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 (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.
Bassoon and Piano SKU: ST.C130 Composed by Mark Tanner. Wind & brass musi...(+)
Bassoon and Piano
SKU:
ST.C130
Composed by
Mark Tanner. Wind & brass
music. Clifton Edition
#C130. Published by
Clifton Edition
(ST.C130).
ISBN
9790570811304.
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 underlying charm
and, for want of a better
word, simplicity, of the
original music. But this
is only a start – for
without an energetic
response from younger
generations, Cornish folk
music is destined to
wither on the vine in
much the same way as is
happening with the
Cornish dialect. So, put
your instrument to your
lips and proceed, not
with caution, but with
enthusiasm and a smile,
for your great
grandparents (and perhaps
even their grandparents)
would surely raise a
glass if they could hear
you doing your bit to
ensure the survival of
this splendid
heritage. Timeless
Cornish melodies, cooked
up for hungry clarinet
players Grades
1–4 Former Spartan
Press Cat. No.:
SP1219.
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.