SEVEN KILVERT SKETCHES for solo bassoon (1979)
Written whilst a student for Simon Durnford, each of these short pieces is headed by a quotation from the charming diaries of the late-19th century clergyman Francis Kilvert, who practised as a young curate in the hills of the mid Welsh border country. The quotations may be read aloud during the course of a performance.
In 1996 these pieces were adopted by celebrated bassoonist George Zukerman.
DURATION 10'
(Eschig)


The Revd Francis Kilvert,diarist

NB Adrian Williams has made a speciality of the bassoon: See also the SONATA and the anthem MY HEART IS STEADFAST (see under Church music)


REVIEW 1
This is a beautiful work for solo bassoon based on the writings of Reverend Francis Kilvert, who was a young clergyman living and working in rural communities bordering England and Wales in the late 19th century. Each sketch is inspired by an extract from his diary and often programmatically reflect the mood and even the sights and sounds found in the quotation, such as bird calls, the rush of a river etc. The composer suggests in the frontispiece that he would prefer if each extract, which is quoted before each sketch, be read aloud, but they could also be printed in the programme (or both).
The imagery is one mostly of serenity and gorgeous sounds. Overall the entire work is held together beautifully by a series of impressionistic-like motives, based mostly on major and augmented chordal patterns. Technically it is a VERY demanding work - requiring not only a complete command of the range of the bassoon all the way up to high E2, but also a complete dynamic range from the softest piano to the loudest forte. It is definitely a IV in overall difficulty. But the practise required in working it up would definitely be worth it. The work is full of quiet, gorgeous imagery, and its gentle, delicate mood could make it a highlight of one's recital. I know of few other works the create such beautiful mood and imagery. Melvin Solomon's Etudes to Spring (no longer in print, I believe) and the impressionistic Etudes by Virginio Bianchi (Schirmer) are the only other works that can cast the idyllic spell that this work does. This, along with the recently-published Sonata for bassoon and piano (reviewed in an earlier Double Reed), bring Adrian Williams to the forefront as a major composer for the bassoon. I recommend this work, as I did the Sonata, strongly to advanced bassoonists looking for exciting new literature to perform.
Ronald Klimko
The Double Reed, Summer 1999


REVIEW 2
Adrian Williams' inspiration for these pieces, written in June 1979, comes from the diary of the Rev Francis Kilvert, written towards the end of the nineteenth century, describing the countryside bordering England and Wales and his feeling about the people of the time. They can be played as a set or separately and the diary extract should be read aloud before or during the performance of each sketch.
Apart from the occasional glissando, no contemporary techniques are used. But these are not for beginners. They require considerable agility, especially at the very top, going up to D's in technical passages and with a couple of E's - one very loud and one very soft. Although only the fourth movement is really fast, many of the others include difficult finger-work in all registers with an extremely wide range of dynamic contrast. Basically improvisatory in style, with bird-like passages and patterns of notes which are used throughout, these pieces are very imaginative and would be playable by a good third- or fourth-year student. They should make an interesting addition to the solo bassoon repertoire and I look forward to hearing them (or maybe even playing them myself).
Susan Frost
(Publication uncertain)