possible solution for this section is provided in Appendix B.

Performers can use the same pitch structure in both movements if they desire, or the fifth movement can have a different set of pitches from the fourth. If the performer decides to use changed notes in the fifth movement, it is best to choose a lower general pitch level to better convey the "gloomy" atmosphere of the fifth section.

In addition to the pitch bends in the "ridendo" sections, Gubaidulina also requires the bassoon to execute a number of pitch bends throughout the fourth and fifth movements. At rehearsal 6 in movement four, there are downward pitch bends of a half‐step that occur twice (figure 18). To successfully achieve these, the performer should flatten the upper note as much as possible with the embouchure before changing fingerings for the second note. With certain reeds and instruments, it may be possible to achieve the lower note by simply altering the embouchure and the air stream of the upper note. Some instruments are flexible enough to push the pitch of a note downwards by a large amount, so it is helpful to experiment with each of these downward pitch bends to find the limits of elasticity.

64

Figure 18: rehearsals 6 and 7 in the concerto, movement 4

The other pitch bends all involve an upward bend from C5 to Db5. There are many of these that occur at different rhythmic intervals in the fourth movement at rehearsal 7 as seen in figure 18, and then several short iterations at rehearsal 24 in movement five. The upper register of the bassoon is extremely pitch malleable, and it is easy for performers to alter the pitch on these notes with the embouchure alone. For the pitch bends from C5 to Db5 it is helpful to use a standard C5 fingering and add the alternate F# key with the right hand pinky. This will enable the performer to push the pitch higher without the note cracking, and achieve a Db5 without changing fingerings.

Although the Concerto for Bassoon and Low Strings presents a number of unusual challenges and innovative effects, these sounds are all achievable on bassoon and only require a bit more additional effort to master. The performer should keep the character of the music at the forefront of all decisions. Every effect should be mastered technically, so that it can be incorporated effectively into the musical phrase and realized at the appropriate dynamic level. The goal in learning

65 these techniques is to expand the possibility of sounds on the bassoon, and to be able to utilize them to express a wider range of emotions and characters.

66 Chapter Five

Duo Sonata for Two Bassoons

A few years after the concerto, Gubaidulina wrote three consecutive works that each focused on a single instrumental family: the Trio for Three Trumpets, the

Flute Quartet, and the Duo Sonata for two bassoons.69 The Duo Sonata was completed in 1977, and it was dedicated to Valery Popov for whom Gubaidulina developed great respect and admiration during their collaboration on the Concerto for Bassoon and Low Strings. Popov and his student, Alexander Kochetkov presented the premiere on May 17, 1978 in Moscow. The Duo Sonata is a highly dramatic work in which Gubaidulina illustrates her religious devotion and her continuous search for expressing spiritual needs through using unusual sounds and textures. Gubaidulina displays her piety in many of her compositions by using sacred texts and often assigning titles with religious significance. In the Duo Sonata, she creates a prayer‐like setting at the very opening of the piece, where both bassoon parts contain material reminiscent of chant. This chant motive is a reference to the Orthodox monks of the underground churches Gubaidulina attended while in Moscow. Although she would attend services on occasion, her relationship with the church was independent, and she maintained her own opinion about specific religious issues.70 Material from chant appears several times within

69 Michael Kurtz, Sofia Gubaidulina, trans. Christoph K. Lohmann (Bloomington: Indiana University Press, 2007), 129. 70 Julie Feves of California Institute of the Arts, interview by author, 1 July 2011.

67 the work, and Gubaidulina uses these gestures as a manifestation of religious feelings and beliefs.

The Duo Sonata represents the height of Gubaidulina’s experimentation with extended techniques in her works for bassoon. The composition includes a variety of harmonics, fluttertonguing, multiphonics, and quartertones. These techniques occur throughout the thirteen‐minute composition in both the first and second bassoon parts, creating unique characters and moods. Unlike the Concerto for

Bassoon and Low Strings, Gubaidulina does not have the option of using various timbres of stringed instruments to create a soundscape. Therefore, the role of extended techniques in the bassoon writing is expanded as compared to the concerto. Gubaidulina uses the different extended techniques as basic melodic material, as well as to create texture and articulate form. Her usage of quartertones within the work is an attempt to depict the spiritual struggles that people endure in daily life. She saw quartertones as a representation of darkness, or night, in contrast to the traditional Western twelve‐tone scale. She explains, "I understand it as a unification of two spaces: the first is the twelve‐semi‐tonal space, and the second is another twelve‐semi‐tonal space a quartertone higher. For me this is a metaphor of the image and its shadow, or a day and a night."71 These quartertones help to express darker issues in life, such as feelings of insecurity and vagueness, as well as struggles with morality. Gubaidulina implies that these effects, just as the spiritual issues they represent, are always approximate in a way. The goal for the performer

71 Vera Lukomsky and Sofia Gubaidulina, "My Desire Is Always to Rebel, to Swim against the Stream!" Perspective of New Music 36, no. 1 (1998), 28.

68 is to find his own way through the piece in order to fully express the elements of drama, fantasy, and prayer.72

The Duo Sonata is an excellent example of Gubaidulina’s compositional inclination to combine the avant‐garde with the traditional in order to create a unique sonic fingerprint for each work. She elaborates, “What I am trying to do is venture forward into the archaic patterns, to the basics, and from them to create something new. To pave the way for the archaic, to make these sounds audible and then to arrange them, this is how I see my task as a composer.”73 The Duo Sonata consists of a classical sonata form paired with unique timbral elements and sonorities created through extended techniques. The piece is atonal, so rather than the normative key relationships that define sonata form, the formal sections of the

Duo Sonata are linked together by both melodic material and types of extended techniques utilized. Whereas the concerto aims to depict the struggles of an individual against the crowd, the Duo Sonata is more of a religious journey. This work can be seen as a metaphor for Gubaidulina's religious views. Just as she has her own unique outlook on traditional religious rituals, in the Duo Sonata, she provides a unique outlook on traditional classical musical forms with the inclusion of such unusual sounds.

When examining the sonata from a formal perspective, it can be seen that the exposition encompasses the first 239 measures of the piece. Two distinct theme groups exist within the exposition; the A group from measures 1 to 43 and the B

72 Feves, interview. 73 Jefferson T. Campbell, “The Duo Sonata for Two Bassoons by Sofia Gubaidulina: A Formal and Performance Analysis with Comments on Extended Techniques, Contemporary Notation and Gubaidulina’s Style.” (D.M.A. diss., University of Nebraska, 2003), 36.

69 group of measures 44‐135. The A theme group includes mostly tonal melodies, with the appearance of a single quartertone and several harmonics. The B group expands upon one of the melodic ideas from the A group with a large number of quartertones. The quartertone melody is combined with a disjointed melody built with aleatoric rhythms in the paired bassoon part. Each of these theme groups contains two distinct subsections based on melodic content. The A theme group is divided at measure 22, and the B theme group is divided at measure 64. Within the exposition, there are two fluttertonguing sections that serve as transitions; both in measures 135‐149 and measures 226‐239. After the complete A and B theme groups and the first transition, there is a repeat of A subsection two from measures

150‐154. Then an altered repeat of the entire B theme group lasts from measures

155‐225, and the transition into the development occurs in measures 226‐239.

The development section spans measures 240‐295 and contains numerous extended techniques. The second bassoon covers a long‐range quartertone chromatic scale with complex rhythmic structures. Above this, the first bassoon part includes a variety of multiphonics, multiphonic trills, and high register trills both with and without fluttertongue.

The recapitulation covers measures 296‐351 and contains fragments from A subsection one and B subsection one, but not necessarily in the order that these fragments appeared initially. The Duo Sonata concludes with a coda in measures

352‐372 that is based on the multiphonics from the development section. By using similar melodic motives and extended techniques to create formal sections,

Gubaidulina successfully combines traditional and new elements throughout the

70 work. This cohesion is perceptible to the audience, and is a notable example of the possibility of utilizing extended techniques in a musically satisfying manner.

71 Analysis of Extended Techniques within the Duo Sonata with Performance

Suggestions and Solutions

In addition to physical adjustments on behalf of the performer, there are also possible modifications to equipment that can aid in successful performance of the

Duo Sonata. The first bassoon part contains extended passages in the extreme high register, many of which are fluttertongued and written with loud dynamics. It is advisable to use a reed that is thicker in the back to aid execution of these high register notes, and also in order to keep the fluttertongue from collapsing. Another factor that can contribute to successful execution of the high register is the utilization of a special bocal. Many bocals are designed for ease of production in the upper register and are built with smaller bores, harder metals, and thinner walls than normal bocals.

A. Fluttertongue

Fluttertongue technique appears in several places throughout the Duo Sonata in both the first and second bassoon parts. Performers are required to fluttertongue in both the middle register of the bassoon and the extreme upper register. There are several sections that require extended fluttertonguing paired with very loud dynamics and strong accents. These occur in both the first and second bassoon parts in measures 134 to 148, and also in both parts in measures 226 to 240 (figure

1).

72

Figure 1: Measures 135‐138 from the Duo Sonata.

Due to the intense difficulties of articulation along with the execution of the fluttertongue and the fast tempo of both these sections, it is best to move between notes without rearticulating. This strategy helps to ensure a consistent, uninterrupted fluttertongue, especially at the loud dynamics indicated. In order to help create a sense of articulation between notes rather than a large wash of slurred fluttertongue, strong accents should be created with the support and breath, especially on the notated sforzandi. Using the air to accent these notes helps guarantee the continuity of the fluttertongue timbral effect, while still working to achieve the aggressive dynamic and marked quality indicated.

The second extended fluttertongue section from measures 226 to 240 features fluttertonguing in the extreme high register of the bassoon (figure 2). These notes require a very fast, focused airstream and a delicate articulation to speak even before the addition of the fluttertongue. These notes tend to not speak clearly when attacked with a strong, forceful articulation. For this reason, it is even more imperative throughout this section to try to move between notes without rearticulating. The performers should allow a slightly longer reaction time between initial articulations and activation of the fluttertongue so that an appropriately

73 graceful articulation can be used to begin the sound. The aggressive accents, as mentioned previously, can be created with the abdominal muscles. The performer must be mindful about maintaining an intense airstream, positioned high in the mouth, in order to keep the core of the tone present underneath the tongue motion.

Figure 2: Measures 238‐239 from the Duo Sonata.

B. Harmonics

The harmonics notated in the Duo Sonata occur only in the first bassoon part towards the beginning of the piece (figure 3). The harmonic G3 in measures 23 through 29 is executed by fingering C2 and then opening a half‐hole with the first finger of the left hand (Appendix C). This needs to be paired with an embouchure setup in which the jaw is relatively open, and the lips are cushioned with a slight increase of pressure on the top lip to assist in achieving proper intonation. The airspeed should be slow, steady, and warm to ensure realization of the harmonic at the indicated soft dynamic. The performer should be willing to experiment with airspeed and embouchure shape and pressure in order to discover the best result for the harmonic. It is important to note that the harmonic will respond rather sharply in pitch, and it is easy to push the harmonic even higher in pitch with embouchure pressure. Therefore, the performer should be certain to practice the

74 creation of the harmonic along with a tuner, so that when the harmonic is paired with the simultaneous C2 in the second bassoon part, the resulting twelfth is the correct size. After determining the proper embouchure and airspeed setup, the performer should spend time linking the G3 harmonic to the preceding F‐sharp2 so that both finger and embouchure/air changes occur in coordination.

Figure 3: Harmonic G3 in measures 23‐26 of the Duo Sonata.

The F‐sharp4 harmonic that occurs in measures 36 through 43 can be created by using the fingering for D2, and then venting a half‐hole with both the first and second tone holes of the left hand (figure 4). This harmonic requires very similar adjustments to the embouchure and air as the G3 harmonic, and it also tends to be pitched rather high. This presents a greater challenge due to the D2 sounding in the second bassoon during the F‐sharp4 harmonic. In order to create the correct intonation for the interval of a major seventeenth between the two pitches, the F‐ sharp must be lowered approximately fifteen cents. For ease of technical execution in moving from the preceding G3 to F‐sharp4 harmonic, it is helpful to maintain the half‐hole of the left hand first finger, and to focus on creating a large half‐hole with

75 the left hand second finger. This needs to be accomplished while simultaneously making the necessary adjustments to air and embouchure.

