Mary Reid

1 March, 2015
Word count: 1177

The University Chamber Winds performed 24 February 2015 in the Opperman

Music Hall. The conductor and music director was Professor Richard Clary and the
assistant conductor was Trey Harris. The program included Octet-Partita in E-flat by
Johann Nepomuk Hummel, Octet for Woodwinds by Robert Baksa, and 9 Pieces
Caracteristiques by Jean Franaix.
An interesting fact concerning Johann Nepomuk Hummel is that he studied under
the infamous Wolfgang Amadeus Mozart, whom we have recently learned about in class.
Hummel was a musician for several patrons and during this time he composed OctetPartita in E-flat in 1803. Gaining recognition and fame, Hummel then began to work for
the Eszterhazy family1.
Fanfare for the Common Man pops into my head as the horn and bassoon play an
introduction similar to the royal timbre of the piece written by Copland. The first
movement, Allegro con spirito, has begun and the oboe and clarinet join in on the action
to accent the rhythm with pithy terraced dynamics. The bassoon and horn argue back and
forth, playing at forte, as the oboe adds syncopation in the background, forming a
polyphonic texture. The rare cry of the horn enters the dynamic then disappears. The
argument is interrupted when the fanfare ostinato continues with its light timbre and
conflict motion. The clarinet steps back in to finish the argument with

1 Trey Harris, program notes, The University Chamber Winds (Florida

State University, 24 February, 2015)

the bassoon while the oboe adds dramatic effect in the background using unflagging
rhythm, resuming the polyphonic texture. The movement ends with a final crescendo
outcry from all instruments.
Andante piu tosto Allegretto has now changed the scene as the oboe plays a gentle
solo followed by the clarinet, featuring the bassoon. The clarinet presenting its counter
melody to the oboeplayed at forte-- using terraced dynamics plays the homophonic
texture of the movement. The rhythm continues at an adagio tempo being drawn out with
the newest member of the counter melody, the bassoon. The polyphonic texture proceeds
with the oboe playing the background against the bassoon in the foreground with the horn
and clarinet. The instruments play at a moderato tempo and decrescendo at piano to end
the section.
An adagio tempo breaks the silence as the oboe bursts in and the clarinet plays
short, quick spurts while the bassoon plays at forte. The Vivace assai movement has the
clarinet continue and the bassoon introduce a rich timbre beginning the ending of the
piece. The coda tops off Hummels work giving the audience one last glimpse of the
Octet- Partita in E-flat.
Robert Baksa, now seventy-seven, began composing chamber music in the 1970s
and also worked on several sonatas. He attended the University of Arizona, and upon
graduating, moved to New York City to begin a career in music and has since written two
operas and several different compositions for several different genres. The Octet for
Woodwinds was originally written in 1972 and later revised in 1994 substituting the flutes
for horns.2
2 Trey Harris, program notes, The University Chamber Winds (Florida
State University, 24 February, 2015)

The first section of the movement, Allegro, begins with one of two main scenes,
and oboe and clarinet playing together forming a homophonic texture with flute
syncopation. The flute adds a light colored timbre to the dialogue of the clarinet and
oboe. The melody is gentle and plays mostly at piano at and allegro tempo. The second
scene of the movement is the flute and the clarinet talking back to one another. Both
scenes develop, continuing the piano dynamic, as the oboe plays a dark blue timbre in
background. The movement is ever so fleeting as it decrescendos and the clarinet and
flute fade out with the adagio played oboe.
Adante, the second movement, begins a sweet melody with the bassoon featuring
the oboe as imitates the bassoon. Clarinets develop the movement with a flute imitation
followed by a solo by the fluted played with piano dynamics giving the timbre a warm
color to the piece. The clarinet plays a moderato tempo, using terraced dynamics, to form
the polyphonic texture. The bassoon now plays a solo using adagio dynamics that add
dramatic effect to the theme by darkening the timbre. The timbre and mood lighten as the
bassoon and oboe play together at moderato and the flute syncopates the bassoon,
forming a polyphonic texture.
A polyphonic texture between four instruments played at allegro tempo jumpstarts the third movement, Presto. The syncopation of the oboe with the bassoon uses
terraced dynamics to change up the rhythm and provide a frantic timbre. Crescendos and
decrescendos of the flute are introduced as the bassoon continues to play with terraced
dynamics. The movement develops as the flute and bassoon battle against one another
forming a homophonic texture played at an allegro tempo. The bassoon and oboe end the
piece as the bassoon imitates the flute with forte dynamics in use.

Jean Franaix, a French musician well known for starting off as a piano prodigy,
composed the last composition of night. He was famous for playing the piano and even
gained recognition from Maurice Ravel and later Nadia Boulanger influenced him to
continue his studies at the Conservatoire de Le Mans. I wish to be honest: when I am
composing, the finest theories are the last things that come to mind. My interest is not
primarily attracted by the motorways of thought but more the paths through the
woods. This is a quote Franaix made regarding his compositions and the mindset
involved in his composing.3
The Presto movement begins with a polyphonic texture between the bassoon and
the clarinet as they crescendo and play at a moderato tempo. The theme develops into the
Amoroso as the bassoon and clarinet crescendo and decrescendo creating a woozy
timbre. A monophonic texture roles in as the bassoon and clarinet play at an adagio
tempo then changes to a polyphonic texture as the horn trades places with the bassoon.
Notturno creates an anxious timbre as the bassoon and horn create the texture and
dramatization. Subito Vivo involves the clarinet and bassoon as they play a homophonic
texture. The oboe is introduced to create the polyphonic texture of the section played at
moderato. This continues on into the Allegro section, as several different voices seem to
be engaging an argument. The Adantino consists of instruments such as the flute and
bassoon that play at adagio then rapidly change to allegro, though not quickly enough for
it to be a terraced dynamic. There is a timbre that resembles the sound of a person
stepping created by the clarinet and bassoon in the Leggierissino movement that then
transitions into the clarinet and flute playing at an allegro tempo, forming a homophonic
3 Trey Harris, program notes, The University Chamber Winds (Florida
State University, 24 February, 2015)

texture. The Finale all instruments play elaborate parts with terraced dynamics as one
after another piles in for the finish. There is a drawn out decrescendo and dramatic cease
fire to end the piece.