Authoritative Henle Urtext Edition of Mozart's Sonata In B Flat K.292 for Bassoon Cello and Continuo.

French pianist and composer Serge Lancen (1922-2005) studied at the Paris Conservatoire where he won many prizes. Si J'Étais... for Cello Viola or Bassoon and Piano contributes to a significant catalogue of compositions by the composer. Si J'Étais... is a series of compositions by Lancen in which each piece depicts the style of a different great composer. Numbers 4 5 and 6 are influenced by Couperin Verdi and Albeniz. Adaptable to Cello Viola or Bassoon these Lancen pieces are exciting and informative ranging across a variety of musical styles. SiJ'Étais... is suitable for intermediate instrumentalists.

Arrangeur: Timothy Bonenfant. Par DEBUSSY CLAUDE. All four movements of Claude Debussy's charming Petite Suite arranged for Flute, Clarinet (in A) and Bassoon: En Bateau, Cortege, Menuet, Ballet. Originally composed as a suite for four-hand piano, it is also well-known in its orchestral form, with the orchestration completed by Debussy's friend, Henri Büsser./ Répertoire / Flûte Traversière, Clarinette et Basson

A Song without Words for Violoncello Solo-Manfred Trojahn on the origin and title of his impressive virtuoso solo work:'Admittedly I do not know if he had seagulls but since Mendelssohn was born in Hamburg he will not have gone through life without at least the impression of the cry of seagulls. Nor do I know if seagulls played any part in his life in Rome. I myself was astonished when one or two years ago in the Villa Massimo I was not exactly annoyed but disturbed by the strong rhythmical cry of seagulls. I was just about to write a bassoon solo when the seagulls started. Then the idea came to me that precisely this sequence of notes could serve as the basis of the work. And the sequence for thebassoon solo is in turn the basis of the piece for violoncello - this is how titles are born... Of course the violoncello meanders with virtuosic ease from the seagull motif to the 'elf-like' skittering brought to music by Mendelssohn and used time and again in his compositions finally becoming a cabaletta. Now cabalettas are not very representative of Mendelssohn but as I was composing I definitely wanted to put a cabaletta in this passage. I am sure Mendelssohn and I will easily agree on this especially since later justice is done to him in the rapid passages and of course in the tonal cadenza at the very end which is more indicative of his time than of mine ... isn't it?'

Par SCHWEITZER BENJAMIN. 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 / Date parution : 2007-11-20/ Répertoire / Hautbois, Basson et Piano

Par JOLIVET ANDRE. Pastoreles De Noë l by Andre Jolivet is a piece for Flute, Bassoon and the Harp lasting nearly 13 minutes. This piece is really gentle and restrained which demonstrates the quality of Jolivet 's work but also reflects that period of WWII when France was under occupation. These scores are of medium level of ability. Pastoreles De Noë l features four sections: L'etoile (the Star), Les Mages (the Wisemen), La Vierge et l'Enfant (the Virgin and the Child) and Entree et Danse des Bergers (the Shepherds' dance). Each of these parts describes a part of theChristmas story, starting with the Flute and the Bassoon in a duet, followed by the entrance of the Harp to settle the first part. The second section is quieter, expressing the walk in the desert. The Virgin and the Child is like a lullaby and the piece finishes on a joyful dance to express happiness and devotion. Andre Jolivet is a French composer who was really inspired by the Antiquity, and had a strong interest for atonality. He also wrote many chamber music pieces, eleven concertos, some orchestral and some vocal music./ Répertoire / Flûte Traversière Basson et Harpe

Octet in F major Op.post.166 D 803 for Clarinet (in B-flat) Bassoon Horn Violin (2) Viola Violincello Double Bass?I have done little new by way of lieder. In compensation I have tried my hand at several instrumental things for I have composed two quartets for Violins Viola and Violincello [A minor D 804; D minor D 810] and an octet [F major D 803] and will write yet another quartet [not carried out]. Indeed in this way I hope to prepare the way to the full-scale symphony. The latest news in Vienna is that Beethoven will give a concert [on 7 May 1824] ...I too am inclined to give a similar concert next Year God willing.?ThusSchubert writing on 31 March 1824 to his friend Leopold Kupelwieser in Rome in a lengthy letter whose first section is decidedly low-spirited. In order to prepare the way to the full-scale symphony by which he doubtless meant the genre as a whole rather than any specific work he wrote string quartets and a large-scale piece of chamber music for strings and winds taking Beethoven as his guide.Urtext of the New Schubert EditionParts (BA5617) and study score format 22.5 x 16.5cm (TP302) available for sale

About Violoncello ConcertoUrtext der Haydn-Gesamtausgabe. By Franz Joseph Haydn. Edited by Sonja Gerlach. For Cello Solo oboe (2) bassoon ad lib. horn (2) strings. Score; Urtext Edition. Hob. VIIb:2. Duration 22'. Published by Baerenreiter-Ausgaben (German import). (BA4675) ISBN M006501915.

Flute, Oboe, Clarinet and Bassoon. Par HAENDEL GEORG FRIEDRICH. / Répertoire / Quatuor à Vents

Antonio Vivaldi's Concerto In D Major RV 95 for Treble Recorder Oboe Violin Bassoon and Continuo. Edited by Gottfried Bach and Nikolaus Delius. Score and parts.

Haydn’s Concerto for Violoncello and Orchestra in C major (Hob. VIIb:1) was probably composed between 1762 and 1765 when he was already director of music to Prince Esterh zy. It may have been writtenfor the cellist in the court Orchestra Joseph Weigl (1740-1820) for whom Haydn most likely also wrote the solo Cello parts in his early symphonies. Weigl was a member of the Esterh zy ensemble from 1761 to 1769 andthereafter served as a principle cellist in various Viennese ensembles.The concerto was rediscovered by Oldrich Pulkert who in 1961 found an eighteenth-century manuscript copy (Prag National Museum Fonds Radenin) andpublished the concerto in 1962. Previously the existence of this piece was known only through Haydn’s entry in his private list of works (the so-called ‘Entwurf’ [‘draft’] catalogue).The Orchestral setting ismodest: besides the Strings (with a non-obligato Bassoon doubling the Bass part) there are two Oboes and two Horns which are reserved almost exclusively for the tutti passages.This Piano reduction is based on the text givenin the complete edition of Haydn’s works as edited by the Joseph Haydn Institute Cologne (Joseph Haydn Werke Series III Vol.2 with Preface and Critical Report published by G. Henle Verlag Munich 1981). The Cello partin the Piano reduction is identical to that of the complete edition and thus follows the Prague source as closely as possible even in the expression marks and in certain peculiarities of notation.