Concerto for Bassoon (Solo Bassoon & Wind Ensemble) Frigyes Hidas

Concerto for Bassoon and Wind Ensemble is the second bassoon concerto by Frigyes Hidas. He composed his first bassoon concerto for bassoon and string orchestra in 1980.

The second concerto was written in 1999, specifically for Dutch bassoonist Dorian Cooke. She served as principal bassoonist at the Dutch Symphony Orchestra in Enschede, later at the Rotterdam Philharmonic Orchestra, and eventually at the Residence Orchestra of The Hague. When Hidas asked if she had a wish for her solo concerto, she replied that she would like a beautiful, lyrical second movement. The composer granted her wish, composing an expressive, slow movement in the high register, full of emotion and beauty.

The premiere took place during the 9th WASBE Conference (July 511, 1999) in San Luis Obispo, California, with Dorian Cooke as soloist.

The concerto has three movements:

1. The first movement Allegretto opens with a strong, ascending quarter-note motive in unison, taken up by the solo bassoon, which transforms it into a legato theme. The ensemble responds with interjections, chords, and passages in dialogue with the soloist. From bar 18, celesta and vibraphone enter with eighth-note arpeggios, while the bassoon introduces a heroic theme, interrupted by staccato woodwinds. In bar 42, the marcato returns with a new triplet octave motive, followed by the first cadenza. Tempo 1 (bar 63) marks the ABA form with a return of the opening ideas.

2. The second movement Moderato Cantando is highly emotional and lyrical, demanding good breath control and mastery of the upper register up to d". Two long cantilenas begin the movement, are continued by the ensemble, and return later. A moving Allegretto in triplets forms the central section. The expressive phrases return with Tempo 1 and fade away in a morendo.

3. The third movement Moderato Giocoso in 6/8 time is dance-like and virtuosic. Bassoon and ensemble sparkle with joy and musicality. The harmonic language is elegant, and the orchestration distinctive. A recurring triplet motive, rondo-like, appears several times, and the piece ends with a brilliant finish. The percussion section includes timpani and three mallet instruments chimes, xylophone, and vibraphone.