Soli I is the first of a series of four works by the Mexican composer Carlos Chávez, each called Soli and each featuring a succession of instrumental solos. Three of these compositions are chamber music, and the remaining one is a sort of concerto grosso for four soloists and orchestra. This first work of the series is a quartet for oboe, clarinet, bassoon, and trumpet.
The Solis belong to the more "experimental", high-modernist strand of Chávez's compositional output, in contrast to the more traditional character of most of the large-ensemble works. This group of works, which also includes the three Inventions (No. 1 for piano, 1958; No. 2 for string trio, 1965; No. 3 for harp, 1967) and the orchestral compositions Resonancias (1964), Elatio (1967), Discovery, Clio (both 1969), and Initium (1973), features an abstract, atonal musical language based on the principle of non-repetition.[1][2] Soli I was Chávez's first attempt at this idea of constant renewal, which avoids traditional techniques of sequence, imitation, development, and structural symmetry in favour of an endlessly unfolding counterpoint.[3] In the composer's own words, the objective is one of "constant rebirth, of true derivation: a stream that never comes back to its source; a stream of eternal development, like a spiral, always linked to, and continuing, its original source, but always searching for new and unlimited spaces".[4]
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Transcription
History
Soli I was composed in March 1933 on a commission from the League of Composers, in celebration of their tenth anniversary.[5][6] Chávez gave it the title Soli because in each of its four movements one of the instruments assumes a concertante role, playing a main part or "solo", but without relegating its companions to a secondary level of simple accompaniment.[7]
Analysis
Soli I is scored for oboe, clarinet, trumpet, and bassoon. It is in four movements, each of which foregrounds one of the four instruments in the ensemble, and features a distinctive metric character:[8]
- Sciolto e ritmato (changing meters, clarinet)
- Moderato (3/4, bassoon)
- Molto lento (5/4, oboe)
- Vivo (6/8, trumpet)
The clarinet is the featured instrument in the first movement, which is jazzy with polyrhythmic inflections.[9] It is in binary form with a transition in the middle.[10]
The second movement is in a moderate tempo with the bassoon as soloist. It differs from the first movement in that it maintains a constant 3/4 meter but, like its predecessor, can be analyzed as a binary structure.[11]
The oboe takes the foreground in the third movement, which is in a slow 5/4 time (
In the finale, the trumpet unrolls its melody in a constant process of renewal, and with a "very filtered 'Mexican' tint".[9][13] Hemiola, cross-rhythms, and sharp articulations occur within its 6/8 meter, and numerous mute changes in the trumpet produce a constant timbral variety. All of the instruments exploit nearly their entire range, as the rhythms evoke the Huapango and Jarabe dance forms..[14]
Discography
- Chávez Conducted by Carlos Chávez: Soli I, Soli II, Soli IV. Ruben Islas, flute; Sally Van Den Berg, oboe; Anastasio Flores, clarinet; Louis Salomons, bassoon; Felipe Leon, trumpet; Vicente Zarzo, horn; Clemente Sanabria, trombone; Carlos Chávez, cond. LP recording, 1 disc: 12 in., 33⅓rpm, stereo. Odyssey Y 31534. New York: Columbia Records, 1972.
- The Westwood Wind Quintet Plays Music by Cortés, Chávez, Revueltas and Ginastera. Carlos Chávez: Soli I. Thomas Stevens, trumpet; members of the Westwood Wind Quintet. LP recording, 1 disc: 33⅓ rpm, stereo 12 in. Crystal S 812. Los Angeles: Crystal Records, 1973.
- México del siglo XX. Vol. 2. Soli I and works by Nancarrow, Gutiérrez, Lavista, Ibarra, and Lara. Jorge Rivero, oboe; Luis Humberto Ramos, clarinet; David Ball, bassoon; Neal Woolworth, trumpet. Recorded in the Sala Blas Galindo, C.N.A. CD recording, 1 disc: digital, 12 cm, stereo. Quindecim QP033. México, DF: Quindecim Recordings, 1999.
