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Doublereed Archive - Posting 000097.txt from 2003/09

From: Bear Woodson <bearwoodson@-----.net>
Subj: [DR-L] Oboe (Oboe d'Amore, EH, etc.) and Strings
Date: Sat, 13 Sep 2003 01:11:51 -0400

Hello, Double Reed List.
I don't have a quartet for Oboe and Strings, (at
least not yet), but I do have a transcription for
Oboe (or Oboe d'Amore in A, English Horn in F,
Bass Oboe or Heckelphone) with Stings, but they
include: Violin I, Violin II, Viola, Cello and a
String Bass. The strings may be a mere Quintet,
or a full String Orchestra.
Some of you may know that I am writing a
series of chamber works, sonatas and concertos
that feature each major instrument of the orchestra.
I also make transcriptions of some of my works,
so for now, this Accompanied Bass Flute Sonata
can be played by a variety of instruments at
Written Pitch or Sounding an Octave Lower
(which the Bass Flute does, just like the Bass
Oboe or Heckelphone). I still plan to write
original sonatas for Oboe, etc., later, but for
now, there is this 25-minute Sonata, OR, just
the String Accompanied Version of the 9-minute
Slow Movement, that can be played as a separate
piece.
"Sonata for Bass Flute and Piano"
(May 2003, 4 mvts., 25 min.)
I Allegretto 4' 55"
II "Aulos" Phrygian Variations and Stretto
Fugue 8' 35"
(It is my unique custom to make the Slow
Second Movements of my newer, 4 move-
ment Accompanied Sonatas, so that they
can be used as Separate Pieces, and be
accompanied either by piano, or string
quartet with a string bass, or full String
Orchestra, as a Konzertstück. It contains an
unprecedented EIGHT Stretto Fugues, with
the last one being the FIRST one to work in
Original, Inversion, Retrograde-Inversion,
and Retrograde, ALL AT THE SAME
TIME!)
III Scherzo 5' 52"
IV Arch Form 5' 25"
total: 24' 47"
I am transcribing the Solo Part of all 4 move-
ments to:
Standard C Flute, Alto Flute in G;
Flauto d'Amore in both Bb and A;
Oboe, Oboe d'Amore in A, English Horn
in F, Bass Oboe, or Heckelphone;
and even Clarinets in Bb, A and C.
As for the Counterpoint, there is NOTHING
like this since the "Art of Fugue" by Bach. The
Second Movement "Aulos" is a Theme with 5
Variations, all based on Scales that start with a
Half-Step, like Phrygian. The 5th Variation is the
one with the 8 Stretto Fugues, (fugues where all
4 voices are played "strettoing" or "overlapping"
while the First Voice is still playing). For this
reason, the fugal melody lines are more distinct
when played by strings, rather than one pianist.
The "Aulos" Movement's 5th Variation of
Stretto Fugues, has them all using the Ahavah
Rabbah Mode, which in this case, often starts
on the note A: A Bb C# D E F G# A.
I use Inversion (Upside-Down), Retrograde
(Backwards), and Retrograde-Inversion often in
my works, but all my harmony is Chromatic
Modality, never 12-Tone, which I never liked nor
used.
I'm still busy transcribing and editing the many
woodwinds for the Accompanied Bass Flute
Sonata, but if anyone is interested, just contact me,
since I publish all my own works.
Bear Woodson
Composer in Tucson, Arizona, USA
"Bear" Thomas C. Woodson
3636 N. Campbell Ave.
Apt. 3119
Tucson, AZ, U. S. A.
8 5 7 1 9 - 1 5 4 5
Home: 520 - 881 - 2558
"Bear Woodson" <bearwoodson@-----.net>
http://www.fluteconnection.net/
Then click on "Contemporary Composers",
then click on "Bear Woodson".
http://catalog.lib.asu.edu/search/a?SEARCH=McGale