|About this Recording
9.70227 - WILENSKI, O.: Oboe Concerto / 4 Inventions / Wind Quartet (Pascual, Armengol, Camerata Barcelona, Brotons)
Osias WILENSKI (b. 1933)
Inventions for English Horn and Percussion
The three works included on this recording were written between 2012–2013, when I wished to develop my thought in a more direct and non-agressive style, in contrast to my previous more experimental leanings. In other words, these three works are the result of my desire to produce enjoyable and accessible music.
The Oboe Concerto (2013) originated in a desire to write a lyrical melodic line. In the first movement, the oboe states a melody that I consider to contain certain folk elements. However, as it passes on first to the basses and then to the upper strings, the mood changes into a more complex and contrapuntal style. The overall form is in Classical sonata form, with a fiery development, a varied recapitulation and a calm ending. The second movement begins with virtuoso scales running up and down on the oboe, accompanied by pizzicato chords in the strings. This motif is repeated three times in the short movement. In between, the soloist plays two cadenzas with the support of one double bass. These cadenzas make use of several effects, like double notes, humorous interjections, and quick changes of finger position. The third movement is a mysterious, quite sombre Adagio beginning with slow chords in the muted strings. A tense melody is superimposed by the oboe, which slowly develops into a climax, after which the music fades away and ends as it began, with just a few almost whispering chords. The fourth and last movement is in an entertaining dancelike rondo form, with rhythmic sequences, a last short cadenza and a purposely funny tonal ending.
The Inventions for English Horn and Percussion date from 2012. In them I tried to produce a different sonority for each section, by changing the percussion groups and treating the solo part to a variety of melodic ideas. I wish to draw specific attention to the second piece with its spatial and atmospheric quadri-cymbal background. The third, with solely vibraphone accompaniment, is an homage to the old Modern Jazz Quartet (specially Milt Jackson) and the fourth is a ‘carnavalito’, a northern Argentinian Indian dance, whose rhythm and swinging melody are quoted almost literally.
The Wind Quartet (without horn), also written in 2012, has a lyrical beginning in which a melodic motif is stated by the oboe and repeated by the flute, the clarinet and finally the bassoon. A faster, rhythmic section serves as the second part, and has no thematic relation. Then the first section is repeated with variations, creating a simple A-B-A structure.The second movement starts abruptly with a vertiginous scale beginning on the lowest note of the bassoon up to the highest one of the flute. Then follows what I would call a happy dancing mood. A slower, siciliano section is developed before the first part is repeated. A short re-statement of the siciliano is built up into an exuberant and rhythmic final tutti.
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