Update Title: 00947719-EF88-4FFD-A8E9-F8B034FFC75E

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Don Freund's Primavera Doubles was commissioned by the Baldwin-Wallace Conservatory of Music for violinist Julian Ross, cellist Regina Mushabac, and the Conservatory Orchestra, conducted by Dwight Oltman.  This Double Concerto features a pair of soloists, but there are other "doubles" as well. Each of the three movements is a double-movement, reflections of material using variation and imitation populate the work; and two-voice writing is abundant. The most obvious example being "Echo la Primavera," a two-voice madrigal by 14th century composer Francesco Landini, which haunts the piece, appearing in various guises and finally providing the work's conclusion.

First Doubles: Suggestions and Sauntersongs begins with a double cadenza that is introduced and interrupted by a unision tutti motto rhythm which will re-appear obsessively in the last movement.  The cadenza fades to a glimmer of disembodied Landini and then to the Sauntersongs, presented over a trundling passacaglia bass.

Second Doubles: Scherzos and Sombersongs breads in with a rough, turbulent tutti acting as a foil to another lighter scherzo, which pits the pair of string soloists against a pair of drummers.  The ensuing Sombersongs similarly alternate dark, brooding phrases (tuba solo answered by cello) with a high, bright version of the Landini (violin and glickenspiel, echoed by flutes).  Other soulful and eventually radiant dialogues follow, closed by a ghostly return of the "pairs" scherzo.

Third Doubles: Swaggersong and Saltarello reverses the shape of the other movements, beginning with a heavily charactered folk-song which accelerates into a swirling dance.  At the end, the opening cadenza returns, but this time it leads to a culminating invocation of Landini's "Primavera" madrigal.

Don Freund

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