Bassoon (bassoon/piano) SKU: HL.48181054 For Bassoon and Piano. Co...(+)
Bassoon (bassoon/piano)
SKU: HL.48181054
For Bassoon and
Piano. Composed by
Henri Dutilleux. Leduc.
Classical. Softcover. 8
pages. Alphonse Leduc
#AL20097. Published by
Alphonse Leduc
(HL.48181054).
UPC:
888680787059. 9x12
inches.
Internation
ally acclaimed French
composer Henri Dutilleux
(1916-2013) followed the
music traditions of
Maurice Ravel and Claude
Debussy yet implemented
his own, distinctive
style. His Sarabande
et Cortege for Bassoon
and Piano displays
influences of Debussy's
eschewing of tonality and
Ravel's inventive
textures. These, combined
with Dutilleux's unique
uses of structure and
pedal points create a
truly riveting piece for
bassoon and piano.
Sarabande et
Cortege comes at the
beginning of Dutilleux's
career and was composed
as part of a set of four
exam pieces for the Paris
Conservatoire
(1942-1950). Yet the
popularity of all four
pieces remains, and they
continue to be performed
to this day. Elements
like lyrical melodies and
furious semiquaver
passages make for an
exciting piece for
bassoonists.
Sonata Basson, Piano (duo) PWM (Polskie Wydawnictwo Muzyczne)
Bassoon; Piano Accompaniment (Score and Solo Part) SKU: HL.253938 Bass...(+)
Bassoon; Piano
Accompaniment (Score and
Solo Part)
SKU:
HL.253938
Bassoon
and Piano. Composed
by Jó and zef
Swider. PWM. Classical.
Softcover. 32 pages.
Polskie Wydawnictwo
Muzyczne #12020010.
Published by Polskie
Wydawnictwo Muzyczne
(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.