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Relevant bibliographies by topics / Bassoon music

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Academic literature on the topic 'Bassoon music'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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Journal articles on the topic "Bassoon music"

1

O'Loughlin, Niall. "Bassoon." Musical Times 126, no. 1711 (September 1985): 542. http://dx.doi.org/10.2307/964473.

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O'Loughlin, Niall. "Bassoon." Musical Times 129, no. 1742 (April 1988): 193. http://dx.doi.org/10.2307/965322.

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Pastukhov, Oleksandr. "Bassoon in the 16–17 centuries: the issues of the bassoon practice development." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 139–50. http://dx.doi.org/10.34064/khnum2-19.08.

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Background. The article deals with the interaction of the constructive evolution of the instrument and the development of bassoon performing of the 16–17 centuries. The aesthetics of that time was associated with the search for new expressive means, realization of which could be ensured by new instruments with rich and expressive sound. One of such instruments is bassoon; it was during the Baroque era when the bassoon took its shape and the sound image we know today. Thanks to technical evolution, the instrument acquired new artistic capabilities and new sound quality. A new repertoire was formed; bassoon became the part of such instrumental genres as sonata and concerto, it was firmly fixed in the score of the symphony orchestra. In music science, there are a number of studies devoted to wind instruments, the most significant of which are researches by G. Abadzhyan, V. Apatskiy L. Belenov, V. Berezin, V. Bohdanov, N. Volkov, V. Gromchenko, Yu. Dolzhikov, V. Kachmarchyk, V. Lebedev, V. Popov, I. Pushechnikov, Yu. Usov, and A. Kiziliayev. There are works, which focus on the bassoon, its history, expressive and technical capabilities (G. Abadzhyan, V. Apatskiy, V. Bubnovich, N. Karaulovsky, S. Levin, V. Leonov, V. Popov, V. Starko, Anthony Baines). It is worth noting the rather important and comprehensive work by V. Apatskiy “Bassoon from A to Z”. There are numerous scientific publications of international woodwind performers associations, such as the International Double Reed Society, the Australian double reed community, the British double reed community, the Japan bassoon society, the Finnish double reed community. The purpose of the article is to reveal the specifics of the relationship between the structural improvements of the bassoon and the performance on the bassoon in the period of 16–17 centuries. Achieving this goal will help to perform tasks such as a historical overview of the development of the bassoon in the Baroque era and identify the relationship between constructive changes, artistic possibilities, repertoire potential (including the genre palette of the instrument) and composer work for the bassoon of this period. The presented article is a material used in the candidate’s dissertation, which is devoted to a wide range of issues of performance on the bassoon from the origins to the present. Methodology. The main research methods are historical, organological and performing. The historical method is associated with the characterization of the historical conditions of origin and development of the bassoon; the organological method is necessary to establish the connection between the constructive changes of the instrument with the new quality of its sound; the performing method helps to reveal new tendencies in bassoon performance of the 16–17 centuries from the new repertoire to the functional purpose of the instrument. Research results. Around the middle of the 17th century, fundamental changes occurred in the construction of the bassoon. They were caused by the need to regulate the overall tuning system of the instrument in such a way that it could participate in joint music-making with other instruments, as well as by the desire to make the instrument more portable. At the turn of the 16–17 centuries, in the process of bassoon chromatization as the result of complication of composer creativity, fundamental changes were made in the design of the instrument: new “chromatic” holes and valves, as well as fork fingering appeared. It was all connected with the formation of certain musical and aesthetic needs and developed along with them. So, the evolution of the bassoon 16–17 centuries led to such qualitative changes in the sound of the instrument as: softness of the tone, pitch control, expansion of the working range, great power of sound, ease of playing the instrument. The above-mentioned factors entailed fundamental changes in the composers’ attitude towards the instrument. The bassoon enters a more complex functional level in the works of various music genres (interlude to the comedy “La Pellegrina” by Girolamo Bargalia, “Sacrae symphoniae” by Giovanni Gabrieli, “Messa a 4 voci et Salmi” by C. Monteverdi, “Fantasy for basso continuo” by Bartolome deSelma-i-Salaverde, sonata “Lamonica” by PhilipFriedrich Bodekher, nine sonatas for solo bassoon and basso continuo by Giovanni Antonio Bertoli, sonata for two bassoons by Philipp Friedrich Buchner, opera “Il pomo d’oro” by Antonio Cesti, singspiel “Seelewig” by Sigmund Theophil Staden). The role of Antonio Vivaldi in the formation of the concerto, including concerto for bassoon, is difficult to overestimate, and thirty-nine Vivaldi’s concertos for bassoon are evidence of that. The creative work of Antonio Vivaldi affected Johann Sebastian Bach, who wrote bassoon parts in his works of different genres. George Philippe Telemann, Bach’s contemporary, is known for a large number of pieces with bassoon parts. Conclusions. Constructive changes resulted in the arrival of the bassoon to a new timbre, figurative-intonational, genre, and performance level. Meanwhile, there is a linear rather than reciprocal relationship between the above-mentioned levels. On the one hand, there is a direct dependence in the evolution of bassoon performance: new constructive features – technical capabilities of the instrument – more individual timbre character – new expressive possibilities – solo parts – solo pieces. On the other hand, all this creates new requirements both for the performer and for the instrument, which brings the situation back to the need for further search. The results of this research can be used in further studies devoted to the history and theory of bassoon performance in the historical, organological and genre-stylistic directions.

