I always thought that it would be a cool idea to theme a recital after this age-old wedding tradition, but with next summer’s wedding, I figured this was the perfect opportunity. It’s also a great time for something like this simply because of the strides we’re making as a country towards marriage equality. Choosing works that fit into these categories was a little harder than I had anticipated, but with the help of some colleagues it all came together.
“Something Old” is going to be Vivaldi’s Concerto for Bassoon in e minor. This was an easy pick for me, because not only is this piece “old” in the span of classical music, but also in the span of my life with the bassoon. When I was assigned the bassoon in 7th grade band, I desperately searched for examples of what this thing was supposed to sound like, because I had no idea. Many bassoonists would probably say that the Mozart Concerto was their first listening experience as far as bassoon repertoire goes, but for me it was the Vivaldi. This composer wrote hundreds of concertos, many of which being for the young girls of an orphanage to perform. There have been many performances of this piece since its premiere in the 1700s, but it is beginning to become a work more difficult to hear in a live performance. Despite its waning popularity, I’ll always think back to how amazed I was as a 7th grader to hear a recording of this work.
Choosing “Something New” was sort of a challenge, because the word “new” is only relative when it comes to music. Choosing something written last night, or 100 years ago would both warrant a spot in this category. With the help of violist, Nadya Potemkina, I was presented a piece that we could perform together by a composer names Michal Spisak. This Polish composer lived in Europe during the early 20th century and modeled his music after new compositional techniques, such as transparent polyphonies and use of specific instrumental colors. This is probably one of the more difficult pieces I’ve had to work on, simply because of its non-traditional sound. New “classical” music is often rejected my listeners because it’s not always easy on the ear, but I think this is a good way of showing how far music has come since the days of Vivaldi, and other composers of and before his time.
Picking “Something Borrowed” sounds easy enough – finding apiece that you like not originally written for bassoon. The difficulty I didn’t foresee, however, was being able to PLAY the piece not written for bassoon. One of the biggest differences with double reeds is that our instruments require a different type of air support – for every breath we take in, we have to take one out, as opposed to being able to use all of the air we take in. Another issue is the physical mechanism of the bassoon. Bassoon writing, in my opinion, isn’t as “virtuosic” as say, flute or clarinet writing, because playing the bassoon requires more physically (the only other instrument requiring all 10 fingers independently is the piano). My pianist in Los Angeles suggested Schubert’s Arppegione Sonata, and with some practice I learned to love this work. Written in the early 1800s, this sonata is old enough to be pleasing to the ear, yet “new” enough to provide a great challenge for the performer. I also think that this was a great choice, because anyone playing this piece these days is “borrowing” – the arppegione didn’t survive much past the 19th century (most performances of the piece can be heard on cello). Favored by many, Schubert’s Arpeggione Sonata has given me new insight on what it means to play “borrowed” music.
The bassoon is not by any means a jazz instrument, so finding “Something Blue” that wasn’t actually also “Something Borrowed” left me with no ideas whatsoever. In May I played a jazz gig, and the composer of this woodwind trio was Ray Pizzi. Upon more research about this bassoonist, I found that he composes solo jazz works for bassoon – I’d found my jackpot. “Ode for a Toad” caught me eye, so I’ll do my best to do something I wasn’t trained for and don’t do very often – swing!
I’m very happy that this has put itself together, and I have to thank Nadya Potemkina, Tony Silva, the Vivaldi Ensemble, and the Beethoven Club of Memphis for helping me along the way. I urge other area musicians to show the Mid-South that there is music and culture in Memphis, and that no matter what happens with schools, politics, or whatever, the arts need to be supported. It all starts with us.