Collateral Damage for Clarinet and Orchestra (2000)

A Concerto for Bb Clarinet and Orchestra

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 Eastern European folk idioms. By contrast, the slower middle movement incorporates musical elements that characterize some of the popular music of the late 20th century. Inspired largely by the tragic events which surrounded the break-up of the former Yugoslavia during the 1990's, the work is dedicated to the civilian victims of all modern wars.

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 one point) as melodic materials first presented by the solo clarinet are taken up by the accompanying ensemble.