Program Note
This set of continuous variations for clarinet, bassoon, and piano is based on musical analogs for the grammatical and syntactical structures in a poem titled Autumn by Missouri born author Elizabeth Jones Hanley. Word sound, syllable count, phrase lengths and vowel concentrations generate parallel musical hierarchies and evolutions within the twenty-five sections of the composition.
The first eighteen sections of the composition occur in groups of two within which a simple exposition (premise) is immediately followed by a variant (response). The fifth couplet of variations begins with a lighthearted capriccio followed by its attendant response.
The composition closes with a brief canon followed by cadenzas for each of the three instruments. Cadenza I (clarinet) and II (bassoon) are each followed by an intermezzo. Cadenza III (piano) ushers in a much slower variation (Finale) suggestive of basic rhythms from the opening moments of the piece and brings the composition to a quiet and reflective close.
Though poetic language structure is by far the most important aspect of the relationship between the text and the music, the musical composition does reflect a programmatic awareness of seasonal reflections on autumn as well as an implied reference to the autumn of a life cycle.
Autumn
By Elizabeth Jones Hanley, from The Art of Making Tea
Slashed with rain,
the leaves turn
brass red and yellow
against the grey clouds.
Cool wind.
The chimes
outside my window
tell me winter
is drawing near.
(Reprinted by permission from the author)
— Donald Bohlen
The first eighteen sections of the composition occur in groups of two within which a simple exposition (premise) is immediately followed by a variant (response). The fifth couplet of variations begins with a lighthearted capriccio followed by its attendant response.
The composition closes with a brief canon followed by cadenzas for each of the three instruments. Cadenza I (clarinet) and II (bassoon) are each followed by an intermezzo. Cadenza III (piano) ushers in a much slower variation (Finale) suggestive of basic rhythms from the opening moments of the piece and brings the composition to a quiet and reflective close.
Though poetic language structure is by far the most important aspect of the relationship between the text and the music, the musical composition does reflect a programmatic awareness of seasonal reflections on autumn as well as an implied reference to the autumn of a life cycle.
Autumn
By Elizabeth Jones Hanley, from The Art of Making Tea
Slashed with rain,
the leaves turn
brass red and yellow
against the grey clouds.
Cool wind.
The chimes
outside my window
tell me winter
is drawing near.
(Reprinted by permission from the author)
— Donald Bohlen
Reproduction Notice:
This program note may be freely reproduced in concert programs, provided that proper credit is given to the composer.
This program note may be freely reproduced in concert programs, provided that proper credit is given to the composer.