Premier Performance - Bassoon Book 2 w/CD

SKU: EB.1-930292-08-2

ISBN 9781930292086.

Premier Performance(r)is an innovative and comprehensive band method written with one primary goal:providing band directors with the most effective and logically sequenced instructional materials for young instrumentalists.Premier Performance(r) is carefully structured to develop the three cornerstones of outstanding musicianship: superior tone quality, accurate rhythm reading skills and technical facility.Strong emphasis is placed on rhythmic development since this may be the greatest challenge facing first and second year students.

Premier Performance(r) Book One and Book Two each offer instrument specific downloadable accompaniments.

The first accompaniment track features a professional musician playing the melody line so students can hear and emulate the sound of their own instrument. The second track eliminates the melody line and provides the background accompaniment so students may play independently. The accompaniments include solo and solo accompaniment for each student method book.

SKU: PR.11442131S

UPC: 680160681006.

A lot of chamber music playing went on in Fargo, North Dakota during my teenage years. The participants included both high school friend - my brother, who plays viola, was an is an inveterate chamber music player - and members of parents' generation. The latter included not only professional musicians (the conductor of the Fargo-Moorhead Community Orchestra, who also played cello and was my first composition teacher, his wife, who was the orchestra's concert mistress, and others) but also people from various other walks of life. Although I don't play a string instrument, I was almost always in attendance, with score in hand. (One summer, all the young cellists we played with went to the Interlochen Music Camp, so I got to play the cello parts on the bassoon.) Mostly it was string quartets that were played, but one of the larger pieces I remember being done more than once was the Brahms Sextet in G Major, and I think that the idea for utilizing that combination had been lurking in the back of my mind since then. In the middle 1980's, ideas for a string sextet began appearing in my sketchbooks; one movement (the fourth) was actually completed in one of the sketchbooks. But without a deadline, it's hard for me to finish a major work, since there are always other pieces (with deadlines) waiting to be completed. So when the Composers Showcase at Lincoln Center asked me to put together a retrospective of my work, I knew I wanted to have a premiere on the program, and May 7, 1990 became the deadline that I got the piece done. The work is in six movements, with a symmetrical key pattern; the movements range from the very dramatic to the very easy-going. I had contacted the Lark Quartet, who had commissioned my String Quartet No.2, about forming the core of the sextet. Unfortunately, one of the Larks had a scheduling conflict, but the other three rounded up three more players, and the six of them gave the piece a rousing performance, in spite of the limited rehearsal time. The players were Eva Gruesser, Genovia Cummins, Anna Kruger, Mary Hamman, Astrid Schween and Julia Lichten.
A lot of chamber music playing went on in Fargo, North Dakota during my teenage years. The participants included both high school friend – my brother, who plays viola, was an is an inveterate chamber music player – and members of parents’ generation. The latter included not only professional musicians (the conductor of the Fargo-Moorhead Community Orchestra, who also played cello and was my first composition teacher, his wife, who was the orchestra’s concert mistress, and others) but also people from various other walks of life. Although I don’t play a string instrument, I was almost always in attendance, with score in hand. (One summer, all the young cellists we played with went to the Interlochen Music Camp, so I got to play the cello parts on the bassoon.)Mostly it was string quartets that were played, but one of the larger pieces I remember being done more than once was the Brahms Sextet in G Major, and I think that the idea for utilizing that combination had been lurking in the back of my mind since then. In the middle 1980’s, ideas for a string sextet began appearing in my sketchbooks; one movement (the fourth) was actually completed in one of the sketchbooks. But without a deadline, it’s hard for me to finish a major work, since there are always other pieces (with deadlines) waiting to be completed. So when the Composers Showcase at Lincoln Center asked me to put together a retrospective of my work, I knew I wanted to have a premiere on the program, and May 7, 1990 became the deadline that I got the piece done.The work is in six movements, with a symmetrical key pattern; the movements range from the very dramatic to the very easy-going.I had contacted the Lark Quartet, who had commissioned my String Quartet No.2, about forming the core of the sextet. Unfortunately, one of the Larks had a scheduling conflict, but the other three rounded up three more players, and the six of them gave the piece a rousing performance, in spite of the limited rehearsal time. The players were Eva Gruesser, Genovia Cummins, Anna Kruger, Mary Hamman, Astrid Schween and Julia Lichten.

SKU: BT.EMBZ14513

English-Hungarian.

The composer writes about his work: My piece entitled Embroidery patterns on the cracked surface of the Earth can be imagined somehow as follows: two clarinets and a bassoon write beautifully ornamented magic formulas in the clay. As they proceed, the surface cracks into pieces. They almost finish the writing , but an invisible hand keeps rearranging the innumerable component elements. The rearrangement creates time hiatuses, or heaps together units of information in masses of unexpected density (in the second part, brief but condensed suddenly-emerging patterns of differing density scratch the surface of the long periods of silence) elsewhere it collides with the netof sound that carries the material and thus huge faults, ruptured tectonic plates, come into being The complete work was first performed by the Trio Lignum (Csaba Klenyán, Lajos Rozmán, György Lakatos) in Budapest in 2005.

Der Komponist schreibt über sein Werk: mein Stück: Embroidery patterns on the cracked surface of the Earth“ kann man sich ungefähr so vorstellen: Zwei Klarinetten und ein Fagott schreiben“ schön verzierten Zauberformeln in Ton. Wie sie sich vorwärts bewegen, wird die Oberfläche in Stücke gespalten. Sie beenden fast sie das Schreiben, eine unsichtbare Hand restrukturiert“ aber immer wieder die enorm vielen Bestandteile. Die Rekonstruktion “ schafft Zeitlücken oder sie häuft Informationen in unerwarteter Dichtheit aufeinander (im zweiten Teil kratzen kurze, aber komplexe, unerwartet auftauchende, unterschiedlich dichte Muster die Oberfläche der langen Stille), wo anders stößtsie sich an das Materie tragende Netz, und so entstehen große Verwerfungen, gebrochene tektonische Platten.Die Premiere des kompletten Werks fand 2005 in Budapest, unter der Mitwirkung des Trio Lignum (Csaba Klenyán, Lajos Rozmán, György Lakatos) statt.