Selected works for voice, bassoon, and piano or harp by Diego Xaraba y Bruna, Konradin Kreutzer, and Roger Craig Vogel: Context and Analysis
In this research, I am using harmonic analysis, on three selected works for voice, bassoon, and keyboard or strings plucked instruments. I argue that the texture of voice, bassoon, and piano is used more frequently in the 19th and 20th centuries due to technical developments in the bassoon, and aesthetic programmatic performance of the period. This project surveys composers that have written for voice (soprano, alto, tenor, baritone and bass), bassoon, and piano (or other harmonics keyboard instruments like celesta, harp and accordion, etc.) I am doing this project because no one has published about this topic. I am writing this paper because I want to contribute to the bassoon world literature. In addition, this is unique ensemble, and I will research the well-known composers that wrote for this rare ensemble. I will study why composers of the 20th century wrote almost all the pieces that exist for this trio format ensemble. This type of trio is more intimate, and this entire repertoire is programmatic. Moreover, they are describing stories sometimes related to the composers, and sometimes not. Composers sometimes named these pieces with strange names like “The Dead Bassoon,” by Konradin Kreutzer and “I Have Syphilis” by Clemente Imaña, etc. Not many composers have written pieces for this trio ensemble, in comparison with composers that have written arias with obbligato bassoon, found in operas, masses, oratorios, cantatas, and requiem. This study draws upon primary, secondary, and tertiary sources. I will conclude showing a list of composers who wrote for this trio ensemble, recordings available, and one early score.