Klarinet Archive - Posting 000510.txt from 2004/05

From: Bill Hausmann <bhausmann1@-----.net>
Subj: [kl] Bear Woodson's Compositions
Date: Sun, 30 May 2004 22:06:20 -0400

Bear Woodson, after several e-mails back and forth discussing our mutual=20
thoughts about music, harmony, etc., sent me a CD containing four of his=20
works. He asked me to report on my reaction to the list. Here goes, with=
=20
HIS descriptions of the works and my impressions:

>1) "Three Flute Duets" (Dec. 1996, 3 mvts., 9' 13")
> (These are VERY Difficult to play! They also
> were written as a homework assignment, and
> were meant to use Abstract Impressionism
> Techniques, ergo they are more Dissonant and
> Abstract than anything I've written before or
> since, so many people do NOT like these
> pieces!)
>1. I Moderato: Arch Form 4' 04"
>2. II Andante: Spiral Form 1' 49"
>3. III Energico: ABA Form 3' 28"
> Total Time: 9' 13"

These are my least favorite pieces on the disk. I assume someone who is=20
more comfortable with abstract impressionism than I am might appreciate=20
them more, but they are not without redeeming qualities. Yes, dissonance=20
is clearly a tool in Mr. Woodson's kit, and he is not squeamish about using=
=20
it, but nothing here seems dissonant for dissonance's sake. The lines are=
=20
angular and rambling, with lots of starts and stops and flutter tounging,=20
but the overall effect is still listenable. By the way, the flutists Lisa=
=20
Marie Amos and Peter Sheridan, to whom two of the works on the disk are=20
dedicated, are clearly outstanding musicians who do the works proud! The=20
other musicians in the other pieces are also first-rate.

>2) "Sonata for Flute and Piano" (Sept. 1998, 4
> mvts., 18' 32") (More lyrical and difficult than
> the Poulenc Sonata.) This is one of the most
> Lyrical things I've ever written, and most
> people love it!
>4. I Lyrically 5' 22"
>5. II =E0 la Gregorian Sequence 3' 34"
>6. III Flamenco-Salsa-Flamenco 4' 06"
>7. IV Rondo 5' 31"
> Total Time: 18' 33"

This work is much more lyrical, as he says, and less dissonant. The themes=
=20
are clearly stated and developed. The Gregorian influence in the second=20
movement is obvious, and the Flamenco style of the third would be clear=20
even without the castanets. Even though I am definitely a conservative=20
when it comes to musical styles, I can live with this Sonata. I like it=20
more with repeated hearings.

>3) "Flitter Critters" (7 comical duets for Flute &
> Alto Flute in G, which imitate birds, bats, bees,
> etc.) (Feb. 1998, 7 pieces, 11' 55") (Fun to play,
> and makes small children giggle.) This work is
> also well-liked, and has been performed a
> number of times across the US and Europe.
>8. Pigeons 1' 58"
>9. Honey Bee 1' 08"
>10. Song Birds 2' 12"
>11. A Large Butterfly
> and a small moth 1' 43"
>12. Hummingbirds 1' 29"
>13. Bats 2' 01"
>14. Mosquitoes 1' 24"
> Total Time: 11' 55"
>
> WARNING!
> Sometimes they flitter . . . .
> and sometimes they critter . . . .
> but you never can be too sure! . . . .

Even my non-musical wife was able to catch some of the effects evocative of=
=20
the various "critters," some of which are quite clever. This should make a=
=20
nice, lighter piece in a recital.

>4) "Second Woodwind Quintet" (Sept. 1997, 5
> mvts, 18' 28") (A profound work, that equally
> shares the spotlight between the 5 players.) I
> just recently finished re-editing and re-printing
> the Score and Parts. Many groups have shown
> interest in wanting to perform it, so now I can
> send out scores.
>15. I Maestoso 4' 44"
>16. II Adagio 3' 00"
>17. III Allegro: Fortspinnung 2' 48"
>18. IV Adagio 5' 06"
>19. V Allegretto Maestoso 2' 50"
> Total Time: 18' 28"

The Quintet shares some of the less desirable characteristics of the Three=
=20
Flute Duets, though to a lesser degree. It is more lyrical, less angular=20
and disjointed than the Duets, but not as tuneful as the Sonata. Also not=
=20
a piece to be performed at sight! Still, probably my second favorite of=20
the four works on the disk.

The harmonic system used in all these works (Functional Chromatic Harmony=20
or something like that -- I forget exactly) still sounds largely tonal to=20
me, although wandering around from one tonality to another, with plenty of=
=20
dissonance, but the dissonances resolve rather than standing there for=20
their own sake. I found ALL of these works wore well as I played them over=
=20
and over again, which is not the norm with me and modern "serious"=20
music. I believe that these compositions, especially the last three, are=20
deserving of a wider audience. These pieces, of course, feature the flute,=
=20
but there is every reason to believe his compositions for clarinet would be=
=20
of similar quality (the bass clarinet part in the Quintet seems pretty=
juicy).

Bill Hausmann

If you have to mic a saxophone, the rest of the band is TOO LOUD!

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