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Three Pieces
for Woodwind Quintet

  1. Minuet and Trio
  2. Passacaglia
  3. Rondo
Andrea Reinkemeyer (Eugene, Oregon - 1999)

Program Notes:

While writing the Minuet and Trio, I fell in love with the woodwind quintet. Each of the instruments has such a distinct color and personality in each of its ranges that it can be quite difficult to write effectively for this genre. Each movement explores a different mode: Minuet and Trio, sharp-4, flat-7; Passacaglia, whole-tone; and Rondo, dorian. When writing this piece it was my goal to use standard forms in non-traditional ways.

I began with the Minuet and Trio in the spring of 1998, thus the light, dance-like quality. It is a compound ternary form where each section is a binary form. The minuet is predominately homophonic, although a melody and accompaniment does develop as the movement progresses. The trio section utilizes hocket (rapid alternation of two or more voices of single, or groups of notes as one of the main melodic ideas.

I wrote the Passacaglia as summer was fading into autumn. It was very dark and rainy (as much of the year is in Oregon!), and it seemed as if the rain would never end. When I ran across the e.e. cummings' poem, the recurring "Now i lay . . . " theme reminded me of a passacaglia, and I used his poem as my guide when writing the piece. The way cummings expresses things with parentheses also inspired me as I wrote the passacaglia. I wanted the other instruments to play around, take over, and explore the different, inherent characteristics of the passacaglia line. The passacaglia is based on the whole-tone bassoon line. As each voice enters, a new rhythmic concept is introduced (eighths, sixteenths, etc.). Each section is primarily based upon the passacaglia, but I do take some liberties.

The Rondo began its life as a set of theme and variations for string trio. I believe it is much more effective as a movement for woodwind quintet.

Each movement is very contrapuntal. You will find figurations that appear in all three pieces--for example, the hocket in the transition section of the passacaglia corresponds to the trio section of the minuet and trio. Such figurations work to tie the movements together.

Performances:

Premiere Performance:

Friday, April 30, 1999 - 5:00 p.m.
Friday Afternoon Student Recital Series
Room 198, School of Music
The University of Oregon (Eugene, Oregon)
Mindra Calabrese, flute
Lisa Taylor, clarinet
Alisha Guthery, oboe & English horn
Becky Saylor, horn
Kathryn Dary, bassoon

Senior Composition Recital:

Saturday, May 1, 1999 - 3:00 p.m.
Beall Concert Hall, School of Music
The University of Oregon (Eugene, Oregon) Photos
Mindra Calabrese, flute
Lisa Taylor, clarinet
Alisha Guthery, oboe & English horn
Becky Saylor, horn
Kathryn Dary, bassoon