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I would also like to say this: the events of 13th March 1996 affected me more than any other public tragedy or disaster had before or since, probably because at the time I had a four-year-old son of my own and found myself strongly identifying with the parents of Dunblane. I was in the middle of writing my Bassoon Concerto and was just starting work on the second movement. I know now that the music began to reflect my state of mind: the brooding Scottish landscape; the lone piper on the hill; the innocent children being taken away (a theme I would return to in my Flute Concerto: The Pied Piper of Hamelin). And finally the image that haunted me most of all: the bereft mother.
It would be quite wrong to describe my Bassoon Concerto as being inspired by the events of that day and it is certainly not 'about' them. The first movement, after all, was already written, and the last is a party. It is just that Dunblane changed me, and therefore some of this piece changed too, behind my back as it were. I mention it simply because the subject still seems to infect almost everything I do. I often think about the implications of that day and what it means to be a human being: some people leave, and some people stay behind to remember their leaving.
from notes by Stephen Frost © 2011