- Carlos Chávez: Complete Chamber Music Vol. 2. Energía, Soli I, Soli II, Soli IV, Sonata for Four Horns. Southwest Chamber Music. CD recording, 1 disc: digital, 12 cm, stereo. Cambria CD8851. Lomita, CA: Cambria Master Recordings, 2004.
References
- ^ Parker 1994, p. 179.
- ^ Parker (1998), p. 11.
- ^ Bauer 2015, p. 165.
- ^ Chávez 1961, p. 84.
- ^ García Morillo 1960, p. 71.
- ^ Parker 1983, p. 47.
- ^ García Morillo 1960, p. 72.
- ^ Hofer 2000, pp. 38–39.
- ^ a b c Chávez 1972.
- ^ Hofer 2000, p. 40.
- ^ Hofer 2000, pp. 38, 47.
- ^ Hofer 2000, pp. 38–39, 53.
- ^ Hofer 2000, p. 57.
- ^ Hofer 2000, pp. 39.
Cited sources
- Bauer, Amy. 2015. "Non-Repetition and Personal Style in the Inventions and Solis". In Carlos Chávez and His World, edited by Leonora Saavedra, 165–77. Princeton: Princeton University Press. ISBN 978-0-691-16947-7 (cloth); ISBN 978-0-691-16948-4 (pbk).
- Chávez, Carlos. 1961. Musical Thought. The Charles Eliot Norton Lectures, 1958–1959. Cambridge: Harvard University Press. Spanish translation, as El pensamiento musical. Sección de obras de arte. México: Fondo de Cultura Económica, 1979. ISBN 968-16-0082-7.
- Chávez, Carlos. 1972. Untitled liner notes to Chávez Conducted by Carlos Chávez: Soli I, Soli II, Soli IV. LP recording. Odyssey Y31534. New York: Columbia Records.
- García Morillo, Roberto. 1960. Carlos Chávez, vida y obra. México: Fondo de Cultura Económica. ISBN 968-16-0222-6.
- Hofer, Calvin D. 2000. Performance Issues Related to Soli by Carlos Chávez and Two Little Serious Pieces By Silvestre Revueltas: A Lecture Recital Together with Selected Works of Kennan, Stravinsky, Haydn, Hummel, Neruda, Stevens and Others". DMA diss. Denton: University of North Texas.
- Parker, Robert L. 1983. Carlos Chávez: Mexico's Modern-Day Orpheus. Boston: Twayne Publishers.
- Parker, Robert L. 1994. "Carlos Chávez's Orchestral Tribute to the Discovery of San Francisco Bay". Latin American Music Review / Revista de Música Latinoamericana 15, no. 2 (Autumn–Winter): 177–88.
- Parker, Robert L. 1998. "A Life's Work". In Robert L. Parker, Carlos Chávez: A Guide to Research, 3–18. Garland Composer Research Manuals 46; Garland Reference Library of the Humanities 1925. New York and London: Garland Publishing, Inc. ISBN 0-8153-2087-6. Reprinted, New York: Routledge, 2013. ISBN 978-1-13559486-2.
Further reading
- Blanton, Lyman Bruce. 1998. "Two Chamber Works of Carlos Chávez which Include Clarinet: Soli 1 and Soli 2". DMA diss. Columbia: University of South Carolina.
- [Saavedra, Leonora]. 2015. "Chronology". Bard Festival 2015: Carlos Chávez and His World: August 7–9 and 13–16, 2015, programme book, 7–11. Annandale-on-Hudson: Bard Publications Office.
- von der Schmidt, Jeff. 2004. "'Triumph through Integrity': The Human Abstractions of Carlos Chávez". Booklet accompanying Carlos Chávez: Complete Chamber Music Vol. 2. CD recording, 1 disc. Cambria CD8851, pp. 1–17.