| Abstract | This double concerto was born out of my reaction to the complete lack of repertoire for the celesta. I added the bassoon to provide the celesta with musical support; its timbre works well with that of the celesta, providing contrast with a hint of similarity. The size of the chamber orchestra was chosen in consideration of the dynamic restrictions of the celesta. The wind instruments were chosen for both timbral and musical considerations in the piece. The first movement uses only six pitches at any time, a juxtaposition of two major triads a tritone apart. For much of the movement the focus lies on the two soloists, with quick interactions between the two. However, the latter half of the piece features the ensemble as a whole, with much more conversation coming from the orchestra. The piece contains many different sections delineated by texture, but the overall form is ternary, each large section unified by its own motive. While the bassoon leads the first movement, the celesta becomes more prominent in the second. The pitch content is much more complex in the second movement, with more importance given to harmonic structures. It begins with a rather long prelude, which gives way to three short dances. There is a brief remembrance of the prelude before the piece concludes with a boisterous dance, synthesizing elements of the previous dances and the main motives of the prelude. |
