SKU: 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.
SKU: AP.36-60402001
ISBN 9798888521939. UPC: 676737573621. English.
Trio Pour Hautbois, Basson, et Piano (Trio for Oboe, Bassoon, and Piano), FP 43, was composed by Francis Poulenc (1899-1963) between 1924 and 1926, and it is his first major chamber work. A slow writer, the young Poulenc eventually sequestered himself away from family and friends in a hotel in Cannes so that he could finish the work, although he was happy to entertain a visiting Igor Stravinsky who offered some advice (quelques bons conseils) that Poulenc then applied to the first movement. The Trio is dedicated to Manuel de Falla, and the delighted Spanish composer saw to the premiere, which took place at the Salle des Agriculteurs in Paris on May 2, 1926, Poulenc at the piano. It was well received at the premiere, has been recorded many times since, and has remained a regular part of the woodwind ensemble repertoire. Reprint edition.
These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.
SKU: SU.29000240
Trio for Flute, Bassoon & Piano is the first of Chick Corea’s chamber music compositions. The piece was based in his piano improvisations but with this unusual instrumentation. The Trio was recorded in 1968 with the composer as pianist joined by flutist Hubert Laws and bassoonist Karl Porter. One curious feature is the muting of the piano strings while playing the keyboard to produce a percussive sound. Total performance time is about 5 minutes. Flute, Bassoon & Piano Duration: 5' Composed: 1972 Published by: Crystal Silence Music.
SKU: HL.368695
ISBN 9781705141779. UPC: 840126969085. 9.0x12.0x0.289 inches.
This collection of 27 pieces, transcribed and edited by the Howells scholar Jonathan Clinch and published for the first time to coincide with Matthew Schellhorn's recording of the complete piano music by Howells for Naxos, reveals a previously neglected aspect of this celebrated English composer. The pieces chart the musical development of Howells, from his earliest known work “The Arab's Song,†written when he as 16, to the “Petrus Suite,†completed in his 80s, as well as demonstrating his fascination with French music (“Phantasy,†“Harlequin Dreamingâ€) and the Tudor period (“Pavane†and “Galliard.â€) The volume also includes the moving tribute to his friend and fellow composer Finzi. Comprising a wide array of pieces from characterful miniatures to more substantial suites, the collection will appeal to Howells devotees and lovers of 20th century English music, as well as to anyone seeking fresh and distinctive piano repertoire. Includes: The Arab's Song • To a Wild Flower • Romance • Melody • Legend • Summer Idyls: I. Meadow-Rest • II. Summer-Song • III. June-Haze • IV. Down the Hills • V. Quiet Woods • VI. Near Midnight • VII. In the Morning • Phantasy • Harlequin Dreaming • Minuet for Ursula • My Lord Harewood's Galliard • Finzi: His Rest • Siciliana • “Comme le cerf soupire...†• Pavane and Galliard • Petrus Suite: Finnicle's Scherzo • Gavotte • Vagrant Flute • Minuet • 'Sine Nomine' • Bassoonic's Dance • Odd's Minuet • Toccatina.
SKU: HL.1455261
ISBN 9798892703284. UPC: 196288209379. 9.0x12.0x0.195 inches.
CONCERTINO FOR BASSOON, Opus 171 was commissioned by Dr. Mark Rogers and was premiered in April 2023 by the University of Kansas Wind Ensemble, Dr. Paul Popiel conductor, with Eric Stomberg playing bassoon. The work is in one movement. Like so many famous works for bassoon, it is based in F major. The piece is in a modified five-part rondo form, with the slow middle portion in Bb serving as the B theme. Rather jolly in nature, the work is intended to show off not only the happy nature of the bassoon, but also to demonstrate its expressive lyricism and dazzling technique.
SKU: SU.29050340
Six Songs Without WordsOboe, Bassoon & Piano Duration: 14' Composed: 2014 Published by: Whitco Press.
SKU: SU.80601330
Oboe, Bassoon, Piano Composed: 2005 Published by: Evan Hause.
SKU: UT.HS-329R
ISBN 9790215327962. 9 x 12 inches.
Performance Material on Hire[Solo: Bs - Picc.2.2.2.2 - 2.2.2.0 - Str]In the second half of the 19th century, in Italy, melodrama was still the most practised musical genre, but space for instrumental production began to grow, especially thanks to the Quartet societies which tried to reduce the gap remaining compared to other European countries, offering it to the public with an energy which was certainly praiseworthy. However, they were not the only institutions where instrumental music was cultivated. In this context it must be remembered that music conservatories also played an important role, especially through the music recitals given by the best students. In one of these, which was held at the Milan Conservatory on 9 July 1884, the concert piece Andante e Polacca for bassoon and orchestra by Simplicio Gualco (1861-1942) was performed, a piece which aroused a great deal of interest as stated in the ‘Gazzetta Musicale di Milano’ of 20 July of that year. After the recital, the piece ended up in the Conservatory archives and was never played again. It was rediscovered recently, thanks to the research work on the composer by the musicologists Italo Vescovo and Flavio Menardi Noguera, both connected to the composer’s hometown.
SKU: SU.50009490
Published by: Seesaw Music.
SKU: SU.50600012
Duration: 15' Performing Materials: score and parts Published by: Dunsinane Music Publishing Composer's Note: A fancy is an English version of the Italian capriccio, a form introduced in the 16th century for works in various media wherein the force of imagination has better success than observation of the rules of art (Furetière, Dictionnaire universel). The term is also used to describe a suite of dances. Fred’s Fancies is a series of six dances that are quite capricious in nature, a fair portrait of the person to whom the work is dedicated. The suite’s musical material is introduced in the first movement, an athletic Allegro. The following four movements emphasize some aspect of the first. The second, Waltz, is a quiet variation of the first movement’s opening gesture. The third, Manic, combines the opening gesture with a secondary theme emphasizing descending perfect fourths separated by half-steps. The fourth movement, Arioso, re-visits themes from the Waltz, now set in a freer rhythm. The fifth, Favotte, combines elements of the gavotte with fugal episodes. The cycle culminates in a speedy final movement, Vivace, that brings back the all principal themes of cycle.
SKU: SU.50026250
