Ten of the Sixteen Waltzes for solo bassoon by Francisco Mignone

Recitals are followed by a light refreshments. Donations to Cathedral funds are gratefully received.

If you are interested in performing for a future recital: please email: cathedralatnoon@gmail.com

Lucy Webster

A former pupil of Lesley Wilson at the then newly formed Aberdeen City Music School,  Lucy was awarded a scholarship to study the bassoon under the tutelage of Martin Gatt, Andrea Die Flammineis, Sarah Burnet and Julie Price at the Royal College of Music, London, where she gained both a Bachelor’s of Music with honours and a Master’s degree in Performance.  During her studies Lucy developed a keen interest in contemporary music, and also chamber music.  She spent some time at the Hochskule fur music und darnstell Kunst, Stuttgart on Erasmus exchange.

Upon finishing her studies, Lucy returned to Aberdeenshire and enjoys a varied career; teaching privately, at the University of Aberdeen, ACMS, NESMS and St Margaret’s School for Girls.  She also performs in local orchestras, the North East’s New Music Ensemble- Any Enemy, Corten 5 and smaller chamber groups.  In her spare time she enjoys making pots.

About today's programme

Written between 1979 and 1981 for his friend, a French bassoonist -Noël Devos. Francisco Mignone studied at both the São Paulo and Milan conservatories and went on to teach harmony in São Paulo and, from 1933, in Rio de Janeiro.  He was one of the most significant Brazilian composers and wrote many solo pieces for piano and for guitar, solo songs, chamber, orchestral and choral works, five operas and eight ballets.  Much of his output was tonal and strongly nationalistic however, from the late 1950’s until near the end of his life he began experimenting with different styles.

These waltzes are a wonderful addition to the solo bassoon repertoire and are typical of Mignone’s nationalistic Brazilian style.  Lyrical and improvisatory, akin to seresta, they utilise the extreme ranges of the instrument and allow for much expression. 

There is no guidance as to whether it was intended for all 16 to be performed together, in groups or in which order.  I have decided to dedicate the whole concert to them, mostly because I found it so hard to select only a few. Unfortunately I have had to omit some so as to stay within the time constraints.  These are the ones I couldn’t bear to part with:

• The Modinha that Villa didn’t write 
• Mystery… (How much I loved her!)
• Waltz of the other corner
• Chôro-Waltz
• Improvised Waltz
• I got you, my little bassoon (parody waltz)
• Happy Easter to you, Devos! (Waltz in F sharp minor)
• Almost a Modinha style Waltz (The Imploring Woman)
• The slave who wasn’t Isaura (Waltz without form)
• Macunaíma (Waltz without character)