Partitions Numériques de Instrument pour Hautbois, Basson et Piano

Instrument

Trio #Hautbois, Basson et Piano #AVANCÉ #Jean Francaix #Trio #Schott Music - Digital #SheetMusicPlus

Oboe, bassoon and piano - difficult - SKU: S9.Q3066 For oboe, bassoon and piano. Composed by Jean Francaix. This edition: score and parts. Instru...(+)

Oboe, bassoon and piano - difficult - SKU: S9.Q3066 For oboe, bassoon and piano. Composed by Jean Francaix. This edition: score and parts. Instrumental music - chamber music - contemporary music. Downloadable, Score and parts. Duration 16 minutes. Schott Music - Digital #Q3066. Published by Schott Music - Digital (S9.Q3066). Edition Schott reflects a wide variety of music and offers a comprehensive music library suitable for students, amateur and professional musicians. Edition Schott ranges from Renaissance to Contemporary solo instruments to orchestra, well-known pieces to interesting rarities and includes about twenty of Schott's acknowledged and well-established instrumental series such as Guitar-Archive, Violin Library, Il Flauto Traverso and Original Music for Recorder. Edition Schott publications share the highest production values and a distinct house style with clear notations, practical page-turns and high-quality paper. Edition Schott maintains and extends the internationally recognized tradition of excellence and reliability established in 1770 by Schott Music.

Oboe, bassoon and piano - difficult - SKU: S9.Q6474 Composed by Benjamin Schweitzer. This edition: score (also performance score). Downloadable, score (also performance score). Duration 10 minutes. Schott Music - Digital #Q6474. Published by Schott Music - Digital (S9.Q6474). 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 â€žtwilight: 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 â€žmotto-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, â€šarcaneâ€˜ 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 â€želastic character of the middle section. Benjamin Schweitzer.