Timeless Cornish Melodies Cooked Up For Hungry Brass Players-As I sit myself down to write this brief foreword I ask myself can there be music more stirring than these old Cornish folk melodies? Though not Cornish myself (I confess to being born a little further up the road in Bristol) I feel I have spent sufficient time in these 'ere parts to resonate with the sturdy brass band tradition that continues to permeate this incomparably beautiful rugged county. One can almost detect a French 'accent' when listening to the piano music of Debussy and likewise speaking as a lapsed brass player there is undoubtedly something of the Cornish twang about Trelawny when played on a cornet or euphonium. Then again one gets a different yet entirely convincing effect upon hearing these melodies rendered on woodwind instruments; hence with a little gamesmanship on my part I am pleased to see my collection of these fifteen delectable ditties come to fruition in the form of arrangements for treble clef brass instruments (in B flat and E flat) trombone and tuba (bass clef) horn in F flute clarinet and bassoon.While many will find themselves humming the likes of Going up Camborne Hill Lamorna or The Helston Furry Dance even before they have turned to the first page - for these are indelibly intertwined with Cornish culture - I wonder if I might draw your attention to The Cornish Squire The Pool of Pilate and Cold Blows the Wind Today Sweetheart which are quite simply sublime melodies perhaps needing that extra bit of help in bringing them to mind nowadays. In the best tradition of musical hand-me-downs Cornish folk music works equally ideally sung and played and only by doing so on a regular basis can such traditions hope to continue forward with vigour and authority. A legitimate way of achieving this is to revitalise the harmonic scheme of these ancient tunes and bring them up to date for a modern audience; after all it was such an approach that fuelled the imagination of Benjamin Britten and Ralph Vaughan Williams in decades past while skilfully paying homage to the

Four short movements for two Bassoons.Composer's Note.Take Two Bassoons is planned as one of a series of light-hearted works for pairs of instruments written with advice from performers who are also experienced teachers. Many of these pieces explore some specific opportunities and challenges inherent in the technique of each instrument.There are four short movements: Jaunty Tenderly Angry and Running Wild.Note from Marc Goldberg.Thea Musgrave asked to meet with me in New York to discuss a set of duets she was writing and we got together over coffee near Carnegie Hall for an indepth discussionabout the bassoon. I confess to having had momentary misgivings when asked to list things that were difficult to do on the instrument envisioning for a moment an etude of unforgiving notes difficult dynamics uncomfortable articulations clumsy cross-fingerings and the like arranged back-to-back in an endurance test to challenge the best players on their best day.What she has in fact created is delightful a charming set of pieces full of character wit colour and yes challenge perfectly suited for student and teacher alike and wonderful recital works to boot.I couldn’t be more pleased to have had some part however small in their roots and am looking forward to calling these pieces and Thea Musgrave - lifelong friends.

Par GALLOIS PASCAL. This new Bassoon method by the celebrated Bassoonist, Pascal Gallois, outlines for the first time extended techniques and different ways of creating sound on Bassoon. An indispensable and practical tool for composers, performers and teachers. Topics covered: Traditional Effects and Current Sounds; Spectral Effects; Percussive Effects; Effects Without the Reed; Vibrato; Air Noise / Pédagogie / Répertoire / Basson

Includes: Let's Rock Majestic March When The Saints Go Marching In Mickey Mouse March Power Rock Farandole Jus' Plain Blues My Heart Will Go On Rainbow Connection Supercalifragilisticexpialidocious Drums of Corona Laredo (Concert March) Pomp and Circumstance Stratford March and Do-Re-Mi.

POD Revised Version-Trio For Piano Oboe And Bassoon - Revised Version by Francis Poulenc. This new edition is based on a second manuscript by Poulenc dated 16th March 1928. Edited by Sandro Caldini in 2016. From the preface: The Trio pour piano hautbois et basson by Francis Poulenc (1899-1963) represents a milestone in the repertoire of music for double-reed instruments. It was written between March and April 1926 during a long stay in Côte d'Azur and it was immediately published by Edition Wilhelm Hansen AS Copenhagen in the same year. The composition was influenced by the composer's friendship with Igor Stravinskyand was dedicated to Manuel de Falla. I was lucky to locate a second manuscript (due to the courtesy of the American composer Ned Rorem and his niece Mary Marshall) on which this new edition is based. When I compared this manuscript with the first edition (WH19245) it became evident that there were many differences. The second manuscript is dated 16th March 1928 and clearly states Brouillon definitif (final copy)... Sandro Caldini 2016

Arrangeur: John Glenesk Mortimer. Par BEATLES THE. / Niveau : Intermédiaire / Répertoire / 2 Bassons et Piano ou Orgue