A standard three movement
concerto for Solo Clarinet and Orchestra 2222/4331/3perc/timp/Strings.
I. A Bosnian Rhapsody
II. Funeral for a Rock Star
III. Serbian Hoedown (The bombs fly but the band plays on)
Total duration of the work is about 20 minutes.
Bearing the title "Collateral Damage," the Concerto for Clarinet and
Orchestra was composed for clarinetist and former colleague Håkan
Rosengren. It was completed over a six week period during the
months of February and March of 2000 and was premiered by Peter Wright
(Principal Clarinetist) and the Jacksonville Symphony Orchestra (Fabio
Machetti, Conductor) on March 3 & 4, 2005 at the Times-Union
Performing Arts Hall in Jacksonville, Florida. The work was also
performed by Frank Cohen and the Cleveland
Orchestra in July, 2005 at Blossom Music Pavillion.
The 20 minute work is somewhat eclectic and post modern in style and
follows the traditional three movement form. The faster outer
movements are a musical blend of both contemporary classical and
European folk idioms. By contrast, the slower middle movement
musical elements that characterize some of the popular music of the
20th century. Inspired largely by the tragic events which
the break-up of the former Yugoslavia during the 1990's, the work is
to the civilian victims of all modern wars.
The opening movement is titled "A Bosnian Rhapsody" and is the longest
and structurally the most complex of the three movements. It is
built on two contrasting themes, one faster and the other much slower,
each set in tonalities that are a semi-tone apart. These original
themes incorporate harmonic and melodic idioms commonly found in the
music of the balkans and they give the opening movement its distinctive
ethnic flavor. Following a powerful climax each of these
themes is briefly reprised. This gives way to a more
introspective and subdued but expressive cadenza which ends the first
The second movement features the clarinet spinning out a continuously
evolving and expanding melody over a series of recurring but shifting
harmonic patterns. The title "Funeral for a Rock Star" is a
concise description of the imagery and emotion that the music seeks to
convey. The seemingly improvisatory and unrestrained
clarinet solo evokes the image of a soul freely born aloft, while the
heavy, plodding undercurrent of low brass and strings reveals a
procession of loved ones bearing the weight
of a casket and a profound grief whose consolation lies somewhere
memory and hope.
The rousing and spirited
finale "Serbian Hoedown" (The bombs fly but the band plays on) takes
its inspiration from those men and women who would congregate on the
bridges during the bombing raids in Serbia in the spring of 1999.
They often passed their time with defiant speeches and
traditional folk singing and dancing in the hope that the massive
structure - which they depended on for their general livelihood and
security - would not be targeted and destroyed. Here the
clarinet, performing melodic material steeped in Serbian folk-dance
idioms, seems to lead the orchestra
through a series of climaxes and mishaps (even reviving the ensemble at
point) as melodic materials first presented by the solo clarinet are
up by the accompanying ensemble.
Other Resanovic works featuring Clarinet: