SKU: HL.50330390

ISBN 9780793599431. UPC: 073999606102. 9x12 inches. Edited by Sol Schoenbach.

This book will help the bassoon student who frequently studies orchestra excerpts without an understanding of the harmonic and rhythmic accompaniment of the orchestra. By playing these excerpts with piano accompaniment he will develop a true perspective.

SKU: FL.FX074147

Two small pictures of everyday life in the Middle Ages set to music, from 5 years of instrument practice. - Pascal PROUST ; Instruments: 1 Solo Bassoon; Difficuly Level: Grade 3.

SKU: HL.48181173

UPC: 888680861698. 9.0x12.0x0.058 inches.

To this day, Eugene Bozza (1905-1991) remains one of the most prolific composers for wind instruments, despite being a violinist himself. His Fantasy for bassoon and piano is no exception to the composer's success. During his studies at the Paris Conservatoire, Bozza won prizes for violin, conducting and composition, as well as the Grand Prix de Rome. He then conducted the orchestra of the Opera-Comique and became Head of the Conservatoire in Valenciennes, whilst remaining a prominent composer. Composed in 1945, Bozza's Fantasy for bassoon and piano is a virtuosic work, addressing advanced features including complex rhythms, chromaticism, a wide range and articulation. As music educationalist, Paul Griffiths has written of Bozza's compositions, his works reveal melodic fluency, elegance of structure and a consistently sensitive concern of instrumental capabilities..

SKU: HL.49016219

ISBN 9790001146449. UPC: 884088202538. 9.0x12.0x0.195 inches.

The chiaroscuro-technique developed by painters of the Italian renaissance served to intensify contrasts and effects of optical depth. In Klar/Obskur, I tried to transfer the general idea of this technique on the rather unusual instrumentation of two double-reed woodwinds and piano. On the one hand, a clear, well articulated playing is characteristic for these instruments, on the other hand, they have an often underestimated potential of 'twilight': air-sounds and fragile, shady colours have a especially attractive when being produced by double-reed instruments (which are often, and superficially regarded as being less capable of differentiated sounds than flute or clarinet). The piano, too, has a broad bandwidth of possibilities between percussive and delicate playing to complement the woodwinds which, in return, can absorb and continue the fading piano sounds.The beginning introduces the two contrasting elements that form the basic material for the piece: a clear, sharp chord, followed by fragile, dim sounds. The changes between these elements as well as their combination and amalgamation produce an enormous spectrum of colours and gesture. After this 'motto-like' opening follow four quite clearly separated short sections, each of them being characterised by a well-defined texture: a partly almost imperceptible air-sound passage, a short sequence of microintervallic notes, a burst of virtuosity and a recourse to the fragile sounds of the beginning.The second, longer main part consists of three sections merging subtly into each other: a short unisono-passage, marked elastic [federnd], is being dissolved into its basic elements; from these remainders, a confrontation of low, 'arcane' bassoon and piano sounds and a strongly ornamented melodic line of the oboe emerges, leading to a short but powerful climax. The piece is concluded by an extended, relaxed epilogue, containing a short piano solo and a duet of oboe and bassoon and, finally, a quotation of the 'elastic' character of the middle section.Benjamin Schweitzer.