Premiers Pas Basson, Piano (duo) [Conducteur et Parties séparées] - Facile FLEX Editions
Chamber Music & Piano Accompaniment 1 Bassoon 1 Piano - Grade 2 SKU: FL.FX073...(+)
Chamber Music & Piano
Accompaniment 1 Bassoon 1
Piano - Grade 2
SKU:
FL.FX073549
Composed
by Pascal Saint-Leger.
Original Composition.
Classical, Educational.
Score and Set of Parts.
Duration 2 minutes, 15
seconds. FLEX Editions
#FX073549. Published by
FLEX Editions
(FL.FX073549).
The young
musicians will love
playing this piece that
will find its place in an
exam or a concert. -
Pascal SAINT-LEGER ;
A piece that can
be played from 2 years of
instrument practice ;
Instruments: 1 Bassoon 1
Piano; Difficuly Level:
Grade 2.
Bassoon and piano SKU: P2.40006 Composed by James Grant. Solo music, 20th...(+)
Bassoon and piano
SKU:
P2.40006
Composed by
James Grant. Solo music,
20th century. Published
by Potenza Music
(P2.40006).
James Grant
says, Slow jazz... What
musical language could
celebrate more
appropriately the
lyrical, sensuous,
expressive character of
the bassoon? The three
Chocolates, in this
version for bassoon and
piano, are torch songs in
the tradition of the
passionate, tuneful
ballads of the American
40s and 50s. The first
two Chocolates, Valentine
and Bittersweet, offer
soulful narratives that
speak to devotion,
poignancy, romance,
uncertainty, longing. The
third Chocolate, Triple
Mocha Indulgence, is
slightly less
soul-searching, more
ebullient, and
progressively becomes
more animated (a sugar
high, perhaps?) right up
to its raucous close.
Chocolates was
commissioned and
premiered in 1998 by
violist Michelle
LaCourse, to whom this
music is dedicated..
Bassoon, piano SKU: FG.55011-524-8 Composed by Kirmo Lintinen. Score and ...(+)
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.