SKU: HL.253938
9.0x12.0 inches.
Sonata for bassoon and piano is one of Swiders first works for a wind instrument. It was written most probably in the years 1953-1954, under a clear influence of neo-classicist stylistics. The only documented performance took place on 5th May 1955 in Katowice, or Stalinogrod, as such was the name of that city in those days. The first part of Sonata is written in a form of scherzando of a light and witty character, where the composer fully uses the facture and bassoons sound potential. The second part, full of meditation and cantilena, bears a particular expression of lower registers of the instrument. Part three is a traditional minuet in moderato tempo, with stylised folk elements in the middle fragment. The last part resumes the scherzo form, capped by a cadenza written by Marek Baranski, in which attempting to imitate the language of Jozef Swider's compositions that include numerous elements of a synthetic finale he included most music concepts outlined in the entire Sonata.
SKU: BR.EB-5567
ISBN 9790004164440. 9 x 12 inches.
It is considered a milestone in the repertoire for bass clarinet: Othmar Schoeck's Sonata op. 41, composed in 1927/28 for the Swiss music patron and amateur clarinetist Werner Reinhart. In the tension area between late Romanticism and currents of New Music of the 1920s, Schoeck created a work of fascinating colorfulness, which even has jazz elements flashing up in the finale. This classic work is one of the most exciting, boldest instrumental works by the important song and opera composer. CD: Renate Rusche (bass clarinet), Werner Hagen (piano) Sc 63072.
SKU: HL.49045318
ISBN 9781495082535. UPC: 888680656669. 9.5x12.0x0.515 inches.
The title refers to three instruments, three movements, and three ways of treating musical time. The tone of the work is serious yet as playful as the title suggests.The first movement, Ratios, opens with a series of seemingly unrelated ideas in tempo ratios of 3:2 and 4:3. As the movement proceeds, the ideas develop, transform, and superimpose in increasingly wide spirals. The slower second movement, Cycles, is a fantasy built on the strict scaffolding of an omnipresent, diatonic cantus firmus set in symmetrically expanding and contracting cycles. The quick finale, Phases, is a moto perpetuo tarantella in which the instruments move in and out of phase as they chase one another. The flowing eighth notes merge and finally unify ideas from the previous movements.
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