Uploaded June 2019 | Updated September 2026, 1 week ago
Psappha Ensemble - psappha.com - Ben Hudson (Bassoon)
!Please use headphone for the best audio quality!
Compos Mentis, the useful Latin phrase we’ve held onto, translates literally into English as ‘of sound mind’. This fast and fluid solo for bassoon primarily stems from a history of listening to bebop music and its lucid tangling phrases and wild imagination. The swing is a fundamental element to the piece as might be expected, but frequent exchanges with straight, compound and tuplet rhythms add to its developed identity, keeping the feel fresh and evolving. Dynamism in pitch and volume is also exploited, with coats of colour from timbral techniques splashed onto a melody that explores and recycles itself freely, evocatively and to a post-modal mindset. Compos Mentis was written for Ben Hudson in 2019 as part of the Psappha Composing For: Bassoon project.
Learn more about Daniel: danielsoley.com
Psappha’s ‘Composing for…’ programme is supported by: Arts Council England; Garfield Weston Foundation; Idlewild Trust; PRS Foundation Talent Development Partner scheme; Radcliffe Trust; and RVW Trust.
Psappha Ensemble - psappha.com - Ben Hudson (Bassoon)
!Please use headphone for the best audio quality!
Compos Mentis, the useful Latin phrase we’ve held onto, translates literally into English as ‘of sound mind’. This fast and fluid solo for bassoon primarily stems from a history of listening to bebop music and its lucid tangling phrases and wild imagination. The swing is a fundamental element to the piece as might be expected, but frequent exchanges with straight, compound and tuplet rhythms add to its developed identity, keeping the feel fresh and evolving. Dynamism in pitch and volume is also exploited, with coats of colour from timbral techniques splashed onto a melody that explores and recycles itself freely, evocatively and to a post-modal mindset. Compos Mentis was written for Ben Hudson in 2019 as part of the Psappha Composing For: Bassoon project.
Learn more about Daniel: danielsoley.com
Psappha’s ‘Composing for…’ programme is supported by: Arts Council England; Garfield Weston Foundation; Idlewild Trust; PRS Foundation Talent Development Partner scheme; Radcliffe Trust; and RVW Trust.









![Arnold Schoenberg (1874-1951) - Verklärte Nacht, Op. 4
This performance was given on 4th October 2014 as part of a concert to celebrate the 80th Birthday of Psapphas Patron, Sir Peter Maxwell Davies who attended the performance and can been seen in the audience if you look carefully!
Benedict Holland & Lucy Baker - violins
Heather Wallington & Catherine Yates - violas
Jennifer Langridge & Paul Grennan - celli
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Composed at the end of the nineteenth century, Verklärte Nacht (Transfigured Night) pulls together some principal strands in the music of that century’s second half. From Liszt comes the ideal of a one-movement symphonic form, from Wagner touches of harmony and the use of pregnant, versatile themes, from Brahms the string-sextet medium and the conscientious development. As the composer himself noted towards the end of his life: ‘The thematic construction is based on Wagnerian “model and sequence” above a roving harmony…and on Brahms’ technique of developing variation…. [But] I think there were also some Schoenbergian elements to be found in the breadth of the melodies, …in contrapuntal and motivic combinations, and in the semi-contrapuntal movement of the harmony and its basses against the melody.’ The determination to synthesize, too, was Schoenberg’s own, and characteristic of his later career.
The idea of a symphonic poem for string sextet seems to have preceded this particular composition, since there survives an abandoned beginning of another sextet – Toter Winkel (Blind Corner), after a poem by Gustav Falke – which may represent a first, failed shot. Success came when Schoenberg turned to the verse of Richard Dehmel, four of whose poems he set as songs in the same year of 1899. (Strauss, too, was absorbed with Dehmel at this time.) The poem Verklärte Nacht is in five stanzas, of which the first introduces the characters: a man and a woman walking through a moonlit oak wood. In the second the woman remorsefully confesses that she is carrying another man’s child. The third stanza recapitulates the opening image, as if giving the man time to think. Then in the fourth stanza he comforts his companion, points to the gleaming universe around them, and declares that the child will be transfigured into his own. Finally they embrace and walk on.
These five sections are respected by Schoenberg’s music, though with the addition of a short coda. The first and third parts (linked in the music as they are in the text), and also the fifth, are brief. In the second section Schoenberg represents the woman’s anguished outburst in an intense development, exactly in the position where it ought to be in a symphonic unfolding. The balancing fourth section reflects the poem in being more calm and rapturous, and fulfills symphonic duties in throwing new light on themes from the second part: just as the unborn child is transfigured, so is the musical material, and the opening D minor (the key most prominent in early Schoenberg) is swerved towards D major. Perhaps this was one of the attractions of the poem, that it provided a story of metamorphosis – even that it suggested that one could, by will and heaven, change the child of another (Wagner, Brahms) into one’s own.
Verklärte Nacht
Richard Dehmel translation by Paul Griffiths
Two people walk a bare cold grove;
the moon moves on, they look above.
The moon moves on, over high oaks;
the sky is bright: no cloudlet breaks
the glow; twigs make black cracks.
It is a woman’s voice that speaks.
I bear a child, and not by you,
I am a sinner, here by you.
I did myself the greatest wrong,
not to believe I could know bliss,
and yet I knew what it was to long
for a richer life, for a mother’s bliss
and duty; so I lost myself,
so, shuddering, I gave myself,
let myself to a stranger belong,
thought myself to be born anew.
Now life brings revenge headlong:
now I’ve encountered you, o you.
Her step unsteady, she goes along.
She looks above; the moon moves on.
Light bathes her darkening looks.
It is a man’s voice that speaks:
You bear a child, you bear no guilt:
Release the burden on your soul.
Look: universal light is spilt
on every thing: on each, on all.
Our journey lies on a cold sea
but we are warmed inwardly:
your glow in me, my glow in you.
That will transfigure the child you bear
and make it ours: our flesh, our care.
You have made me reconciled;
you have made me too a child.
He puts an arm around her hips,
the air they breathe blends in a kiss.
Two people walk through high bright night.
© Paul Griffiths Arnold Schoenberg (1874-1951) - Verklärte Nacht, Op. 4](https://i.ytimg.com/vi/qLdE2WhEj44/mqdefault.jpg)
