Concerto for Tuba with 3 Chamber Groups and Orchestra

(Revision of Andirivieni, 1977)

William Kraft

Publisher: Theodore Presser Company
Print Status: Rental

Quick Overview

"Andirivieni" was first conceived in 1974 in a conversation between Ernest Fleischmann, Roger Bobo and myself on a bus in Vienna. Mr. Fleischmann was suggesting that I make a concerto from "Encounters II", a solo work I had written earlier for Mr. Bobo. The conversation was renewed from time to time and came to fruition when Zubin Mehta asked for a work to mark his final season with the Los Angeles Philharmonic.
The use of "Encounters II" dissolved into a larger conception. I had become intimately concerned with human relationships, specifically with the effect made by those who pass through one?s life ? friends, colleagues, lovers, mentors, idols, antagonists and so on. Consequently I became fascinated by the possibility of creating a musical structure wherein the character of the tuba would constantly change through interactions with other instruments that would come and go. Thus the structure of "Andirivieni" is one of constantly evolving and changing relationships separated by connective interludes. All this, coupled with Mr. Mehta?s leaving the Philharmonic led to the title "Andirivieni", which means ?coming and going.?

After a fairly large orchestral introduction, the tuba is first presented in chamber situations with three contrasting quartets which are separated by interludes. The first quartet is low pitched: alto flute, bass clarinet, bassoon and cello; the second is mid-range: clarinet, English horn, French horn and viola; the third is high pitched: piccolo, trumpet, light percussion and violin. These quartets, except the first which is positioned at the start, ?come and go? i.e. they join the tuba in a concertino-like situation. Thus, each quartet affects a change in the tuba?s character. Each comes and goes. Then the tuba goes (comes) to the brass section and then to the percussion, finally returning to his solo position to function with the entire orchestra.

The pitch formulation of the piece is derived from the inversion of the descending major second interval marking the entrance of the violins in Mahler?s Ninth Symphony, and throughout the work, references are made to pieces that exhibit the tuba?s potential for beauty, poignancy and virtuosity, or to pieces of my own, either written for Mr. Bobo or with him in mind as a participant. Thus there are quotes from Mahler?s Sixth and Ninth Symphonies, Stravinsky?s "Petrouchka" and "Le Sacre du Printemps" and from my "Encounters II", Concerto for Piano and Orchestra, "Contextures: Riots Decade ?60" and "Double Trio", plus a very large reference (in the coda) to my Concerto for Four Percussion Soloists and Orchestra. The last reference is large because the performance and recording of that work by the Los Angeles Philharmonic engendered a personal as well as professional relationship with Mr. Bobo, Mr. Mehta and the Orchestra that I have deeply cherished these many years.

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Additional Information

Commission Zubin Mehta and the Los Angeles Philharmonic
Composition Date 1977, rev. 1979
Duration 00:18:00
Orchestration Solo Tu.; 3(Picc. A.Fl.) 3(E.H.) 3(B.Cl.) 3(Cbsn.)- 4 3 3 0; Timp. 3Perc. Pno.(Cel.) Hp. Str.
Premiere January 26th, 1978 (Andirivieni). Roger Bobo, Tuba, Los Angeles Philharmonic, Zubin Mehta, conductor, Los Angeles, CA. Revised version not yet performed.

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