Figure 4: F‐sharp4 harmonic in measures 36‐43.

C. Quartertones

As mentioned previously, quartertones on bassoon are achievable by using a complex set of fingerings that help produce intervals fifty cents apart. These tones should not be produced by fingering a neighboring half‐step and then distorting the embouchure and air in order to reach the approximate pitch. This is only advisable in the extreme low register of the bassoon that is the least pitch malleable, or in instances where the quartertones are descending. It is imperative to note that these fingerings do not automatically produce quartertones that are in tune. Similar to standard fingerings on bassoon, there are necessary adjustments to embouchure and airspeed that must occur with each note to attain the proper pitch.

Just as the bassoonist has a variety of choices for fingerings within the tempered chromatic scale, there are a variety of choices for fingerings that create the quartertone scale. The earlier of the two circulating publications of the Duo

Sonata (1993) provides one fingering suggestion for each of the quartertones

76 notated within the piece. The challenge presented by this publication is that the entire score is in Russian, and therefore it is very difficult to have any knowledge of what the given numbers indicate in regard to keys on the bassoon. For instance, if a bassoonist has no reference chart, it is very unclear what key #18 might be. There are over twenty‐three keys on the bassoon and each fingering chart labels them differently. It is imperative to know what fingering system and labeling system is being utilized for a specific work in order to interpret fingerings.

What is especially curious is that the later publication of the Duo Sonata from

1998, also by Musikverlag Hans Sikorski, does not retain these quartertone fingering suggestions, although the text of the publication is in German and English.

This later publication does provide fingerings for the multiphonics within the work, however, and it is here that a note is provided about the fingerings being labeled

"after Bartolozzi." However, there still remains a great deal of confusion about these fingerings for a performer who first approaches the work. New Sounds for

Woodwinds is not a well‐known resource and very few bassoonists are aware of

Bartolozzi. In addition, Bartolozzi’s text is not widely distributed and is difficult to locate. There exists a number of quartertone fingering options provided by Penazzi in his texts, but these publications are no longer in print and are very difficult to obtain. Also exceptionally helpful as a resource, is the set of fingerings discovered by Reinhard and presented within articles he has published. All of these quartertone fingerings options that are pertinent to the Duo Sonata have been compiled into a chart in Appendix D. Through the work of Bartolozzi and Penazzi, paired with the work of Reinhard, there are now a number of fingering options for

77 each individual quartertone that vary in regards to pitch, timbre, and ease of technical execution. The discovery of these fingering resources is only part of the large amount of research that must be done on the part of the performer before even beginning the physical work of practicing.

Analogous to the process that occurs with standard chromatic fingerings, each performer will need to choose from these options and to develop his own set of fingerings that produce the best results based on his physical setup with the instrument. These individual factors such as reed style and instrument make and model can create a large impact on the pitch and timbre of the sounds produced on bassoon. Since there is a large variation between individual instruments, it is necessary to find solutions that are crafted to the performer and his instrument.

Fingerings should be chosen that generate close approximations in pitch so the performer does not need to excessively alter his embouchure and air. Also, the performer should consider choosing fingerings that produce timbres that are homogenous and similar to the tones that surround them. It is essential to consider the quartertones as an extension of the work’s tonal vocabulary, and musical taste and expression should the priority when making performance decisions.

Within the Duo Sonata, Gubaidulina expressed a desire to combine avant‐ garde features within traditional structures and settings. It is necessary, therefore, for the performer to master the technique of quartertone execution in order to create musical phrases and nuance throughout the work. The quartertones should not obviously protrude from the texture with poor intonation or unusual timbre.

This exploration process should be one of the first steps in approaching the Duo

78 Sonata, and the performer must consistently consult a tuner while preparing all quartertones to guarantee pitch accuracy.

Another consideration when choosing quartertone fingerings is the technical challenges moving from tone to tone. There are several quartertone fingerings that may create a stable pitch and nice timbre, but are technically very difficult to achieve in context. The performer must examine what tones precede and follow each quartertone, and make sure it is possible to physically change between fingerings. In addition, many of the fingering possibilities involve the usage of keys that are not standard on every instrument, such as the E‐flat trill key and the A‐ flat/B‐flat trill key.

The main goal of mastering the quartertone fingerings is for the performer to convey accurately the dramatic character of the work. For instance, the section beginning with measure 165 and continuing for over forty measures contains soft, short quartertone chromatic lines in the second bassoon part (figure 5). These utterances are intended to sound yearning, searching, and moaning in nature. In order to achieve this, the performer must execute these passages with very fluid technical motion so that the notes become seamless and almost like a glissando.

The quartertone fingerings chosen for this passage should be ones that can be linked together with ease while sounding at the indicated, pianissimo, dynamic level.

79

Figure 5: Beginning of the extended, quartertone section in the second bassoon part.

Due to the variations in keywork and physical characteristics of both performer and instrument, it is not possible to create a fingering chart with a single option for each quartertone. Appendix D displays several fingering options for every quartertone necessary in performance of the Duo Sonata, listed chromatically.

The fingerings are accompanied with annotations regarding general pitch, stability, timbre, and execution difficulty of each fingering. Also provided for some fingerings are performance suggestions pertaining to addition and subtraction of certain keys, as well as airspeed and embouchure manipulation to aid performance. The adjustments to air and embouchure that are required to tune each quartertone are equivalent to the adjustments required to tune any equal tempered note on bassoon.

For this reason, the annotations for the quartertones give a description of the pitch tendency of each fingering, and the performer is required to interpret necessary physical changes to his setup to accomplish successful production.

It is critical to consider the inconsistencies from performer to performer due to the aforementioned factors. Although these fingerings have been tested on several bassoons of different manufacture and produced the same pitch tendencies, flexibility is a key element in successfully performing these extended techniques.

80 Within Appendix D, the most reliable and suggested quartertone fingerings for use in performance are listed first. Due to the vast number of quartertones located within the piece and the speed at which they must be executed, it is important to learn the chosen fingerings thoroughly. The quartertone technique must be facile enough so that it can be integrated seamlessly into performance, and the quartertones need to be read and interpreted at sight. It is extremely helpful to practice quartertone scales while learning these new fingerings and physical setup changes. Practicing quartertone scales also helps the performer hear the precise quartertone intervals, and consequently makes successful pitch realization in context more likely. In the process of learning these new techniques, it is just as important to train the ear to hear and anticipate the desired results as it is to practice the repetition of physical actions.

D. Multiphonics

Multiphonics introduce a variety of challenges within the Duo Sonata. During composition of the work, it is clear Gubaidulina consulted Bartolozzi’s text as a reference for possible bassoon multiphonic sounds and fingerings. At the first appearance of multiphonics within the score (measure 240), Gubaidulina provides a fingering indication along with the musical notation and a note stating, “fingering and number of keys after Bartolozzi”74 (figure 6).

74 Sofia Gubaidulina, Duo Sonata for 2 Bassoons (Hamburg: Sikorski, 1998), 9.

81 Figure 6: Measure 240 with fingering notation and reference to Bartolozzi.

As discussed previously, the difficulties of a performer in having knowledge of Bartolozzi’s text and then obtaining the text to decipher the fingering indications, both present large obstacles in approaching the work. In addition, the performance indications are not standardized throughout the work, as Gubaidulina alternates between giving fingering representations from Bartolozzi’s text and providing written explanation of alterations to standard fingerings. For example, a particular multiphonic written for the first bassoon in measures 250 and 251 is notated with the indication to finger A flat while adding the C sharp key and opening the B key75

(figure 7). This is a contrast to the fingering graphic shown above in figure 6. It is unclear why Gubaidulina has chosen to notate the multiphonics in two different manners, and this presents a challenge for the performer due to the demands of switching between notational systems.

75 Ibid., 10.

82

Figure 7: Change in multiphonic notational style in measures 250 and 251.

Another challenge is the aforementioned fact that there are two publications of the score: 1993 and 1998. The earlier of the two is published in Russian, so the multiphonic fingerings that are provided with written explanation are impossible to decipher if the performer does not know the Russian language. Although there are dozens of options for creating multiphonics based on certain fundamental fingerings, these all produce slightly, or drastically, different sounds. Gubaidulina not only provides the fingering for the multiphonic she desires, but she also supplies a pitch approximation notated on the staff. For this reason, it is important for the performer to attempt the production of the multiphonics as notated, or to find solutions that achieve similar results.

It is evident that Gubaidulina had a precise sound concept in mind when using these multiphonics in the Duo Sonata. They are notated with specific dynamics, they are grouped together by similar timbres and pitches to create melodic lines, and they create a textural progression in context (figure 8).

Gubaidulina also links single pitches into multiphonics that continue to resonate the previous, single tone. Her composition showcases multiphonics in a manner that is

83 organized and musical and the performer should keep those aspects in mind when preparing the Duo Sonata. The performer needs to master the multiphonics, so that he can utilize them in a musically expressive style and create beautiful phrases.

Figure 8: Melodic line of multiphonics in measures 266‐267.

Realizing the correct fingering for each multiphonic is only the beginning step in producing these sonorities. There also needs to be considerable adjustments to airspeed and embouchure to achieve sounds similar to those indicated by

Gubaidulina. As noted by Bartolozzi, several multiphonic fingerings will sound as many as three different chords, depending on air and embouchure. It is virtually impossible to determine exactly what tones are sounding within each multiphonic, but the performer can focus on producing a texture that sounds similar to the notated chord. Just as with the quartertone decisions, the performer must systematically experiment with embouchure pressures and airspeeds to determine the most successful physical setup for each multiphonic. As previously mentioned, these changes are often dependent upon individual characteristics of both performer and instrument.

84 Appendix E provides a chart of the multiphonic fingerings necessary for performance of the Duo Sonata, along with performance suggestions about manipulation of embouchure and airspeed. These physical manipulations help to produce successfully the sonorities that Gubaidulina indicates within the score.

Even if these suggestions will not work for every performer, they can serve as a basic guideline of methods of experimentation and also can provide a starting point for exploration into these techniques. As with the performance of quartertones, flexibility is an essential element when approaching the execution of multiphonics.

The performer should be creative in altering his approach as well as diligent in notating personal solutions.

Another large issue that arises with the interpretation and execution of multiphonics within the Duo Sonata, is that some of the provided notations will not create a multiphonic. For example, the multiphonic written for first bassoon in measure 260 will not sound using the provided fingering, regardless of experimentation with air pressure, embouchure tightness, and embouchure position76 (see figure 9). In these instances the performer should identify the fundamental fingering the multiphonic is based upon, and experiment with opening and closing tone holes to achieve a close approximation to the written chord. To determine a solution for the multiphonic in measure 260, the performer should begin by altering the standard fingering for A‐flat2. This is the fundamental fingering that exists beneath the alterations provided by Gubaidulina. The indicated chord is a rather full texture with five notated pitches, which also include two whole

76 Ibid., 11.

85 step clusters. The notated dynamic is mezzo piano, so it is essential to discover a multiphonic fingering that will respond at a softer dynamic level. It is also very important to find multiphonic fingerings that are stable and reliable, so that the performer can confidently execute them within a musical context. The suggested fingering solution for the multiphonic in measure 260, as notated in Appendix E, is to begin with the standard A‐flat2 fingering and then open the first tone hole of the right hand. This produces a full‐texture multiphonic that is easy to perform at a soft dynamic.

Figure 9: Multiphonic in measure 260 that does not sound with provided fingering notation.

These aspects of timbre, texture, dynamic, and stability ought to be taken into account during the experimentation process, so that the performer can achieve a musical product that is as close to Gubaidulina’s notation as possible. It is necessary to perform these effects within the musical atmosphere that is indicated.

While the fluttertonguing sections of the Duo Sonata are loud and raucous, many of the multiphonics should be executed at soft dynamics and create a delicate texture of sound. As emphasized previously, this is the key to a successful performance of the work: integration of unusual timbral effects into a traditional musical construct.

Although these techniques produce sounds that are unusual, they must be executed

86 with precision and must sound natural to the composition. There are several instances throughout the Duo Sonata where the indicated multiphonic fingering, or multiphonic trill, will not produce the exact desired result. Within Appendix E there are suggestions for alterations of fingerings to improve stability of these chords, so that they may more effectively be executed in the desired manner.