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O'Loughlin, Niall. "Modern Bassoon." Musical Times 129, no. 1744 (June 1988): 307. http://dx.doi.org/10.2307/964894.

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O'Loughlin, Niall. "Modern Bassoon." Musical Times 127, no. 1720 (July 1986): 395. http://dx.doi.org/10.2307/965259.

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O'Loughlin, Niall, and Kristine Klopfenstein Fletcher. "French Bassoon." Musical Times 129, no. 1750 (December 1988): 669. http://dx.doi.org/10.2307/966664.

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Nechesnyi, Ihor. "Formation of Basson Classes at the Paris Conservatory." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 3(60) (September 27, 2023): 98–111. http://dx.doi.org/10.31318/2414-052x.3(60).2023.296802.

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The object of the study was the origins and initial period of the formation of bassoon classes at the Paris Conservatory. The author analyzed the early stages of the training process involved in the French bassoon school. The role of maîtrise and military bands in the instruction of bassoon performers before the beginning of the revolutionary events in 1789 was revealed. The study exposed the influence of the church music-educational system on the professionalization of secular instrumental and vocal performance, as well as its importance in the creative development of prominent French bassoonists who were formed in the second half of the 18th and early 19th centuries. The author investigated the essence of the ideological and political factors of the French Revolution in the creation of a new democratic system that began to exist in professional musical education, which guaranteed its accessibility to the general population and free education on a competitive basis. The article provides a chronology of the beginning and development of bassoon classes on the path of professionalization of performance on wind instruments at the National Guard Music School, the National Institute of Music and the Paris Conservatory. The peculiarities of the implementation of the competitive system of professional training of instrumentalists, as well as the formation of didactic materials to ensure the educational process at the Paris Conservatory became the basis for further artistic education. This fact was carefully analyzed and became the basis for the conclusions of the article. The innovative guide of E. Ozi "School of Playing the Bassoon", was regarded as one of the first complete instructional materials for the bassoon. It was officially approved as a study guide for mastering the instrument, became a powerful impetus for the development of the conservatory students’ performance skills. The author emphasized and defined the role of E. Ozi in the creation of bassoon classes at the Paris Conservatory, as well as in the founding of the French performing school. It has been proven that an important factor in the development of French bassoon performance in the second half of the 18th century was the inclusion of the bassoon in the training programs of metris and its use in church ensembles to accompany choral singing during divine services

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Gbur, Bruce, and David DeBolt. "Bassoon Music of 20th-Century America." American Music 18, no. 1 (2000): 116. http://dx.doi.org/10.2307/3052397.

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Schillinger, Christin. "Repertory and the historic bassoon." Early Music 46, no. 3 (August 2018): 534–35. http://dx.doi.org/10.1093/em/cay059.

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Yakovchuk, N. "“Little Trio” for clarinet, bassoon and piano." Musical art in the educological discourse, no. 3 (2018): 75–79. http://dx.doi.org/10.28925/2518-766x.2018.3.7579.

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The chamber-instrumental ensemble music in the Ukrainian musical culture of the last third of the 20th and the beginning of the 21st centuries occupies one of the leading places and is characterized by powerful processes in its development. Such circumstances caused the Ukrainian musicologist interests to the problems of chamber-instrumental music creativity and performance. There are appeared researches in the field of theory, history and performance problems covering the most important questions like chamber music definitions, specific genre issues, the growing function of piano in the Ukrainian chamber music, the increasing questions of technique and timbre importance of modern instrumental ensembles. In the significant multifaceted creative work of contemporary Ukrainian composer, Oleksandr Yakovchuk, the genre of chamber instrumental ensemble music represents a complex and interesting phenomenon. Original and skillfully written compositions reflect artistic world of the composer of postmodern time and gained recognition in music life of Ukraine and beyond. These works are highly appreciated in performing practice of our days. The purpose of the article is to analyze the work — “Little Trio” for clarinet, bassoon and piano (1980), which has the signs of neoclassical tendency in the composer’s style. The methodological basis of this research is a comprehensive approach in theoretical understanding of the subject of research (the methods of textology, source study as well as the method of interviewing the author were used). The scientific novelty of this article is in the priority of its main provisions, since the “Little Trio” entered the scientific circulation for the first time. The three-movement “Little Trio” (1980) is notable for the light feeling of timbre colours and the shape clarity. The Ist movement — Allegretto giocoso — is written in a sonata form following all classical traditions. Quite interesting are the two monologues of clarinet and bassoon from the IInd movement, they represent very modern line in Ukrainian chamber music — the possibility of sincere confession which comes through the solo cadence. In the IIIrd movement, the composer took advantage from the folk Ukrainian dance “hopak” using the rhythm of it and creating dance character of the Final.

