PARTITIONS GRATUITES : PIANO, COR ET BASSON

By Theodor Verhey. For oboe, clarinet, horn, bassoon, piano. Facsimile Editions - Winds and Piano. Companion piece to Mozart and Beethoven. Quite effective and interesting to play. Good writing for all instruments. Romantic. Published by Rosewood Publications

Composed by Max Bruch (1838-1920). Arranged by Albie Micklich. For Clarinet, Bassoon, Piano. Chamber music. Published by Potenza Music

By Ludwig van Beethoven (1770-1827). For clarinet (violin), bassoon (viola/bass clarinet/basset horn) and piano. Winds, Strings and Piano. Alternate parts provide many options for performance. A very effective arrangement. Classical. Score and set of parts. Published by Rosewood Publications

(For Oboe (Clarinet), Bassoon and Piano). By Gernot Wolfgang. Chamber Music (Winds & Piano). For oboe, bassoon, piano. Score and set of parts. 28 pages. Published by Doblinger Music Publishers

Wedding March / Trumpet Voluntary / Aria / Trumpet Tune / Bridal Chorus. For flute, bassoon & piano (organ). Swiss import. Level: 3. Score and parts. Published by Editions Marc Reift. (EMR 930C)

Bassoon and Piano. By Ludwig van Beethoven. Edited by Friedhelm Klugmann. Chamber Music with Winds. Pages: Score = 27 * Fl Part = 6 * Bassoon Part = 6. Urtext edition-paper bound. Published by G. Henle.

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.