Within New Sounds for Woodwinds, Bartolozzi provides graphic notation for adjustments to embouchure pressure and embouchure position that can assist performers in accomplishing many of these techniques. In the Duo Sonata, these graphic symbols are occasionally included along with the multiphonic fingerings to provide guidance. A large issue, however, is the fact that taking the advice of several of these indications does not produce the sonority indicated. Oftentimes, altering the embouchure as indicated by Bartolozzi will result in the production of a single tone, rather than a multiphonic. For example, the multiphonic fingering in the first bassoon part in measure 285 is accompanied by Bartolozzi’s graphic notation for

“slightly relaxed lip pressure” (figure 10). This multiphonic is tied to a single note in the preceding measure that is accompanied by Bartolozzi's notation for "increased airspeed." This implies that the performer should begin the single note with intense air and then relax the embouchure slightly to allow the multiphonic to emerge.

Using this embouchure with the provided fingering and airspeed indication, unfortunately, will not reliably produce a multiphonic and is unlikely to produce a tone whatsoever. In contrast, as indicated in Appendix E, this multiphonic is most reliable with intense pressure from the lower lip and jaw, to provide an upward direction of air. The multiphonic is very fragile and requires a gentle articulation.

87 There also needs to be precision with embouchure pressure, otherwise the multiphonic will not respond or produce multiple tones.

Figure 10: Measures 284‐285 containing fingering, air, and embouchure notations indicating

"increased air speed" with "slightly relaxed lip pressure."

There are also examples of multiphonic fingerings that require a great deal of embouchure manipulation, but are not accompanied by any graphic notation. The production of the multiphonic indicated in measure 264 in the first bassoon part requires a very open embouchure, but there is no indication of this alongside the provided fingering. Using a standard embouchure on this fingering will not produce more than one tone.

The performer must be diligent and flexible in approaching these extended techniques. Patience is required in searching for the best solution for each occurrence, as well as finding results that suit the individual performer. The performer must be willing to experiment with new approaches to the bassoon, and must not be restrained by the notion that there is only one specific method for achieving the musical lines that Gubaidulina has written.

88 Chapter Six

Quasi Hoquetus: for Viola, Bassoon and Piano

The work Quasi Hoquetus was written by Gubaidulina in 1984 and features a trio of piano, viola, and bassoon. This piece is separated from the Concerto and the

Duo Sonata not only by the change of importance of the bassoon in the timbre, but also due to its structure and underlying form. Quasi Hoquetus falls into the second of Gubaidulina's self‐described compositional periods. When writing her earlier works she focused on exploring instrumental timbres and discovering new sound qualities. Both the Concerto and the Duo Sonata come from this phase of composition. It is understandable that both of these works feature a large variety of

"sound effects" created by the extended techniques on bassoon. Gubaidulina's second period of composition begins in the early 1980's when she began to experiment with rhythms and numbers. Quasi Hoquetus is one of many works in which Gubaidulina uses number systems, particularly the Fibonacci series, to organize the form of the composition. Her third period evolved in the late 1990's as

Gubaidulina began to use quartertones more pervasively and explore different types of tunings in her compositions.77

The Fibonacci series was often used in works by Bartok, Debussy,

Stockhausen, Nono and others, but Gubaidulina's incorporation of the series into her

77 Jennifer Denise Milne, "The Rhythm of Form: Compositional Processes in the Music of Sofia Gubaidulina" (Ph.D. diss., University of Washington, 2007), 17.

89 music is extremely detailed and diverse.78 For Gubaidulina, the Fibonacci series represents the universal proportion of life. Her utilization of numerical organization along with expressive timbres and phrases is "based on the interlacing of Eastern mysticism and Orthodox symbolism."79 The concepts of religion, spirituality, and freedom are pervasive throughout all of Gubaidulina's compositions. The Concerto for Bassoon and Low Strings details an individual seeking to free himself from the crowd and exist independently, similar to Gubaidulina's own relationship with religion. The Duo Sonata is filled with musical representations of Orthodox chant, spiritual lullabies, and the struggle between right and wrong. Quasi Hoquetus seeks to combine religious symbolism with layers of structure that speak subconsciously to the soul. Gubaidulina began to experiment with the Fibonacci series in 1983 as part of a preoccupation with issues of "rhythm and rhythmic proportionality in musical form," which she considered the "main experiment" in her life.80 This experimentation was a new venture to express her thoughts through universally understood principles.

Quasi Hoquetus translates into "almost a hocket," a medieval compositional technique in which a melody is divided amongst two or more voices. In this procedure, one voice sounds while the others are silent. In Quasi Hoquetus, this technique is represented through the interlocking of phrases and sections of the five‐part form. Gubaidulina used the Fibonacci series to organize the number of

78 Valeria Tsenova, "Number and Proportion in the Music of Sofia Gubaidulina," Mitteilungen der Paul Sacher Stiftung 14 (April 2001): 24. 79 Ibid., 23. 80 Vera Lukomsky and Sofia Gubaidulina, "'Hearing the Subconscious': Interview with Sofia Gubaidulina," Tempo, n.s., 209 (July 1999): 27.

90 attacks in a phrase. With all three instruments, the number of attacks is equal to a

Fibonacci series number. The bassoon and viola work as a pair to realize their number of attacks, whereas the piano is an independent voice.81 Each phrase is separated by rests of various lengths that contribute to the "hocket" quality of the work.

The bassoon within this piece has a much smaller role as compared to the previous two bassoon works of Gubaidulina. In Quasi Hoquetus, the bassoon is used to create a specific texture and timbre. It is a true member of a chamber ensemble, and during the first three sections of the work the bassoon only serves to punctuate the ends of phrases with multiphonic utterances. Also, the bassoon part within this work features the fewest number of extended techniques in comparison to the duo and concerto. Quasi Hoquetus includes three different multiphonics for the bassoon and a number of sections towards the end of the work that require fluttertongue.

The main challenges in this work arise from notational issues with the multiphonics as discussed below.

Quasi Hoquetus was commissioned by Valery Popov and Alexander

Bakhchiyev, a pianist colleague of Popov's also teaching at the Moscow

Conservatory. Popov, Bakhchiyev, and the viola professor at the Moscow

Conservatory, Mikhail Tolpygo, premiered the work in Moscow on January 16, 1985.

Gubaidulina dedicated the work to these three men when the work was published in

1985.82 Although Gubaidulina continued working as a composer, and as of 2011 is

81 Milne, "The Rhythm of Form," 53. 82 Sofia Gubaidulina, Quasi Hoquetus: for Viola, Bassoon and Piano (Hamburg: Musikverlag Hans Sikorski, 1998), 2‐3.

91 still alive and writing, Quasi Hoquetus was her last piece to feature bassoon in a chamber or solo setting.

92 Analysis of Extended Techniques within Quasi Hoquetus with Performance

Suggestions and Solutions

Similar to the Concerto for Bassoon and Low Strings and the Duo Sonata, Quasi

Hoquetus presents some challenges to the bassoonist due to its high range, which extends up to E5. In addition, there are some passages within the piece that require fluttertonguing in the extreme upper register, so it may be helpful to use an equipment set up that facilitates success in that range. As stated previously, a special bocal for upper register performance may increase stability and accuracy, and a reed with a slightly thicker back will provide greater strength in the high register as well.

A. Multiphonics

The main issue regarding the multiphonics within Quasi Hoquetus is the manner in which they are notated within the score. As indicated previously, the notation of multiphonics in Gubaidulina's works is problematic due to inconsistency and lack of clarity. In this regard, Quasi Hoquetus provides a new challenge from the other two bassoon works. There are only three distinct multiphonics within the trio, but none of them are accompanied by fingering notation. Rather, the multiphonics are written as a stack of four or five pitches on a staff (figure 1).

93

Figure 1: Two measures before rehearsal 2 in Quasi Hoquetus. The viola part is the top staff shown

and the bassoon part is the lower staff.

This can be a cause of great consternation for the bassoonist, especially one who does not have any previous experience with multiphonics. Because there are no fingering indications to help produce the chords, there is very little information to guide the performer towards a method by which these sounds can be created. If the performer has knowledge of the resources provided by Bartolozzi, Penazzi, Lipp,

Steinmetz, and Christlieb, then he will be able to embark upon the journey of researching these fingerings for the best solutions.

The most logical starting point for this research is to compile possible multiphonic fingerings that involve an alteration of the lowest fundamental listed in each stack of pitches. The lowest indicated tone in the multiphonic stack is often the fundamental fingering on bassoon that has been altered to create the multi‐tone sound. There are usually several options for each fingering on the bassoon, and many of these are capable of producing more than one multiphonic sound with alteration of airspeed and embouchure. As shown in figure 1, the first appearance of a multiphonic in Quasi Hoquetus is two measures before rehearsal 2. The multiphonic features four pitches, the lowest of which is F#3. The resources of

Bartolozzi and Penazzi are not organized by general pitch or fundamental fingering,

94 but rather the multiphonic fingerings are organized by the type of sounds that they produce. The later resources of Lipp, Christlieb, and Steinmetz are ordered chromatically by fundamental fingerings and prove easier to navigate for the purpose of discovering fingerings for Quasi Hoquetus. Most of these resources also provide a pictorial representation of the resulting multiphonic pitches on a staff along with occasional guidance regarding embouchure and air manipulation.

Although these pitches are provided as a reference, it is important to remember that each performer may achieve different results due to changes in instrument, reed style, and physical considerations.

Returning to the multiphonic in figure 1, unfortunately, there are not many multiphonics that are possible to achieve through alteration of the standard F#3 fingering. At this point the performer should search for other multiphonic fingerings in these resources that display F#3 as the lowest sounding pitch in the notated stack of resulting tones. There are several options that will produce this note as part of the mutliphonic stack, as listed in Appendix F. These fingerings are all possible solutions to use for the multiphonic notated in Quasi Hoquetus before rehearsal 2. When experimenting with these multiphonic fingerings, it is helpful to compare the resulting sound with the pitch stack that Gubaidulina has indicated in the score. Although it may not be feasible to achieve the exact pitches that have been written, it is the responsibility of the performer to produce tones that are as close as possible to the notated timbre. While working with these fingerings, it is useful to sound the written pitches on a piano, and then compare that standard to the multiphonic sounds produced on bassoon. Some fingerings may produce more

95 than one type of multiphonic sound, depending on air and embouchure. The performer should be diligent with his research into these sounds, and notate discoveries carefully to assist future replication.

The printed dynamic must be taken into consideration with each of these multiphonics, as the creation of the sounds is within a specific musical construct and texture. Each of the three multiphonics in Quasi Hoquetus is intended to be performed at a piano or pianissimo dynamic, so it is essential to discover multiphonic fingerings that will speak at soft dynamics without great delay in the sound production. It is also important to utilize a different multiphonic fingering and sound for each of the three unique multiphonics in the work. Besides the multiphonic before rehearsal 2, there is another stack of pitches notated in the fifth measure of rehearsal 5 that is articulated twice. The third distinct multiphonic occurs at rehearsal 11, and is repeated twice more in the next ten measures (figure

2).

Figure 2: Rehearsal 11 of Quasi Hoquetus. . The viola part is the top staff shown and the bassoon part

is the lower staff.

These multiphonics are each notated as a different stack of pitches that contribute to the musical structure and work in tandem with the viola part. Even if it is not possible to discover multiphonic fingerings that will produce the exact

96 sounds that are notated by Gubaidulina, it is necessary to search for results that are a close approximation to the notated timbres, and that are different from one another. It is not acceptable to merely use the same multiphonic fingering for each of these three occurrences within the score. Each new multiphonic should have a distinct sound, and the multiphonic used at rehearsal 11 should have the fullest texture due to the fact that there are five pitches notated within that stack as opposed to four pitches in the previous two multiphonics. As the performer experiments with fingerings, embouchure, and air to find solutions, the musical purpose of each of these effects must be at the forefront of consideration.

Gubaidulina's usage of these sounds is to create a specific texture and to punctuate the ending of each of the first three sections of the piece. It is imperative that the mulitphonics each have a distinct timbre and work within the musical construct in which they are contained.