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Dissertations / Theses on the topic "Bassoon music"

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Worzbyt, Jason. "Music for solo bassoon and bassoon quartet by Pulitzer Prize winners a guide to performance /." connect to online resource. Access restricted to the University of North Texas campus, 2002. http://www.library.unt.edu/theses/open/20021/worzbyt%5Fjason/index.htm.

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Buys, Brenda Willer, and Brenda Willer Buys. "The Bassoon Music of Libby Larsen." Diss., The University of Arizona, 2017. http://hdl.handle.net/10150/625881.

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Libby Larsen has written three pieces for the bassoon as a featured solo instrument. These pieces are Jazz Variations for Solo Bassoon (1977), Concert Piece for Bassoon and Piano (2008) and full moon in the city (2013). This document examines the origin, style, and form of these works to provide performers further information. Highlighted is Larsen's use of American vernacular elements in the pieces. American vernacular in this document refers to the use of influences derived from American culture, music, and language.

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Worzbyt, Jason Walter. "Music for Solo Bassoon and Bassoon Quartet by Pulitzer Prize Winners: A Guide to Performance." Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3073/.

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The Pulitzer Prize in Music has been associated with excellence in American composition since 1943, when it first honored William Schuman for his Secular Cantata No. 2: A Free Song. In the years that followed, this award has recognized America's most eminent composers, placing many of their works in the standard orchestral, chamber and solo repertoire. Aaron Copland, Samuel Barber, Walter Piston and Elliott Carter are but a few of the composers who have been honored by this most prestigious award. Several of these Pulitzer Prize-winning composers have made significant contributions to the solo and chamber music repertories of the bassoon, an instrument that had a limited repertoire until the beginning of the twentieth century. The purpose of this project is to draw attention to the fact that America's most honored composers have enlarged and enriched the repertoire of the solo bassoon and bassoon quartet. The works that will be discussed in this document include: Quartettino for Four Bassoons (1939) - William Schuman, Three Inventions for Solo Bassoon (1962) - George Perle, Canzonetta (1962) - John Harbison, Metamorphoses for Bassoon Solo (1991) - Leslie Bassett and “How like pellucid statues, Daddy. Or like a . . . an engine” (1994) - John Corigliano. Each chapter will include a brief biography of the composer, a historical perspective of where that composition lies in relation to their other works, background information about the work, a formal analysis and suggestions for performance.

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Jordan, Robert D. "Scale, arpeggio, and interval studies for the bassoon /." The Ohio State University, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=osu1486397841220445.

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Masone, Jolene. "The Contemporary Bassoonist: Music for Interactive Electroacoustics and Bassoon." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849603/.

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As the bassoon has evolved over time, the music written for the instrument has evolved around it, and was many times the catalyst for its evolution. Bassoon music of the seventeenth through early twentieth centuries has defined much of the curricula for bassoon studies, and has established how we consider and experience the bassoon. We experience, write, and consume music in vastly different ways than just a generation ago. Humans use technology for the most basic of tasks. Composers are using the technology of our generation to compose music that is a reflection of our time. This is a significant aspect of art music today, and bassoonists are barely participating in the creation of this new repertoire. Performance practice often considers only the musical score; interactive electronic music regularly goes beyond that. The combination of technological challenges and inexperience can make approaching electroacoustic music a daunting and inaccessible type of music for bassoonists. These issues require a different language to the performance practice: one that addresses music, amplification, computer software, hardware, the collaboration between performer and technology, and often the performer and composer. The author discusses problems that performers face when rehearsing and performing interactive electroacoustic works for bassoon, and offers some solutions.

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Garduno-Albo, Jessica Esther. "The American Bassoon School: 1900-1950." University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin14810318748756.

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Bell, Ian A. "African-American Bassoonists and Their Representation within the Classical Music Environment." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555519921599826.

