Imagine the first movement as a group of children discovering they have the house all to themselves. As they run wild, creating a huge mess everywhere they go, they do it with more vigor and chaos. Eventually, their parents come home and discover what has happened – they’re in big trouble.
Everyone has nightmares from time to time, and the second movement of this piece is just that. Picture yourself walking down a dark street, suspicious that someone is following you. You continue your path, until your pursuer is too close for you to escape. Just as he’s grabbing for you, your eyes clench closed in fear. They open back at home, in your bed, with the relief that it was only a dream.
In the third movement, a falling 7-note motif is passed throughout the ensemble, and it can be visualized as the falling of snow at the beginning of winter. Its accompanying melodies further illustrate the beauty associated with the changing of seasons, and it’s completely appropriate for this time of year.
The audience is called back to attention with the opening note of the fourth movement. It’s fun to picture this upbeat movement as a face paced jungle safari, or a trip down a winding river. This wild ride stops as drastically as it started, showcasing a single rhythmic theme throughout.
Movement five was written in dedication to another Hungarian composer, Béla Bartok, whose music Ligeti highly admired. While listening to this scary, somewhat disjointed interpretation of the life and career of Bartok, think about the scary and disjointed parts of your own life, and how, like this movement, it will end peacefully.
Playing in a sporting match, executing a large family function, or even raising a child can be considered tasks that have inherit frantic group qualities about them, and that is both the figurative story being told in the sixth and final movement, and the task at hand for the five musicians performing. Bassoon and clarinet act as the period at the end of the sentence, concluding Ligeti’s “Six Bagatelles for Wind Quintet”.
Francis Poulenc’s career as a composer often presented a problem many composers have – being taken too seriously. Early in his career, the simplicity of his music translated in the minds of his critics to the idea that he didn’t take himself seriously, and his works were often rejected. In later years, though, musicians have returned to his works, with his chamber music for winds being amongst the leaders in the genre. His music is noted as containing simple triadic harmonies, sprinkled with spicy dissonances and witty interjections. His Trio for Piano, Oboe, and Bassoon contains all of those aspects, as well as mood that, I think, can only make you smile. The first movement begins with proclamations from the bassoon and oboe, respectively, moving into a youthful allegro. A middle section calms the mood, until the fast music resumes.
The second movement is amongst the most beautiful of compositions for woodwinds, and it contains feelings of comfort and affection, with hints of doubt and insecurity.
The final movement is youthful and light, with comedic interruptions throughout. When listening to this piece, think about all of the things in life that should be enjoyed, and not taken too seriously. Poulenc’s Trio for Piano, Oboe, and Bassoon is definitely one of those things.
When most people think of 20th century music, they think of people like Stravinsky and Berg, and their “crazy” avant-garde style of writing. Carl Nielsen, although a 20th century composer himself, did not take part in that new phenomenon, and kept his compositions more conservative and easier on the ears. His quintet for winds was his last chamber work, and was inspired by his five friends In the Copenhagen Wind Quintet. Each of these musicians had a specific personality of his own, and this is portrayed in each instrument throughout the piece. Just as the use of each instrument was adapted for the musicians of the Copenhagen Winds personalities, the Cooper Young Winds musicians can identify with this music as well:
The first movement is full of contrasting sections, which are like my many different moods.
I identify with the fifth variation of the third movement because I can be loud and argumentative at times.
After I play English Horn in the Praeludium, I get to sit out the next movement. I like sitting out.
I enjoy being in charge, so it warms my heart to not only start the piece, but to extend my instrument at the end of the piece to provide the fundamental.
I identify with the second movement because I enjoy its classical structure and melodic content with modern harmonies that contemporize the movement.