One other confusing aspect of the notation of the multiphonics within Quasi

Hoquetus, is the additional instructions listed with the final multiphonic that appears at rehearsal 11 as shown in figure 2. Along with the stack of pitches indicated on the staff, Gubaidulina includes the text "Appl. A5 + Kl. 5 + Kl. 'Piano.'"

These directions are similar to the notations seen in Gubaidulina's Duo Sonata, although with slightly different wording. It would appear this text directs the performer to use a fingering for A and then add key #5, which Bartolozzi labels as the Bb key in the right thumb, and the "piano" key. The "piano" key is understood by many bassoonists to indicate the "whisper" key, or the bottom key on the wing joint that is pressed with the left thumb. This key is labeled in Bartolozzi's fingering

97 chart as key #4, so it is unusual that Gubaidulina would here label it as the "piano" key. That this fingering indication produces the standard fingering for Bb2 on bassoon and not a multiphonic is also of concern. The standard fingering for Bb2 does not readily produce a multiphonic with changes to air or embouchure, and the most reliable multiphonics based on this fingering involve the opening of tone holes and/or the addition of keys.

Another curious aspect of this indication in the score is the "A5" that is given as the basic fingering. A5 is not a note that is included within the normative range of the bassoon. This pitch can only be achieved by using a harmonic fingering and, in some instances, placing the teeth upon the lower blade of the reed. It could be possible that Gubaidulina intended to indicate A4 instead of A5, or even instruct the performer to use the "A" key with the left thumb, which Bartolozzi labels as key #2.

The latter of these two theories is less likely, as it would be impossible to press both the "piano" key and the "A" key simultaneously with the left thumb. It is impractical to assume Gubaidulina's intention with this text, but its inclusion within the score is very confusing, as it does not assist the performer in any manner. Also unusual is the aspect that Gubaidulina provides this textual information for the multiphonic at rehearsal 11, but she does not for the previous two multiphonics in the score.

Fingering suggestions for the three multiphonics in Quasi Hoquetus along with air and embouchure alterations are located in Appendix E.

98 B. Fluttertongue

The fluttertongue technique appears rather late in Quasi Hoquetus, as it is first utilized in the second measure of rehearsal 54. This section, which continues until rehearsal 60, contains three repetitions of the initial fluttertongue sequence.

The motive includes fluttertonguing on three sixteenth notes, B#4, C#5, and D5 that immediately follow a B#4‐C#5 trill (figure 3). Also, there are two sixteenth note iterations of B#4 and C#5 that are repeated an increasing number of times preceding each subsequent trill.

Figure 3: Fluttertonguing shown at rehearsal 55 in Quasi Hoquetus. The viola part is the top staff

shown and the bassoon part is the lower staff.

Due to the difficulty of the fluttertongue in this upper register, the rapid tempo of this section, and the technical difficulty of the fingerings for these notes, it is best not to use articulation on the three fluttertongued notes. Rather, articulation can be imitated by using abdominal pulsation on each new note, giving a slight accent to each tone. This helps ensure that the fluttertongue will continue through all three notes and also increase the likelihood of the notes speaking in this register.

Additionally, in the cases where the fluttertongue emerges from a trill based on the same pitch, it is best to start the fluttertongue motion early, especially since the

99 three fluttertongued notes appear in rapid succession. During the trill, it can be helpful to pull the tongue backwards in the mouth and prepare it for the fluttering motion so there is little delay between the two techniques.

Beginning at rehearsal 58, there is an extended fluttertongued chromatic scale that rises from F#2 to D#5 (figure 4). Just as with the other fluttertongued motives in this section, it is best to refrain from articulating each new pitch.

Figure 4: Beginning of the extended fluttertongued chromatic scale at rehearsal 58 of Quasi Hoquetus.

The viola part is the top staff shown and the bassoon part is the lower staff.

The pace of the notes in this section is so rapid that by the time the fluttertongue can be initiated after an articulation, it is already necessary to move to the next note due to the notated rhythm. For this reason, it is better to not begin any of these notes with an articulation, but rather begin each new group of notes with an aggressive burst of air. The fluttertongue should be able to engage very quickly with this approach, as the tongue can remain pulled back in the mouth and prepared to begin the flutter motion. When beginning notes with the airstream alone, it is important to have a very fast and supported airstream with a narrow size. The force of the airstream with the air attacks should be greater in the lower register, and the speed of the airstream should be greater in the upper register. Throughout this section, it

100 is helpful to focus on engaging the fluttertongue quickly and keeping the motion steady throughout the changing pitches. Due to the quick pace of the note changes, it is best to not pulse each new pitch for a sense of separation as suggested with the previous two works. The greatest success in executing the fluttertongued notes from rehearsal 54 until 60 comes from considering the notes as being connected with a slur; therefore, the air stream and fluttertongue motion can be continuous.

The second large fluttertonguing section begins in the measure before rehearsal 66 and continues through to the end of the piece. The first half of this section involves beginning the fluttertongue on notes that are tied over from a static pitch and then starting the fluttertongue afterwards (figure 5).

Figure 5: Rehearsal 66 in Quasi Hoquetus.

In order to engage the fluttertongue on held notes such as these, it can help to bring the tip of the tongue farther back in the mouth during the held note in preparation of the fluttertongue. This can feel rather awkward and requires an increase in the opening of the jaw and mouth cavity. Conversely, the lips should exert more pressure on the reed to help support the note and to compensate for the opening of the jaw. At the point of impact of the fluttertongue, the air stream will often intensify naturally in comparison to the static note, but it is best if the air stream pressure remains steady so that there is not an accent created with the addition of

101 the fluttertongue. It is useful to practice long tones in this manner to establish the best physical strategy for adding the fluttertongue to an existing tone. The pitch and dynamic of the note should be preserved as much as possible, although in these instances it is beneficial that the written dynamics are forte and above, as it is easier to execute a fluttertongue at a louder dynamic.

Interspersed with the "tied‐over" fluttertongued notes and continuing on until the end of the work, there are also more rising chromatic lines that are fluttertongued and articulated. The rhythm in this section is much slower than the previous section of rehearsals 54‐60 and consists mainly of note changes at speeds of eighth notes, quarter notes, and half notes. For this reason, it is possible to articulate each new pitch with the tongue before engaging the fluttertongue, as the duration of each note is enough for the flutter motion to be perceptible. Due to the high register of these notes, however, it may ease response and execution to use an air attack approach with these pitches as well and to refrain from using a tongued initiation to each note. The performer should experiment with both methods to determine the best option in terms of reliability and musical appropriateness. As with each of the extended techniques described above, the main goal is the realization of the musical phrase.

102 Conclusion

In the performance of these extended techniques it is important to remember

Bartolozzi’s words of advice: “It must be stressed that even the most detailed technical description may not be equally valid for every player or instrument. For them to have absolute validity we would have to achieve the impossible. Every player would need to have identical physical characteristics. Every instrument and reed would have to be precisely similar. Inevitably, different results are to be expected, mostly through variety in the shape of players’ lips, different reeds, mouthpieces, crooks, barrels, etc.”83 Although the suggestions presented within this text and within the appendices may not work for all performers, it is important to have options as well as concepts of how to overcome these obstacles. Even if these suggestions are not effective for every performer, the information provided should assist performers in recognizing a process for discovering their own solutions.

The Concerto for Bassoon and Low String, the Duo Sonata, and Quasi Hoquetus present many challenges to the performer with the abundance of extended techniques. These techniques require diligent research on the part of the performer to discover proper technical solutions with fingerings for the quartertones, multiphonics, and harmonics in each work. Also, the performer needs to be flexible in his experimentation with airspeed and embouchure to achieve properly these effects. It is my hope that these annotated performance guides can serve as a valuable resource to performers of each of Gubaidulina's bassoon works. Using this

83 Bruno Bartolozzi, New Sounds for Woodwinds, trans. Reginald Smith Brindle (London: Oxford University Press, 1967), 90.

103 guide, performers can choose from a variety of possible fingerings for quartertones and multiphonics and can gain insight into potential embouchure and air adjustments necessary to produce these effects. By overcoming these obstacles of the work, it is hoped that the works of Gubaidulina will be performed more frequently and will be a rewarding experience for bassoonists.

104 BIBLIOGRAPHY Backus, John. The Acoustical Foundations of Music, 2d ed. New York: W.W. Norton and Co., 1977.

Bartolozzi, Bruno. New Sounds for Woodwinds. Translated and edited by Reginald Smith Brindle. London: Oxford University Press, 1967.

Beyer, Anders. The Voice of Music: Conversations with Composers of Our Time. Translated and edited by Jean Christensen and Anders Beyer. Aldershot: Ashgate Publishing, 2000.

Brennik, Albert. “Micro‐Tones.” Chroma Report: the Chroma Institute’s Report on Dodecaphonic Music Theory and on the Introduction of a Chromatic Music Notation 4, no. 2 (Fall 2000): 6‐13.

Campbell, Jefferson T. “The Duo Sonata for Two Bassoons by Sofia Gubaidulina: A Formal and Performance Analysis with Comments on Extended Techniques, Contemporary Notation and Gubaidulina’s Style.” D.M.A. diss., University of Nebraska, 2003.

Cope, David. New Directions in Music, 6th ed. Madison, Wis.: Brown and Benchmark, 1993.

Gamer, Carlton and Robin Wilson. “Microtones and Projective Planes.” In Music and Mathematics: from Pythagoras to Fractals, 149‐162. Oxford: Oxford University Press, 2003.

Feves, Julie, Professor of Bassoon at California Institute of the Arts. Interview by author, 1 July 2001.

Gubaidulina, Sofia. Concerto for Bassoon and Low Strings. Hamburg: Musikverlag Hans Sikorski, 2001.

______. Duo Sonata for Two Bassoons. Hamburg: Musikverlag Hans Sikorski, 1998.

______. "From Where I Sit." Interview by Dimitri Smirnov. Gramophone, September 2001: 23.

______. Quasi Hoquetus: for Viola, Bassoon, and Piano. Hamburg: Musikverlag Hans Sikorski, 1985.

Hähnchen, Dieter, ed. Modern Music for Bassoon Solo. Leipzig: VEB Deutscher Verlag für Musik Leipzig, 1986.

______, ed. Contemporary Music for Bassoon for Education. Leipzig: Friedrich

105 Hofmeister Musikverlag, 2010.

Heiss, John C. “Some Multiple Sonorities for Flute, Oboe, Clarinet, and Bassoon.” Perspectives of New Music 7, no. 1 (Autumn‐Winter 1968): 136‐142.

Kott, Tama and Olga Haldey. "Contemporary Russian Music for Bassoon Part 1: Sonatas for Solo and Accompanied Bassoon." The Double Reed 28, no. 2 (2005): 27‐40.

Kurtz, Michael. Sofia Gubaidulina. Translated by Christoph K. Lohmann. Bloomington: Indiana University Press, 2007.

Lapina, Theodore J. “Multitone Fingerings on the Heckel System Bassoon.” NACWPI Journal 25, no. 3 (Spring 1977): 19‐38.

Lipp, Charles Hebert. “New Compositional Techniques for the Bassoon.” D.M.A. diss., University of Illinois at Urbana‐Champaign, 1982.

Lukomsky, Vera. "'The Eucharist in my fantasy': Interview with Sofia Gubaidulina." Tempo 206 (October 1998): 29‐35.

Lukomsky, Vera and Sofia Gubaidulina. "'Hearing the Subconscious': Interview with Sofia Gubaidulina." Tempo, n.s., 209 (July 1999): 27‐31.

Lukomsky, Vera and Sofia Gubaidulina. "My Desire Is Always to Rebel, to Swim against the Stream!" Perspective of New Music 36, no. 1 (1998):5‐41.

Milne, Jennifer Denise. "The Rhythm of Form: Compositional Processes in the Music of Sofia Gubaidulina." Ph.D. diss., University of Washington, 2007.

Penazzi, Sergio. Metodo per fagotto. Nuova tecnica per strumenti a fiato di legno. Milan: Edizioni Suvini Zerboni, 1971.

______. The Bassoon: Other Techniques: New Sources of Musical Expression. Milan: Ricordi, 1982.

Popov, Valery. Sofia Gubaidulina: Works for Bassoon. Chandos, 1999. Compact disc.

