For 2 flutes, 2 oboes 2 clarinets, 2 bassoons and 2 horns. Composed by Jean Francaix (1912-1997). This edition: Paperback/Soft Cover. Sheet music. Edition Schott. Classical. Set of Parts. Composed 1973. 100 pages. Duration 15'. Schott Music #ED6472. Published by Schott Music

Quartet (Quatuor). (Set of Parts). By Jean Francaix (1912-1997) and Jean Fran. For Woodwind Quartet. Schott. Set of Parts. 32 pages. Schott Music #ED4222. Published by Schott Music

Bassoon and Piano. By Paul Hindemith. Schott. Size 9x12 inches. 20 pages. Published by Schott.

Bassoon and Piano. Composed by Paul Hindemith (1895- 1963). Woodwind. Softcover. 25 pages. Schott Music #FAG36. Published by Schott Music

Six Sonatas - Volume 1. By Michel Corrette. Arranged by Gwilym Beechey. This edition: ED12209. Schott. 52 pages. Published by Schott Music.

Bassoon and Piano. By Jean Francaix. (Bassoon). Schott. 36 pages. Published by Schott.

For Woodwind Quintet. By Claude Debussy. Arranged by Gordon Davies. Schott. Size 9x12 inches. 46 pages. Published by Schott.

Wind Quintet Score. By Gyorgy Ligeti. (Score). Schott. Size 9x12 inches. 35 pages. Published by Schott.

Bassoon and Piano. By Carl Maria von Weber. Arranged by Gabor Darvas. (Bassoon). Schott. Size 9x12 inches. 31 pages. Published by Schott.

6 Quartets - Vol. 1. (Set of Parts). By Gioachino Rossini (1792-1868). For Woodwind Quartet. Schott. Set of Parts. 73 pages. Schott Music #ED3164. Published by Schott Music

(Bassoon and Piano). By Camille Saint-Saens (1835-1921). For bassoon and piano (Score and Parts). Woodwind. Softcover. 28 pages. Schott Music #FAG32. Published by Schott Music

By Jean Daniel Braun. Arranged by Joruslav Capek. Schott. Size 9x12 inches. 24 pages. Published by Schott.

Set of Parts. By Jean Francaix. Schott. Size 9x12 inches. 68 pages. Published by Schott.

Volume 1 (Sonatas 1-3). By Carl Joseph Toeschi. Arranged by Walter Lebermann. (Bassoon). Schott. Size 9x12 inches. 14 pages. Published by Schott.

Parts. By Erwin Schulhoff. (Parts). Schott. Book only. Size 9x12 inches. 8 pages. Published by Schott.

Performance Score. By Johannes Brahms. Arranged by Richard Hunter. Schott. Size 8.25x11.75 inches. 7 pages. Published by Schott.

Woodwind Quintet. By Georges Bizet. Schott. Size 9x12 inches. Published by Schott.

For Bassoon and Piano. By Scott Joplin. Arranged by Wolfgang Birtel. This edition: ED20464. Woodwind. Book only. 18 pages. Published by Schott.

Bassoon I Part. By Carl Orff. (Bassoon). Schott. Book only. Size 9x12 inches. 10 pages. Published by Schott.

Bassoon and Piano. By Jindrich Feld. (Bassoon). Schott. 30 pages. Published by Schott.

Score and Parts. By Jean Francaix. Schott. Size 9x12 inches. 66 pages. Published by Schott.

Bassoon and Piano. By Georg Philipp Telemann. Arranged by Nikolaus Delius. (Bassoon). Schott. 38 pages. Published by Schott.

Performance Score. By Paul Hindemith. Schott. Size 9x12 inches. 8 pages. Published by Schott.

Five Pieces for Bassoon and Piano. By Friedrich Zehm. (Bassoon). Schott. 32 pages. Published by Schott.

Flute, Clarinet (a), Clarinet (b) and Bassoon (Score)

SKU: HL.49015104

Composed by Anton Biersack. This edition: Saddle stitching. Sheet music. Edition Schott. Classical. Study Score. Composed 1948. 20 pages. Schott Music #ED 4415. Published by Schott Music (HL.49015104).

ISBN 9790001051828. 7.5x10.75x0.07 inches.

Bassoon

SKU: HL.49019037

Bassoon Quartet Score and Parts. Composed by Barbara Heller. Edited by Christian Muench-Cordellier. This edition: Saddle stitching. Sheet music. Edition Schott. Classical. Softcover. Composed 2009. 32 pages. Duration 9'. Schott Music #FAG33. Published by Schott Music (HL.49019037).

ISBN 9790001171953. 9.0x12.0x0.1 inches.

Das Quartett do-re-mi-fagott schrieb die Komponistin Barbara Heller im Jahr 2009 fur das gleichnamige Fagott-Quartett des Frankfurter Jugend-Musik-Ensembles. Heller entwickelte ein einpragsames Motiv aus den vier Tonen c-d-e-f bzw. do-re-mi-fa, das zur Namensgebung der Komposition fuhrte. Mit einfachem musikalischen Material entlockt sie dem Fagott eine bemerkenswerte klangliche Vielfalt und entdeckt die Wandlungsfahigkeit dieses Instruments. Alle vier Stimmen sind gleichberechtigt: Motive und Melodiefloskeln werden einander zugespielt und weitergefuhrt. Heller regt zu einer freien Interpretation an und gibt den Spielern Raum zur eigenen Improvisation uber das Motiv. do-re-mi-fagott richtet sich an fortgeschrittene Musikschuler und ambitionierte Hobbymusiker, die Freude am Zusammenspiel haben und die klanglichen Facetten des Instruments ausschopfen wollen.

Oboe, bassoon and piano - difficult

SKU: HL.49016219

Composed by Benjamin Schweitzer. This edition: Saddle stitching. Sheet music. Misc. Score (also performance score). Composed 2006. 73 pages. Duration 10'. Schott Music #ED 20121. Published by Schott Music (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.