BCMCC - Background Information
Every year bassoonists throughout the world perform solo recitals as part of University degree requirements. Often bassoon players will add one chamber work to their program to diversify the material for audience enjoyment and to assist with stamina. However the stress of a recital can increase with the logistical difficulties of coordinating multiple players and covering their fees. As a result, many bassoon players choose to perform a work that incorporates their instrument, the pianist that is already playing the recital, and one other instrumentalist. This usually means they perform the Poulenc Trio for Oboe, Bassoon, and Piano; the Glinka Trio Pathétique for Clarinet, Bassoon and Piano; or one of the lesser-known works of similar instrumentation. Currently there is a shortage of audience pleasing, recital Chamber works that include the bassoon. The BCMCC is trying to address this deficiency.
A winning BCMCC composition must be challenging to the performers, interesting to the audience, and a strong addition to the bassoon repertoire.
The BCMCC was conceived when I wanted to play a recital of new works at the International Double Reed Society 2010 Convention. I am currently working with a composer in Australia, Hayden Woolf, to perform a new work for Soprano, Bassoon, and Piano. My original intent was to work with two other composers to fill an entire recital of new music, including Hayden’s work. When I wrote Indiana University and the head of the composition unit forwarded my email to the composition listserv I was overwhelmed with interest in writing chamber works for bassoon. The idea of a full recital at the IDRS convention was abandoned (though I am applying to play Hayden’s work) in order to establish the BCMCC. The BCMCC will allow all those interested in composing chamber music for the bassoon to have the chance, will have a fair judging system to decide winners, and will encourage composers to write for the instrument and gain valuable feedback from experts.