Read, Gardner. Compendium of Modern Instrumental Techniques. Greensport, Conn.: Greenwood Press, 1993.

Reinhard, Johnny. “A Microtonal Sensibility.” Ear Magazine East 7, no. 5 (November‐January 1982): 3.

______. “The Microtonal Bassoon.” The Double Reed 10, no. 2 (Fall 1987): 39‐42.

106 Rovner, Anton. “An Interview with the Composer and Bassoonist Johnny Reinhard Concerning the Nature of his Musical Activities, Microtonal Music in General, and, Particularly, the Legacy of the Microtonal Composer Ivan Wyschnegradsky.” 20th Century Music 5, no. 11 (November 1998): 1‐5.

Savenko, Svetlana. "The New Soviet Music of the Postwar Avant Garde Period." In Studies in Penderecki: Penderecki and the Avant Garde, Vol. 2, ed. Ray Robinson and Regina Chlopicka, 143‐45. Princeton: Prestige Publications, Inc., 2003.

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Singer, Lawrence. “Multiphonics.” The Musical Times 119, no. 1622 (April 1978): 313.

Tsenova, Valeria. "Number and Proportion in the Music of Sofia Gubaidulina." Mitteilungen der Paul Sacher Stiftung, 14 (April 2001): 23‐28.

Vigder, Scott. “A Table of Quarter‐Tone Fingerings for the Bassoon.” The Double Reed 4, no. 2 (October 1981): 44‐45.

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107 Introduction to the Appendices

The fingering suggestions in these appendices are the result of research compiled from a number of different sources. The multiphonics from the Concerto for Bassoon and Low Strings, shown in Appendix A, are organized by their chronological appearance within the score. The graphic fingering notation from the score is shown in the far left column, with fingering diagrams and annotations following in the middle and right columns, respectively. The first fingering option shown is the fingering provided in the score by Gubaidulina. The numbers within the graphic notation images refer to the fingering chart published within

Bartolozzi's New Sounds for Woodwinds (figure 1).

Figure 1: Bassoon fingering chart from Bartolozzi's New Sounds for Woodwinds

For the Duo Sonata multiphonics provided in Appendix E, an image of each pitch stack from the score is shown in the far left column. The fingering diagrams

108 that Gubaidulina provided within the score are not pictured in this appendix.

However, the annotations in Appendix E identify which fingerings are supplied in the score. The multiphonics for Quasi Hoquetus in Appendix F are also organized by images of the pitch stacks from the score. Gubiadulina did not provide any fingering information in the score for this work.

The annotations provided for all of the fingerings and effects are the result of extensive research of North American bassoonists and bassoon performance. Every fingering may not work for each person, each reed, and each instrument. For this reason, there are several options offered when possible to ensure the greatest potential success. Other than Appendix A, each appendix has been organized to provide the most effective option first.

In addition to the fingering suggestions listed, it is imperative for each performer to experiment with adjustments to the embouchure, syllable formation, air speed, and air direction in order to discover the most effective personal solution for each effect. It is helpful to have a concept of the desired sound before beginning the process of experimentation. For the most useful results, the performer should use a scientific approach to altering these physical processes and take notes as to the outcome of each change. It is not always possible to ascertain what mechanism is causing success if both embouchure and air are changed simultaneously.

However, if changes to individual processes do not produce desired results, the performer should endeavor to change more than one element in combination.

There is a strong interconnectivity between the embouchure formation and air speed and direction. Frequently, changing one of these elements will cause a

109 sympathetic change in another. The annotations in the appendices offer guidance regarding alterations to embouchure and air for successful execution as well as commentary on intonation and timbre where appropriate.

Embouchure changes

The embouchure can be changed in many different ways involving different pressures and positions of the lips and jaws. Embouchure changes have a large effect on the resulting tone due to direct manipulation of the vibrating mechanism.

Some changes to the embouchure include:

• Making the embouchure more rounded and cushioned by bringing the

corners of the mouth inwards towards the nose and forward. This makes the

lips more bunched together and softer on the reed.

• Making the embouchure more flattened and hard by bringing the corners of

the mouth out towards the ears and back. This makes the lips more firm and

provides greater pressure to the reed.

• Closing the jaws of the mouth to make a smaller, flatter opening. This

presses the lips into the reed more and has a dampening effect on the

vibration and sound.

• Opening the jaws of the mouth to create a larger opening. This lessens direct

control of the lips on the reed and allows the reed to vibrate more freely.

110 Syllable changes

When playing a wind instrument, it is very useful to consider syllable/vowel formation in the mouth in an analogous manner to singing. Vocalists pay great attention to vowels while singing. When wind musicians mimic this process it can affect the tone and the pitch of the resulting sounds.

Common vowels used, in order from most open to least open:

OH (as in "toe")

AW (as in "yawn")

AY (as in "way")

I (as in "high")

EE (as in "see")

Air speed changes

The speed of the airstream has a large effect on the pitch of the note. In general, faster air will result in higher pitch whereas slower air will result in lower pitch. Many performers refer to these changes as blowing "cold air" versus "warm air." Cold air is the result of blowing faster air and warm air happens with a slower air stream. The stomach muscles play the largest role in making these changes.

Using more energy with the stomach muscles creates a faster airstream.

111 Air direction changes

In addition to air speed, performers can also consider the direction of the airstream when blowing into the instrument. With bassoon, the general procedure is to blow air forward into the bocal. It is possible to consider blowing air

"upwards" towards the ceiling or "downwards" towards the floor. This creates a change of the jaw positioning on the reed. Blowing air upwards pushes the lower jaw forward on the reed and creates an under‐bite. Blowing air downwards pulls the lower jaw back on the reed and creates an extended over‐bite. These types of embouchure changes are a departure from the normative physical set‐up and should therefore be considered last on the list of possible alterations.

112 Appendix A: Multiphonics in the Concerto for Bassoon and Low Strings

Movement 2, measure before Option 1 This is the fingering provided in rehearsal 3 the score by Gubaidulina. If the embouchure is too tight, a single note will occur. Also, the dynamic must not be too soft or the multiphonic will not respond, due to the amount of resistance.

Option 2 This is another option that also sustains Bb3 as a prominent pitch in the multiphonic. This is an important feature, as Bb3 is the preceding note and leads directly into the multiphonic. The overall pitches of this fingering are lower, but the multiphonic responds well at a low dynamic level and may be a better choice in the given context.

Movement 2, measure before Option 1 This is the fingering provided by rehearsal 4, first multiphonic Gubaidulina. It does not produce a multiphonic regardless of alterations to airspeed or embouchure.

Option 2 This option adds the whisper key, Bb key, and low Eb key. If the previous F#4 is executed with the fingering 1/2/F in the right hand, then it will be easier to create this multiphonic. Between the two notes, the embouchure may need to tighten slightly, but the whisper key is essential for production.

113 Appendix A: Multiphonics in the Concerto for Bassoon and Low Strings

Movement 2, measure before Option 1 This is the fingering provided by rehearsal 4, second Gubaiulina and it produces a multiphonic reliable multiphonic trill with the Bb key, as shown in grey. This multiphonic fingering requires a looser embouchure than F#4, or a slower airspeed in order to execute the effect. This fingering is one labeled by Bartolozzi as "polyvalent" as it will produce a single tone and a multiphonic.

Option 2 This option features the addition of the low D key as well as the low Eb key to help stabilize the multiphonic. These two keys create a multiphonic with an additional lower partial as compared to the previous option. The trill should be executed with the Bb key shown in grey. This option is easier to produce than the previous fingering.

Movement 2, one measure Option 1 This is the fingering provided in before rehearsal 5, first the score by Gubaidulina. It will multiphonic not produce a multiphonic despite alterations to embouchure and air.

Option 2 This fingering creates a consonant multiphonic that continues to sound the preceding B4, as indicated by the dotted tie connecting the two effects. This multiphonic sounds best with a slightly relaxed embouchure and slower airspeed. The addition of the low Eb key in the left hand adds a higher, dissonant pitch to the stack.

114 Appendix A: Multiphonics in the Concerto for Bassoon and Low Strings

Option 3 This is another option that works well with a relaxed embouchure and slow airstream. This fingering has a more narrow range of response and creates a stack of pitches that is more dissonant than the previous option. This effect must be voiced lower than the preceding B4 in order to sound.

Movement 2, measure before Option 1 This is the fingering provided in rehearsal 5, second the score by Gubaidulina. This multiphonic fingering combination will not produce a multiphonic, let alone a trill between two multiphonics. The trill is intended to be created with R2, shown in grey.

Option 2 This fingering produces a very stable multiphonic with a good trill achieved with finger R3 as shown in grey. This trill can be pushed to a loud dynamic without breaking apart. Also, the relative pitch of this multiphonic is higher than the following multiphonic at rehearsal 5, which is accurate given the graphic notation of the score.

115 Appendix A: Multiphonics in the Concerto for Bassoon and Low Strings

Option 3 This is a variation on the fingering provided in the score by Gubaidulina. The multiphonic is stable, responds easily with a normal embouchure, and trilling R3 (in grey) produces a trill interval of a 2nd. The multiphonic will also maintain its pitches throughout a crescendo.

Option 4 This option is not as stable as the previous fingering. Trilling R2 (in grey) produces a trill of a 3rd and the pitches of the multiphonic tend to fail as it is pushed to louder dynamics.

Movement 2, rehearsal 5 Option 1 This fingering produces a good multiphonic trill with the motion of the Bb key (in grey), as long as the embouchure is tightened and the airstream is steady. It is helpful to move the embouchure forward on the reed to aid production. Beware of overdoing the diminuendo, as the trill tends to break apart if played too softly. This fingering is altered from the provided notation in the score only by the addition of the low Eb key. This key helps the multiphonic to sound immediately, especially at the sf dynamic indicated.

116 Appendix A: Multiphonics in the Concerto for Bassoon and Low Strings

Option 2 Another good solution is to trill the Bb key and the first finger of the right hand together (both shown in grey) which will allow for a more stable diminuendo. This prevents the trill from failing, and, like the previous fingering, produces a downwards trill.

Movement 4, rehearsal 5, first Option 1 This is the fingering provided in multiphonic the score by Gubaidulina. It is difficult to produce a multiphonic and requires extreme embouchure pressure combined with a slower airstream in order to do so. The range of success for the multiphonic is narrow, and, for this reason, it is not recommended for use.

Option 2 This fingering produces a stable, compact multiphonic that can be played at soft dynamic levels easily. With embouchure changes, the timbre of the multiphonic changes as well. A more homogenous sound can be achieved with greater lip pressure. There is a technical impossibility of closing the low C key and the whisper key simultaneously unless the bassoon is equipped with a "French whisper key." Due to the multiphonics that follow this one, it is not advisable to use the whisper key lock to aid production. If it is difficult to produce the multiphonic without the whisper key, the low E key may be used instead, as it only slightly changes the timbre of the multiphonic.

117 Appendix A: Multiphonics in the Concerto for Bassoon and Low Strings

Option 3 This is another option based off of the fingering provided by Gubaidulina. It needs a firm embouchure for success. The multiphonic produced is stable, but it needs to be executed at a mf dynamic level or louder in order to be successful. The low E key can also be added to this fingering to aid response.

Option 4 This fingering produces a multiphonic that is higher in pitch than the previous three options. It is a little more resistant as well, and produces a homogenous, although muffled, timbre. It requires a firm embouchure for success, but it responds well at lower dynamic levels.

Movement 4, rehearsal 5, Option 1 This is the fingering provided in second multiphonic the score by Gubaidulina. The notation "20B" indicates the Eb trill key, shown here between the 2nd and 3rd tone holes on the wing joint. This is not a standard key on the bassoon and many instruments will not have this as part of the key system. Similarly to the previous fingering, care must be taken to keep the embouchure relaxed for creation of the multiphonic.

118 Appendix A: Multiphonics in the Concerto for Bassoon and Low Strings

Option 2 This fingering produces a multiphonic that has the same fundamental as the fingering provided by Gubaidulina. This option is more reliable and creates a full multiphonic that is not very resistant. The embouchure should be fairly relaxed. If the embouchure is tightened too much, a single pitch will occur instead of a stack of multiple pitches. Option 3 This is an alteration to the fingering indicated in the score. The absence of the first finger in the right hand aids response significantly. The embouchure must be relaxed, as there will not be a response if the lips are too tight.

