Trio for Oboe, Bassoon and Double BassDuration: 5'
2017 |
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Originally, this piece was to be a duo between the oboe and bassoon. As I began composition, I had this idea of a continuous lilting eighth-note motif, which would be rather impractical because the bassoonist needs to breathe. So I added a double bass.
Now when a classical musician puts forth a meme that says "No one writes music in the Locrian mode," what is a composer to do but take that as a challenge and in fact WRITE something in the LOCRIAN mode?? So that's what I did. In the return of the A-section, we go from Phrygian to Locrian. You're welcome.
This work is both quirky and mysterious - despite it's very plain title - and it is one of my favourite pieces I've ever composed.
Now when a classical musician puts forth a meme that says "No one writes music in the Locrian mode," what is a composer to do but take that as a challenge and in fact WRITE something in the LOCRIAN mode?? So that's what I did. In the return of the A-section, we go from Phrygian to Locrian. You're welcome.
This work is both quirky and mysterious - despite it's very plain title - and it is one of my favourite pieces I've ever composed.
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Trio for Oboe, Bassoon and Double Bass has recently been recorded by the joyous and amazing oboist, Erin Brophey, on her debut album Finding Our Connection. This album looks to highlight and celebrate female-identifying and BIPOC composers.
Visit this link to purchase her album of oboe works composed and arranged by female-identifying and BIPOC composers. |
Premiered May 2019 at Convocation Hall, Saskatoon, SK by the Saskatoon Symphony Chamber Players at the SSO Sunday Chamber Series.
On the recording: Oboe - Erin Brophey; Bassoon - Stephanie Unverreight; Double Bass - Richard Carnegie
On the recording: Oboe - Erin Brophey; Bassoon - Stephanie Unverreight; Double Bass - Richard Carnegie
