CRUSELL - BASSOON CONCERTINO in Bb MAJOR

Bassoon Concertino in Bb major

Bernhard Henrik Crusell
(1775-1838)

Crusell was born in Nyland, Finland on 15^th October 1775, the son of a bookbinder. At an early age he showed musical talent, despite no encouragement from his parents. His obvious ability was luckily recognised by a landowner who took him along to the Nyland Military Band who were impressed enough to enrol him immediately as a volunteer musician. He soon became principal clarinettist and was eventually appointed bandmaster. While based in Stockholm he took up the position of principal clarinet of the Stockholm Royal Opera Orchestra which he was to hold for over 30 years, gaining a reputation as one of the greatest virtuosos on the instrument. As a result he toured widely as a soloist appearing in St.Petersburg in 1801 and Paris in 1803. Around this period he started composing in earnest – writing a number of imaginative works for clarinet, including three concertos.

The Bassoon Concertino was his last concerto, written specifically for his ‘new’ son-in-law, Frans Preumayr to play on a major concert tour of France, Germany and England from October 1829 to December 1830. Preumayr was renowned as one of the greatest virtuoso bassoonists of the time. He premiered the work prior to the tour at Ladugårds Church in Stockholm on 24^th September 1829. He was very pleased with the Concertino, writing “I wish nevertheless that everybody should hear one piece from beginning to end: Papa’s Concertino. It will be my cheval de bataille”.

The concertino is written to be played straight through without a break between movements and features very advanced bassoon writing for the period requiring the use of extra keys which had only been added to the instrument in the early 19^th century to considerably extend its top range.

I. Allegro brillante – The concertino opens with a bold statement by full orchestra before the bassoon enters with a cadenza which leads into a plaintive tune that directly quotes from a melody by the popular French opera composer, Adrien Boieldieu which would have been well known at the time.

II. Allegro moderato – The second movement continues straight on from the first with a set of variations on the melody.

III. Polacca – The tone lightens for this charming polonaise full of virtuosity and good humour. The movement finishes with a final flourish by the soloist over virtually the full range of the bassoon.

Programme Note by Jonathan Hodgetts