Movement 4, rehearsal 5, third Option 1 This is the fingering provided by multiphonic Gubaidulina, with the addition of the whisper key. The whisper key helps to stabilize this multiphonic. Using slower air helps to emphasize the lower partials of the multiphonic to effectively create a descending line from the previous multiphonic. With both options for this

multiphonic, the low E key may be substituted for the whisper key if the technique is too cumbersome in the left thumb when moving from the previous multiphonic.

119 Appendix A: Multiphonics in the Concerto for Bassoon and Low Strings

Option 2 This fingering produces a multiphonic that is stable, with many pitches, and compact in timbre. Although the fundamental of the multiphonic is lower in pitch than the fingering notated in the score, the technique of this fingering is much easier to connect with both the previous and subsequent multiphonics. This is the middle of three multiphonics that are connected underneath a slur, so ease of technique is an important consideration in order to achieve the proper effect. Movement 4, rehearsal 5, Option 1 This is the fingering provided by fourth multiphonic Gubaidulina. It produces a very stable multiphonic with a full texture. Changes with air and embouchure will emphasize lower or higher partials. The main challenge with this fingering is the awkward technical demands.

Option 2 This is an alteration of the previous fingering in which the F# key is omitted. This eases the technical demands of the fingering when it is connected to the other multiphonics in context. The resulting multiphonic is full and stable, although it is lower in pitch than the previous fingering.

120 Appendix A: Multiphonics in the Concerto for Bassoon and Low Strings

Movement 4, rehearsal 5, fifth Option 1 This is the fingering provided by multiphonic Gubaidulina. It does not create a multiphonic regardless of alteration to air and embouchure.

Option 2 This altered multiphonic fingering is stable and maintains its timbre throughout an increase in dynamic. It requires an increased lip pressure for production. The multiphonic is rather resistant and is hesitant in response. Therefore, care should be taken to use a gentle articulation.

Option 3 This is a slight variation on the previous fingering. It also requires increased lip pressure, but this multiphonic is easier to articulate than option 1. However, this fingering option does not maintain its pitches when pushed to extremely loud dynamics.

Option 4 This fingering creates a very stable and full multiphonic. It is higher in pitch than the previous two options, and due to the graphic notation of the score, it may not be as accurate in its pitch relationship to the previous multiphonics. This same fingering is part of a multiphonic trill in movement 2.

121 Appendix A: Multiphonics in the Concerto for Bassoon and Low Strings

Movement 4, rehearsal 5, sixth Option 1 Although these multiphonic multiphonic and repetitions symbols do not have any fingerings provided, the graphic notation of the score indicates that they should likely be lower in pitch than the previous multiphonic. This fingering is extremely stable and can be pushed to the loudest possible dynamic without the timbre breaking. This was an essential requirement of Gubaidulina in the execution of this section. Option 2 Because there is not a new fingering notation for these Repeat the multiphonic symbols, the score fingering for the here could be interpreted as four fifth multiphonic. repetitions of the last multiphonic fingering. All of the options for the fifth multiphonic have a more limited dynamic range, but it is important for the performer to push the multiphonic as far as possible while maintaining all the pitches. Movement 5, measure before Option 1 This is the fingering provided in rehearsal 33 the score by Gubaidulina. It requires extreme pressure with the embouchure, as well as a significant amount of air. It is most easily achieved by moving the embouchure forwards to the first wire of the reed. This multiphonic is not very reliable as it is hard to initiate and the pitches will fail with a diminuendo.

122 Appendix A: Multiphonics in the Concerto for Bassoon and Low Strings

Option 2 This altered fingering produces a very stable multiphonic. It responds well, even with an sff attack, and all the pitches hold even at a pianissimo dynamic level. This is a very good option for achieving a multiphonic within the musical parameters presented by Gubaidulina.

Option 3 This fingering is also an excellent option. The multiphonic responds with an aggressive, loud articulation, and it will sustain at a soft dynamic with little effort from the embouchure.

Option 4 This option produces a multiphonic that is slightly more dissonant and not as stable. However, the multiphonic is very flexible, and changes to the embouchure produce a variety of different timbres.

123 Appendix B: Ridendo Sections and "The Scream" in the Concerto for Bassoon and Low Strings

Ridendo Sections

"Ridendo" translates as "laughing," the curved lines through the triangles help to create a "laughing" sound by designating pitch bends on each note. The precise notes are up to the discretion of the performer, but Gubaidulina has expressed a desire for sounds within the high register that are mainly chromatic in relationship. There should not be any harmonic implication within the section. The character of these sections should be tragic, hopeless, and comically distraught. The easiest method of creating these quick pitch bends is to use embouchure manipulation on the reed. Because the wavy lines extend up and down, it can be inferred that the pitch bends should occur in both of these directions as well. It is possible to create higher pitch by tightening the lips, closing the jaws, and pushing upwards on the reed with the lower jaw. Lower pitches can be obtained by loosening the lips, opening the jaws, and pushing downwards on the reed with the upper jaw. At the end of the "ridendo" section in movement four, there is an indication for "more and more 'hang‐over.'" This expresses a need for slower pitch bends and a lingering on the lower half of the pitch bending. The performer may also want to slow the tempo at the end of this section to further emphasize this effect. The closing of the "ridendo" section in the fifth movement contains the additional directive "lugubre," meaning "gloomy." This is an intensification of the tragic hopelessness of the "ridendo" from the fourth movement so perhaps a greater ritardando would be effective to highlight this aspect. The following diagrams show possible solutions to the ridendo sections in the score. These are interpretations of the graphic notation in the score. The diagrams show relative intervallic and rhythmic relationships determined from the positioning of the triangles. There are any number of solutions to these sections, as long as the results are chromatic in nature and do not emphasize a key area.

1. Movement 4, rehearsal 9, first phrase

124 Appendix B: Ridendo Sections and "The Scream" in the Concerto for Bassoon and Low Strings Possible solution

2. Movement 4, rehearsal 9, second phrase

Possible solution

3. Movement 4, rehearsal 9, third phrase

Possible solution

125 Appendix B: Ridendo Sections and "The Scream" in the Concerto for Bassoon and Low Strings

4. Movement 5, rehearsal 27, first phrase

Possible solution

5. Movement 5, rehearsal 27, second phrase

Possible solution

126 Appendix B: Ridendo Sections and "The Scream" in the Concerto for Bassoon and Low Strings 6. Movement 5, rehearsal 28

Possible solution

127 Appendix B: Ridendo Sections and "The Scream" in the Concerto for Bassoon and Low Strings

The Scream

In movement 4 of the concerto at rehearsal 8, there is the indication, "quasi clamore," or, "like a scream." Many bassoonists choose to sing or create a throat noise, while still playing the preceding D5 on bassoon, in order to produce a loud, raucous sound similar to a scream. Some performers have actually stopped playing the bassoon and emitted a purely vocal scream. Others choose to insert a particularly aggressive multiphonic that is successful at an extremely loud dynamic. Although Gubaidulina has said that her initial intention was to have the sound created by the first of these three methods, she has admitted to being satisfied with any number of options, including the substitution of a multiphonic. For those performers who find it difficult to create a throat noise while playing a D5, the following chart shows possible multiphonic options. These fingerings produce multiphonics that are particularly full and raucous in texture. Also, these multiphonics are stable at extremely loud dynamics, which is an essential feature for the realization of this effect. It was particularly important to Gubaidulina that this multiphonic did not "squawk" or collapse into a single tone.

Movement 4, rehearsal 8 Option 1 This fingering produces a multiphonic with a full timbre and it maintains the previous D5 as a pitch within the stack. It is a good choice for the technique, as there is not much finger motion required to move from D5 to the multiphonic. The embouchure should be more relaxed than what is required for D5. The performer should focus on executing the multiphonic with a lower pitch embouchure configuration. This multiphonic will hold its pitches well with a crescendo to the loudest possible dynamic. Option 2 This option works well with fingering also, especially if the performer uses the Ab key for D5. This fingering produces a full, stable multiphonic that maintains pitches with a strong crescendo. It requires a lower embouchure setup without much lip pressure.

128 Appendix B: Ridendo Sections and "The Scream" in the Concerto for Bassoon and Low Strings Option 3 This option requires the same embouchure changes as option 2, but it produces a slightly fuller and more stable stack of pitches. The technique with this fingering is slightly more challenging, but the multiphonic is very stable even at the loudest dynamics.

129 Appendix C: Harmonics in the Duo Sonata for Two Bassoons

1st Bassoon, second measure To execute this harmonic it is helpful after rehearsal 2 to use increased top lip pressure. Slower air is helpful for keeping pitch low enough.

1st Bassoon, rehearsal 4 This harmonic requires increased lip pressure with the top lip especially and a slow steady airstream. For good execution, try to maintain L1 half-hole from the preceding G3 and then open a large half-hole with L2.

130 Appendix D: Quartertones in the Duo Sonata for Two Bassoons

E2+1/4 Option 1 This note is slightly sharp, but the pitch is quite flexible. The tone is brighter than the adjacent notes.

Option 2 This note is very flat, but it is flexible and can be brought up to pitch. The tone is more open.

Option 3 This fingering is a little too sharp. The addition of the low D key can make this a good alternative to option 1.

131 Appendix D: Quartertones in the Duo Sonata for Two Bassoons

F2+1/4 Option 1 This pitch is stable and the fingering is easy to execute, though the tone is a bit muffled and fuzzy.

Option 2 This has a more open tone but is much flatter in pitch. This may be too flat for some instruments, as it is not very flexible.

F#2+1/4 Option 1 This fingering is slightly flat and muffled. It requires a large amount of upwards pressure with the embouchure.

132 Appendix D: Quartertones in the Duo Sonata for Two Bassoons

Option 2 This fingering is slightly sharp and more open in tone. The low Db key can be omitted to help lower pitch.

G2+1/4 Option 1 This produces a stable pitch with a warm tone.

Option 2 Provided by Bartolozzi: There is no discernable pitch change from G2, only color change.

Option 3 Provided by Penazzi: This note is unstable and has barely any pitch change from G2.

133 Appendix D: Quartertones in the Duo Sonata for Two Bassoons

G#2+1/4 Option 1 This note is very flat and requires a considerable amount of upward pressure with the embouchure. The note tends to collapse before it reaches the correct intonation.

Option 2 This note tends to be a bit sharp and it works the best with an open embouchure. The finger technique is rather awkward and difficult to achieve in context.

Option 3 This provides a warm and stable pitch but it is slightly flat.

A2+1/4 Option 1 This note responds well and has a bright tone. It is slightly flat and needs increased embouchure pressure to be in tune. Adding the low E key with the right thumb will darken the tone.

134 Appendix D: Quartertones in the Duo Sonata for Two Bassoons

Option 2 This is another good option that is higher in pitch than the first.

A#2+1/4 Option 1 This pitch is slightly flat but can be brought up to pitch with a firmer embouchure and faster air.

Option 2 This pitch is rather flat and requires a lot of embouchure manipulation to correct.

Option 3 This fingering is flat and somewhat unstable.

135 Appendix D: Quartertones in the Duo Sonata for Two Bassoons

B2+1/4 Option 1 This note is very sharp with a somewhat muted tone color.

Option 2 This fingering produces a note that is slightly flat, but the tone is more open than the previous option.

C3+1/4 Option 1 The pitch is a bit flat but the note has a warm tone. Adding R3 brings the pitch up but brightens the tone.

Option 2 This note is very sharp with a muted, muffled tone.

136 Appendix D: Quartertones in the Duo Sonata for Two Bassoons

D3+1/4 Option 1 This pitch is flat with an open tone, although it is slightly unstable.

Option 2 The pitch is better than the previous fingering, but the tone is brighter. This note is also unstable.

Option 3 This note has an open, dark tone and the pitch is stable. The finger technique is challenging in context.

D#3+1/4 Option 1 This note is slightly flat but it is very stable. The fingering is extremely awkward in the right hand. The C# trill key can either be opened by rolling the first finger of the right hand (R1) upwards, or the B tone hole can be covered with R2 and R1 can be used to open the C# trill key.

