Hidas composed his first bassoon concert for bassoon and string orchestra in 1980.
Thus, the Concerto for Bassoon and Wind Ensemble is the second of his bassoon concertos. lt was created in 1999, and Hidas wrote it specifically for the Dutch bassoonist Dorian Cooke. Dorian Cooke was principal bassoonist at the Dutch Symphony Orchestra in Enschede, and later had the same position at the Rotterdam Philharmonie Orchestra, before she switched to the Residence Orchestra of Den Haag. Hi das asked Ms. Cooke if she had a request for her solo concerto. She responded that she would like to have a beautiful, lyrical second movement. The composer granted her wish, and she received an expressive, slow movement in the high register, which is füll of emotion and beauty. The premiere of the second bassoon concert took place at the 9th WASBE-Conference (July 5-11, 1999) in San Luis Obispo, Califomia, with Dorian Cooke as the soloist.
The concerto has three movements. The first movement Allegretto begins with a strong, accending quarter note motive in unison, which the solo bassoon energico takes over with a small theme and develops into a legato. The ensemble accompanies with short interjections, chords, and passages in dialogue with the soloist. Beginning in measure 18, the celesta and vibraphone join in and accompany with eight-note arpeggios, and the bassoon introduces a heroic song, interrupted by staccato passages in the woodwinds. In measure 42, the marcato character returns with a new octave motive in triplets, and the first cadenza based on the last motive follows. Tempo 1 (bar 63) clearly establishes the form of the first movement (ABA) and reintroduces the beginning motives. A very emotional and lyrical second movement (Moderato Canta which demands a good breathing technique and a command of the high register up to d" from the soloist, demonstrates once again Hidas ability to create beautiful, emotional music. This movement is also in three part fonn (ABA). Two long cantilenas at the beginning are continued by the ensemble and then retumed. A moving Allegretto in triplets makes up the middle part of the movement, and the expressive phrases retum in tempo 1 and fade away in a morendo. A dance-like and virtuoso Moderato Giocoso in 6/8 meter follows as the third movement. The bassoon and the ensemble sparkle with joy and musicality. The tonal language is elegant and the orchestration is very distinctive. The repeating triplet motive appears several times, as in a rondo, and the piece concludes with a virtuoso ending. The percussion parts include a timpani part and parts for three mallet instruments – chimes, xylophone and vibraphone.
