Bassoon

SKU: HL.48181520

Leduc. Classical. Softcover. 8 pages. Alphonse Leduc #AL21154. Published by Alphonse Leduc (HL.48181520).

UPC: 888680842147. 9.0x12.0x0.06 inches.

“Having won many prizes at the Paris Conservatoire during the 1920s-1930s, Eugène Bozza went on to conduct the orchestra of the Opéra-Comique and to become Head of the Conservatoire in Valenciennes. As a major figure on the classical music frontline, Bozza's compositions were well-received by audiences, Récit, Sicilienne and Rondo for Bassoon and Piano being no exception. This Bozza piece for Bassoon is expressive and virtuosic, displaying the entire range of the instrument, accompanied by rhythmic quavers and spread chords in the Piano. As music educationalist, Paul Griffiths has written of Bozza's compositions, ”“his works reveal melodic fluency, elegance of structure and a consistenly sensitive concern of instrumental capabilities.”“ Récit, Sicilienne and Rondo for Bassoon and Piano is a highly suitable and exciting addition to the advanced bassoonist's repertoire.”.

Bassoon, piano

SKU: FG.55011-524-8

Composed by Kirmo Lintinen. Score and part. Fennica Gehrman #55011-524-8. Published by Fennica Gehrman (FG.55011-524-8).

ISBN 9790550115248.

In Kirmo Lintinen's Rondo burlesque (2007-2008) for bassoon and piano , the qualitative elements of the bar, with their upbeats, accents and GPs, create a refined musical rhetoric and are very much to the fore. At the premiere, Lintinen's manner of playing, with its sparing use of the pedal obscuring the first beat but not the sense of time, underlined the inherent character of the piece. The roguish poetic metres gambolled jerkily along, and although at surface level the music may appear guileless, Lintinen knows his polyphony, judging by the capital roving of his voices even in the homophonic textures. Kirmo Lintinen (b. 1967) is a man of many musical talents: composer, pianist and conductor. His catalogue encompasses almost all gen-res and categories of composition, from solo work to opera, and he operates with ease from one to another without being a crossover artist; in his case, the versatility is both internalised and innate. He often finds inspiration in French music of the 1920s and its intrinsic musicality. Humour and playfulness are characteristic elements of his music, as are a natural, musicianly approach and an enchantingly effervescent, even tongue-in-cheek texture.

By Carl Maria von Weber (1786-1826) and Carl Maria von Weber (1786-1826). For bassoon and piano. Published by Wiltshire Music/Cor Publishing Co.

Bassoon, piano

SKU: KU.GM-168

Composed by Johann Wenzel Kalliwoda. Edited by Hans Steinbeck. Arranged by Hans Steinbeck. Bach format (230 x 302). Staple Bound. Piano reduction, solo part. Op. 57. 18 pages. Edition Kunzelmann #GM-168. Published by Edition Kunzelmann (KU.GM-168).

ISBN 9790206208041.

Bassoon and Piano. By Paul Koepke. Solo Ensemble (Rubank). Size 9x12 inches. 8 pages. Published by Rubank Publications.

Bassoon and Piano. By Carl Maria von Weber. Arranged by Himie Voxman. Solo Ensemble (Rubank). Published by Rubank Publications.

By Carl Maria von Weber. Bassoon and piano. Published by International Music Co.

By Carl Maria von Weber (1786-1826) and Carl Maria von Weber (1786-1826). For Bassoon, Piano. Standard notation. Opus35

By Carl Maria von Weber (1786-1826) and Carl Maria von Weber (1786-1826). For Bassoon, Piano. Sheet Music. Published by Edition Kunzelmann

Bassoon and Piano

SKU: ST.C184

Composed by Graham Sheen. Wind & brass music. Clifton Edition #C184. Published by Clifton Edition (ST.C184).

ISBN 9790570811847.

March of the Day
The subtitle says it all, I think. The piece has three main ideas each in the contrasting keys of Bb, Eb and F majors. Can you find a different character for each one? The danger for bassoonists in this sort of piece is that everything can sound accented, so be careful to follow the articulation marks as closely as you can.

Rondolettinetto
This is all about building phrases through repetition. It relies largely, therefore, on control of the sound. Try to achieve a really obvious contrast of character between the opening phrases and the less refined con spirito episode. This might be played just a touch faster than the opening and closing sections, if you wish. There is a hint of gentle parody in this piece if you can find a way of expressing that too.

Sand-dance Kid
This piece stretches the compass and range of expression even further. There are very obvious contrasts of staccato and legato and the phrase lengths of the middle section are far from regular. Try to scale down the dynamics at the end so that you end as softly as you can play.
Three Pieces for Bassoon and Piano

Grade 4
Former Spartan Press Cat. No.: SP1164.