137 Appendix D: Quartertones in the Duo Sonata for Two Bassoons

Option 2 This pitch is also stable, but the pitch is sharp. The tone of this fingering is more open than the previous option. The whisper key can help with the execution of this note.

Option 3 This produces a less stable pitch and it is helpful to use the whisper key for this fingering as well.

E3+1/4 Option 1 This produces a stable pitch that is flat, although it is quite flexible and able to be corrected with the embouchure.

Option 2 The pitch of this note is better and the note is also stable.

138 Appendix D: Quartertones in the Duo Sonata for Two Bassoons

Option 3 This fingering is difficult to execute and is likely to be impossible without an Eb trill key.

*Add Eb trill key

F3+1/4 Option 1 This pitch is quite high and requires a very open throat and embouchure. It does, however, produce a warm tone.

Option 2 This note is slightly flat but has a very thin and bright, loud tone. It is easier to execute in terms of finger technique, but it will not sound homogenous in the texture.

139 Appendix D: Quartertones in the Duo Sonata for Two Bassoons

F#3+1/4 Option 1 This produces a stable and open pitch. It is slightly flat, which can create issues with quick embouchure and air changes if the adjacent F#3 and G3 are generally sharp in pitch.

Option 2 This produces a pitch that is a little too flat. The effect of this fingering is similar to using a normal F#3 fingering and using increased embouchure pressure to achieve the quarter-step pitch change.

Option 3 This note is bright in tone and very sharp. It is inflexible and difficult to bring the pitch down enough.

G3+1/4 Option 1 This is flat, unstable, and a little stuffy in tone. Adding a half-hole with L1 can help to bring the pitch up.

140 Appendix D: Quartertones in the Duo Sonata for Two Bassoons

Option 2 This note is more challenging to execute than the previous option but it is more stable. The pitch is also flat.

G#3+1/4 Option 1 This note is stable but the tone is slightly muffled. The pitch is generally high for this fingering.

Option 2 This fingering produces a more open tone but the pitch is slightly flat.

A3+1/4 Option 1 This produces a tone that is a bit flat and closed.

141 Appendix D: Quartertones in the Duo Sonata for Two Bassoons

Option 2 This note is more in tune than the previous option and the tone is also more open. The finger technique for this note is challenging.

A#3+1/4 Option 1 This produces a good tone and stable pitch. Adding either the low C# key or the low Eb key opens the tone.

Option 2 This fingering produces a bright tone and stable intonation. The technique is difficult in context.

Option 3 This produces stable pitch and a muffled tone. It is also difficult to produce in context.

142 Appendix D: Quartertones in the Duo Sonata for Two Bassoons

B3+1/4 Option 1 This produces a stable and warm pitch but it is quite flat.

Option 2 This fingering is a bit flat and the tone is muffled.

Option 3 This note is close with pitch but the tone is closed and stuffy. It is also difficult to execute the fingering in context.

C#4+1/4 Option 1 This note has good intonation and has a bright tone. The note is slightly unstable.

143 Appendix D: Quartertones in the Duo Sonata for Two Bassoons

Option 2 This fingering is flatter than the previous option, but the note is more stable.

Option 3 This produces a very bright tone quality. This note is rather sharp and inflexible.

E4-1/4 Option 1 The pitch here is unstable, but the note matches the tone of the surrounding notes and it is easy to execute.

Option 2 This note is more stable than the previous fingering. It is challenging to execute with the left thumb technique in context.

144 Appendix D: Quartertones in the Duo Sonata for Two Bassoons

Option 3 This note is stable but not very flexible. The tone is extremely bright and it may not blend well with the other notes surrounding it in context.

E4+1/4 Option 1 This fingering produces a stable and warm tone with good pitch. Opening R1 makes the note slightly flatter.

Option 2 This pitch is quite sharp and the tone is thin and bright.

F4+1/4 Option 1 This is very stable with a good tone. The technique of this fingering is easy in context.

145 Appendix D: Quartertones in the Duo Sonata for Two Bassoons

Option 2 Taken from Bartolozzi: This note is challenging to execute in context and the pitch is rather flat. The pitch is close to a normal F4, but the note is flexible and can be brought upwards with embouchure and airstream.

F#4+1/4 Option 1 This note is slightly flat but it is very flexible.

Option 2 This fingering achieves a similar pitch to the previous option, but it is much less stable and is likely to fail without fast enough air speed. Adding the whisper key can help response.

Option 3 This fingering is from Bartolozzi. It is very difficult to produce a steady tone using this fingering.

146 Appendix D: Quartertones in the Duo Sonata for Two Bassoons

G4+1/4 Option 1 This fingering produces a stable, full tone. The note is flexible in pitch and is a good tone match to the surrounding notes.

Option 2 This is a slightly flatter variation of the previous fingering. It is also flexible with a good tone. It can help to experiment with closing the L1 half- hole and opening the whisper key.

G#4+1/4 Option 1 This is a good match to the surrounding in tone and pitch and is very easy to execute technically. The pitch is slightly high. It is possible to execute this note while closing R2 to facilitate technique.

Option 2 This note is slightly flat and dampened in tone quality. It will collapse into a multiphonic without a fast enough airstream.

147 Appendix D: Quartertones in the Duo Sonata for Two Bassoons

Option 3 From Penazzi: This is quite flat with a thin, stuffy tone. It is challenging to execute in terms of technique with surrounding notes in context.

A4+1/4 Option 1 This note is difficult to execute technically in context, but it is very stable and the pitch is good.

Option 2 This is unstable with a much brighter tone. The technique of this fingering is easier than the previous option.

Option 3 This fingering is slightly unstable and more muffled in tone. It is flat in pitch and is also challenging with execution.

148 Appendix D: Quartertones in the Duo Sonata for Two Bassoons

B4-1/4 Option 1 This tone is stable, full, and open. It is easy to execute in context, although the pitch is sharp. The articulation is very difficult for this note.

Option 2 This is another good option, though the tone is not as open as the previous fingering. The pitch of this note is more stable.

Option 3 This note is more sharp than option one, but it has the same tendencies and characteristics.

C5-1/4 Option 1 This note is sharp but flexible. Omitting the Bb key in the right thumb brings the pitch down and stabilizes the note.

149 Appendix D: Quartertones in the Duo Sonata for Two Bassoons

Option 2 This fingering is difficult to execute in context and is likely to be impossible without an Eb trill key.

*Add Eb trill key Option 3 This fingering is flat but flexible and it can be brought up with embouchure. This fingering is stable and responds well even with a strong articulation.

C5+1/4 Option 1 This is very difficult to articulate, but it is stable and can work in context if the accent in the 1st bassoon after rehearsal 21 is done with the breath. Using the low Eb key with L4 helps to adjust pitch.

Option 2 This fingering is difficult to execute in context. The tone is very bright and thin, but it is stable and the pitch is good. The note responds well with strong articulation. This fingering is likely to be impossible without an Ab/Bb trill key.

*Add the Ab/Bb trill key.

150 Appendix D: Quartertones in the Duo Sonata for Two Bassoons

Option 3 This note is bright in tone and flat in pitch. Removing R2 helps bring the pitch up. The note is hesitant to respond with a strong articulation, but it may be a better choice than option 1.

Option 4 This fingering is likely to be impossible without an Eb trill key.

*Add Eb trill key C#5+1/4 Option 1 This is stable and full with good pitch. It is best to use a gentle articulation in the execution of this note.

Option 2 This is very challenging to execute and will not reliably produce a quartertone, although it is listed as an option by Penazzi.

151 Appendix D: Quartertones in the Duo Sonata for Two Bassoons

Option 3 There is little pitch difference initially from C#5, but the note is very flexible and can be brought up to pitch with the embouchure. The note has a full tone, but requires a gentle articulation for the best response.

152 Appendix E: Multiphonics in the Duo Sonata for Two Bassoons

1. 2nd Bassoon, rehearsal 22 This requires a normal, relaxed embouchure and a moderately intense airstream. It can be pushed significantly with air, but additional embouchure pressure causes collapse of the multiphonic into a single tone. If the low Eb key is omitted, a multiphonic with a slightly higher timbre is produced.

This is the multiphonic fingering indicated in the score. 2. 1st Bassoon, fourth measure of reh. This multiphonic produces a 22 large variety of tones and sounds depending on the embouchure and air. An important aspect is to maintain the tied Db5 as a sounding pitch within the texture of the multiphonic. It is more effective to keep the exact same air and embouchure while changing fingerings between Db5 and the multiphonic. Sometimes blowing air downwards slightly into the multiphonic change can assist production. It may help to add the low Eb key with the left hand pinky as well.

This is the fingering provided in the score and there are not other good options that sound Db5 as a prominent tone.

153 Appendix E: Multiphonics in the Duo Sonata for Two Bassoons

3. 1st Bassoon, fourth measure of reh. Option 1 This multiphonic has a small 22, second multiphonic range of response. In comparison to the B4 that ties into the multiphonic, the air speed needs to be much slower, the embouchure more open, and the support less intense. It is helpful to perform these physical changes from B4 into the multiphonic as though it is an octave slur downwards from B4. The resulting multiphonic will be an homogenous chord with a B4 pitch present in the stack. Option 2 This option is higher in timbre than the previous fingering. Although it requires a similar embouchure and airstream to the preceding B4, this multiphonic may not be the best choice as it sounds with many tones higher than B4. This provides a sense of resolution upwards, which does not fit well in the context. Option 3 This is the fingering provided in the score. It has a narrow range of response and does not sound the B4 as a prominent pitch. The embouchure can be the same as the preceding B4 but there needs to be an increase of airspeed to get the multiphonic to sound.

154 Appendix E: Multiphonics in the Duo Sonata for Two Bassoons

4. 1st Bassoon, fourth measure of reh. Option 1 This altered fingering 22, third multiphonic produces a full multiphonic that is very stable. It maintains the previous F4 as part of the pitch stack, but requires a slower airstream than F4.

Option 2 This is another good option for connecting the F4 into a multiphonic sound. This fingering is a bit more resistant than the first option. It works well at the indicated, soft dynamic.

Option 3 This multiphonic has an extremely narrow range of response. It requires a firm embouchure and a very slow, wide airstream. Holding over from F4, the embouchure can remain constant but the airspeed must change significantly. This is the fingering provided in the score.

155 Appendix E: Multiphonics in the Duo Sonata for Two Bassoons

5. 1st Bassoon, third measure of reh. Option 1 This fingering will sound a 23 stable multiphonic at a soft dynamic. When trilling the low D key (in grey), it produces a downward trill of close to a half step. Using a slower airspeed will emphasize the lower partials.

This fingering option will produce many different timbral options depending on airspeed and embouchure. It is used again in example 19.

Option 2 This is an “altered F2” fingering that provides a reliable, full multiphonic. The low D key (seen in grey on the diagram) should be trilled slowly to ensure that both multiphonics will sound successfully.

Option 3 This fingering provided by Gubaidulina is very difficult to produce. It requires an open embouchure with increased lip pressure and slow, intense, steady air. As with the previous two options, the low D key (in grey) should be trilled slowly.

156 Appendix E: Multiphonics in the Duo Sonata for Two Bassoons

6. 1st Bassoon, rehearsal 24 Option 1 This multiphonic fingering, provided in the score, is very responsive and full. It is easy to produce using a normal setup for Ab2. Experimentation with slight changes to air speed and embouchure will create different timbres.

Option 2 This option produces a more consonant stack of pitches than the first fingering. This multiphonic performs with easy response at a soft dynamic. The timbre of the multiphonic may not be dissonant enough for the indicated pitch stack.

Option 3 This fingering creates a multiphonic with a lower pitch and more closed sound than the previous two options. The embouchure must be tightened and the lower jaw engaged to produce a sound at a soft dynamic.

157 Appendix E: Multiphonics in the Duo Sonata for Two Bassoons

7. 1st Bassoon, measure before reh. Option 1 This fingering, seen above in 26 example 6, is a good choice for this context. The multiphonic created is dissonant, sounds an Ab as part of the pitch stack, and works at the indicated dynamic.

mp Option 2 This is an altered Ab2 fingering that produces a full multiphonic at a soft dynamic. This multiphonic is consonant and stable, but favors a B pitch more than Ab.

Option 3 This fingering is provided in the score by Gubaidulina but it will not reliably produce a multiphonic despite embouchure and air manipulation.

158 Appendix E: Multiphonics in the Duo Sonata for Two Bassoons

8. 1st Bassoon, fourth measure of reh. Option 1 This requires a normal 26 embouchure and strong air. The resulting multiphonic is stable and full. It can be pushed significantly with the airstream. This is the fingering provided in the score.

Option 2 This option produces a full multiphonic that responds easily. The timbre is very dissonant and many beats occur within the pitch stack.

9. 1st Bassoon, sixth measure of reh. Option 1 This requires a moderately 26 and second measure of reh. 27 open embouchure and strong air for the initiation of the multiphonic. In order to press the whisper key and low Bb key simultaneously, it is necessary to use the whisper lock. Gubaidulina provides this fingering in the score.

159 Appendix E: Multiphonics in the Duo Sonata for Two Bassoons

Option 2 This fingering is an alternative to the whisper lock issues from the previous option. This multiphonic is also full and responsive, but the pitch is slightly higher than option 1.

Option 3 This fingering is a second alternative to the whisper key lock issues. The multiphonic that results is slightly resistant and consonant in timbre. The pitch is higher than the first two options.

10. 1st Bassoon, sixth measure of reh. Option 1 This fingering is provided in 26 and second measure of reh. 27 the score and responds well (second multiphonic in each) with or without the whisper key. The multiphonic requires a strong airstream and a normal embouchure.

160 Appendix E: Multiphonics in the Duo Sonata for Two Bassoons

Option 2 This altered fingering option produces a multiphonic that is lower in timbre. The pitches in this option are slightly more focused.

Option 3 This fingering creates a multiphonic that emphasizes the D pitch within the stack. It works well with a relaxed embouchure and strong airstream. There are several beats that occur within the sound.

11. 1st Bassoon, seventh measure of Option 1 The creation of this reh. 26 multiphonic requires a relaxed embouchure. Too much upward pressure with the embouchure causes collapse of the pitches. The multiphonic accepts a strong air stream and is stable. Db tends to be a prominent pitch in the stack. This is the fingering provided in the score. It is helpful to use the whisper key lock for this fingering.

161 Appendix E: Multiphonics in the Duo Sonata for Two Bassoons

Option 2 This fingering also emphasizes Db as a prominent pitch in the multiphonic array. The general pitch of this multiphonic is much lower than the previous option. It requires a firm embouchure with upward engagement of the lower jaw.

12. 1st Bassoon, one measure before Option 1 This multiphonic is a trill reh. 27 from a new fingering back to the multiphonic shown in example 11. Start this trill with relaxed pressure as with the previous example. The air must be intense and well supported. The first multiphonic should be executed with the low Bb pressed, and then the low Bb should be trilled (shown in grey). A slower trill will emphasize the slight pitch change between the two multiphonics. It is helpful to use the whisper key lock for this fingering to stabilize the multiphonic.

This is the fingering shown in the score.

162 Appendix E: Multiphonics in the Duo Sonata for Two Bassoons

Option 2 This option is based on the second option shown for example 11. The multiphonic should be started with the low Bb key, and then the low Bb key (in grey) should be trilled at the appropriate point within the score. This fingering requires a firm embouchure with upward pressure from the lower jaw.

13. 1st Bassoon, second measure of Option 1 This fingering is provided in reh. 28 the score and is the same exact fingering that Gubaidulina indicates for the first multiphonic after rehearsal 22, as seen in example 2. However, the pitches in the score and the dynamics are different.

This multiphonic speaks easily and is very stable, especially at this dynamic. It does not require any unusual manipulation but a more open embouchure will produce a fuller texture. Option 2 This option shows the addition of the low E key to the previous fingering. This creates a louder multiphonic that can be pushed to even greater dynamics. It is slightly lower in pitch than the first option.

163 Appendix E: Multiphonics in the Duo Sonata for Two Bassoons

Option 3 This fingering option creates a multiphonic with a prominent D# in the texture. The multiphonic is strong and full, especially at a loud dynamic. It does not require unusual embouchure manipulation for execution.

14. 1st Bassoon, second and third Option 1 This multiphonic is a bit measures of reh. 28 unstable and challenging to produce. It works best with a breath attack, otherwise it often will not respond. It requires upward pressure with the lower jaw and a strong airstream. Adding the first finger of the left hand provides much greater stability and better attack quality but changes timbre and tonal structure. Also, it can help to attack the note with a half-hole in the

first finger of the left hand. This can be opened immediately after the initiation of the multiphonic, and a more normative embouchure structure can be used. The whisper key lock is helpful for execution, but not necessary. This is the fingering provided in the score.

164 Appendix E: Multiphonics in the Duo Sonata for Two Bassoons

Option 2 This alternative can be executed with a more relaxed embouchure, although it also responds best with a breath attack. The pitch of this multiphonic is much lower than the previous fingering. There are many beats within the sound.

15. 1st Bassoon, second and fourth Option 1 This fingering is given in the measures of reh. 29 score for both multiphonics, although the multiphonic pitches are notated differently. The second occurrence is comprised of Ab2, C#4, Gb4, B4, and E5.

This multiphonic speaks easily and is very stable. It accepts a large quantity of air. A relaxed embouchure setup produces lower pitches.

Option 2 This fingering option creates a multiphonic that is lower in pitch with regularly recurring, machine gun type beats in the tone. The multiphonic can be executed with a normal embouchure and accepts a strong airstream.

165 Appendix E: Multiphonics in the Duo Sonata for Two Bassoons

16. 1st Bassoon, third and fourth Option 1 The single E4+1/4 tone can measures of reh. 29 be created with this fingering and slow air. When moving into the multiphonic, it is best to maintain the embouchure and increase the air speed considerably. Adding too much embouchure pressure will create C5. The multiphonic will not work if the dynamic is too soft. This is the fingering provided in the score.

Another option to aid production of the multiphonic is to begin the quartertone with the addition of the low E key, then remove the low E key when moving to the multiphonic. Option 2 This alteration to the previous fingering adds the Ab key with R4. The additional key produces a multiphonic that is very stable, as well as providing extra assistance for the initiation of the effect.

166 Appendix E: Multiphonics in the Duo Sonata for Two Bassoons

17. 1st Bassoon, sixth measure of reh. Option 1 This multiphonic requires a 29 good amount of upward pressure with the lower lip and a cushioned upper lip. It needs very fast air and requires a gentle articulation. Too aggressive of a tongue motion will prevent the multiphonic from responding. The sound is most secure with a breath attack, or it can be initiated more easily by moving the embouchure forward on the reed. This is the fingering provided in the score. Option 2 This fingering creates a multiphonic that is lower in pitch than the previous option. The timbre of the multiphonic stack is also more compact in nature. The embouchure and air required are similar to option 1.

167 Appendix E: Multiphonics in the Duo Sonata for Two Bassoons

18. 1st Bassoon, rehearsal 30 Option 1 To execute this trill, it helps to move further forward on the reed and engage extreme upward pressure with the lower lip and jaw. This responds best with a strong articulation and fast, intense air. Start fingering without the A key (seen in grey) and then slowly trill to emphasize tonal changes.

There are two additional methods that can aid the production of this trill. The initial fingering can be started with a slight half hole with the first finger of the left hand. The half hole needs to be closed immediately to achieve the trill. Also, the trill can be started with the A key added for an easier attack. This will create a downward trill. Option 2 This is another option for the trill that responds slightly better than the first fingering. The tendencies of this multiphonic are very similar to the first option. This fingering also involves trilling the A key as shown in grey.

19. 2nd Bassoon, rehearsal 30 Option 1 This fingering produces a stable and full multiphonic. It requires a firmer embouchure to help emphasize the G and C pitches within the sound.

168 Appendix E: Multiphonics in the Duo Sonata for Two Bassoons

Option 2 This multiphonic fingering is fairly resistant. It works best with moderate lip pressure and a slower airstream. If the airstream is too intense it will result in a single pitch.

Option 3 This is the multiphonic fingering provided by Gubaidulina in the score. It is very difficult to produce a multiphonic with this fingering and is not a reliable option.

20. 1st Bassoon, rehearsal 38 Option 1 This unusual multiphonic trill fingering is shown in the score and involves the alternation of the low Bb key and the Ab key, both shaded in grey. Using the whisper key lock increases the stability of the trill. The initiation of the trill works best with the low Bb key pressed. *** The multiphonic trill needs a very covered embouchure with increased upper lip pressure. When the Ab key is pressed, the timbre becomes much brighter and louder, so it is helpful to try and control the sound with an open throat and syllable. As mentioned with other examples, the trill motion *Alternate trill between should be slow to properly low Bb key and Ab key. execute the technique.

169 Appendix E: Multiphonics in the Duo Sonata for Two Bassoons

Option 2 This trill alternates the low B key and the low Ab key (in grey). The execution is very similar to the first option. There is much less timbre change between the low B and the Ab.

***

*Alternate trill between low B key and Ab key. 21. 1st Bassoon, eleventh measure of Option 1 This multiphonic also reh. 39 requires an engaged embouchure with increased lip pressure. To achieve the piano dynamic, it is best to add more lip pressure and keep airspeed slow and steady so that the multiphonic will remain stable. This option is easier to achieve than the provided fingering due to the ability to press the Bb and low E key together with the right thumb.

170 Appendix E: Multiphonics in the Duo Sonata for Two Bassoons

Option 2 This fingering produces a multiphonic that is similar to the previous option, but higher in pitch. The technique in the right hand is slightly easier, due to the removal of the pinky keys. The embouchure and air should be the same as the first option. The multiphonic will respond at a very soft dynamic.

Option 3 This fingering is shown in the score, but can be quite difficult to achieve. The third finger of the right hand must press both the alternate Bb key and the G key. Another option is to use the first finger of the right hand to cover the second tone hole, the second finger to press the alternate Bb key, the third finger for the G key, and the pinky for the F key. This assortment is especially challenging for bassoonists with small hands. The embouchure and air configuration for this multiphonic is the same as the previous two options.

171 Appendix F: Multiphonics in Quasi Hoquetus

Multiphonic before Option 1 This fingering produces a rehearsal 2 multiphonic with a full texture, with F#3 as a prominent tone at the bottom of the texture. The multiphonic responds better at a slightly louder dynamic and it is difficult to get any response without an adequate airstream. If the embouchure is too tight, the F# partial is not present in the stack of pitches.

Option 2 This option creates a multiphonic that is lower in timbre than the previous fingering. F#3 is included in this multiphonic, but it is not as prominent as it is in option 1. This fingering responds with slightly increased lip pressure and a steady airstream.

Multiphonic before Option 1 This fingering is taken from Penazzi's rehearsal 6 Metodo per Fagotto and is depicted as containing the exact pitches indicated by Gubaidulina. This multiphonic works particularly well with the whisper key lock on. It is resistant, but it is still achievable at soft dynamic levels. The embouchure should be relaxed and a gentle articulation can help encourage better response.

Option 2 This multiphonic fingering is fuller in texture than the previous option, but it is late to respond after an initial articulation. The multiphonic will "scoop" up out of a single tone. This multiphonic can be produced with a relaxed or a tightened embouchure, but given the dynamic indicated, a tightened embouchure may help with execution.

172 Appendix F: Multiphonics in Quasi Hoquetus

Option 3 This multiphonic fingering produces a timbre that is higher than the previous two. The texture is still full and B2 is a partial within the stack. This multiphonic is a good option mainly due to its excellent response at soft dynamic levels. This is a good choice for the musical context, although the texture is not consistent with the notation in the score.

Multiphonic at rehearsal Option 1 This fingering produces a 11 multiphonic that is full and stable. Ab2 is a prominent partial in the stack of pitches, although some of the upper partials are not precisely what Gubaidulina notated. The best attack for this multiphonic can be achieved by moving the embouchure forward on the reed, and by using a slow, warm airstream.

Option 2 This option creates a multiphonic that is slightly fuller in texture than the previous fingering. The pitch of this multiphonic is also slightly lower than the previous one. The best execution for this multiphonic is achieved through the same process listed for option 1. It is helpful to use the whisper key lock for this fingering.

Option 3 This multiphonic is very similar in timbre and texture to option 2, but the technique is easier to execute.

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