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Stomberg, Eric Wolf. "The Bassoon Sonatas of Victor Bruns: An Analytical and Performance Perspective (With an Annotated Bibliography of Works for Bassoon)." University of Cincinnati / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1085628883.

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Wilson, Jacqueline May. "The Concerto for Bassoon and Low Strings by Sofia Gubaidulina: a performance guide." Diss., University of Iowa, 2011. https://ir.uiowa.edu/etd/1109.

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When Bruno Bartolozzi published his revolutionary treatise New Sounds for Woodwind in 1968, composers worldwide were inspired to create new compositions which incorporated the use extended techniques. Since, extended techniques have become an inevitable requirement of the contemporary performer, becoming more and more common place as time has progressed. However, it seems that Bartolozzi's original complaint and call for change regarding the general pedagogical reluctance to incorporate these techniques into a standard woodwind, or more specifically bassoon, curriculum has been met with continued resistance over the past 42 years. Too often, performers learn extended techniques only when and if they are required to perform them, resulting in a small number of largely self-taught specialized musicians and a large number of performers deficient in and ignorant of an entire genre of repertoire. Historically, the bassoon has not been overwhelmingly favored by the great composers as a solo instrument, many of whom have preferred to compose concerti and sonatas for the piano, violin or cello, and prefer to focus on the bassoon within the orchestral setting. However, in the post-war era the bassoon has been the recipient of many solo and chamber compositions by extremely celebrated composers such as Luciano Berio (Sequenza XII, 1995), Elliott Carter (Retracing, 2002, Au Quai, 2002), and Sofia Gubaidulina, whose multiple compositions for bassoon have expanded the repertoire significantly. However, bassoonists whose educational experience has lacked exposure to the modern aesthetic will have considerably more difficulty learning these works, should they develop an interest in performing them. Inexperience with executing extended techniques, atonality, and even comprehension of the scores themselves is often an intimidating and overwhelming endeavor for the perspective performer. Though composed a mere 30 years ago, the Concerto for Bassoon and Low Strings by Sofia Gubaidulina has already established itself as an essential part of the solo bassoon repertoire, as illustrated by its illustrious performance history. This work, being both of a large magnitude and composed by a celebrated composer, has been met with great enthusiasm in the bassoon community. Certainly, and perhaps more so than any other work in the solo bassoon repertoire, the Concerto for Bassoon and Low Strings is uniquely rich in its formal and narrative structure. Due in part to the work's unique instrumentation, however, performances of this work are rare and almost entirely on the professional level. It is to the benefit of all advanced bassoonists though, that they be aware of and familiar with this work. When studied at the appropriate level, this score has the potential to provide students with a better understanding of 20th Century music, its stylistic components which include atonality, extended techniques, alternative notation, indeterminacy, and, on a broader level, exposure to a work of great musical sophistication and interpretive value. The challenge, however, lies in the fact that many students have not been exposed to these 20th Century elements thoroughly enough, if at all, to navigate their way through such a demanding work. Additionally, the score contains many ambiguous elements; no program notes are provided, and the key which appears in the preface of the score explains a very limited portion of the non-traditional markings to come. The performer is given little relative guidance. This document will seek to reconcile this deficiency in the form of a manual intended to guide the performer who is largely unfamiliar with or inexperienced in the modern repertoire of the 20th century and the world of extended techniques as they navigate their way through the score. By way of analysis, and performance suggestions this performance guide will endeavor to acquaint prospective performers with the work's unique narrative structure, non-traditional notations and extended techniques in hopes that they might be enthused to embark on educated and interpretive performances of one of the true masterpieces of the solo bassoon repertoire.

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Cannon, Joanne. "Playable ambisonic spatial motion : music performance techniques and mappings for the extended bassoon /." Connect thesis, 2009. http://repository.unimelb.edu.au/10187/7120.

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This research dissertation presents work undertaken to develop new performance techniques and mappings for the expressive control of spatial motion using Ambisonic projection. The dissertation reviews relevant research from the fields of Spatial Sound and Extended Instruments, and establishes playability as a useful set of criteria for a reflexive project methodology and evaluation. This reflexive research systematically investigates Trevor Wishart’s taxonomy of spatial motions through the development of new hardware, software, performance techniques and spatial motion analysis.

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Books on the topic "Bassoon music"

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Koenigsbeck, Bodo. Bassoon bibliography =: Bibliographie du basson = Fagott bibliographie. Monteaux, France: Musica rara, 1994.

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2

Josheff, Peter. Elegy for bassoon. Berkeley, Calif: Fallen Leaf Press, 1986.

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Schneider, Georg Abraham. Three duos for two bassoons. New York: International Music, 1987.

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4

Capanna, Robert. Remembrance: For solo bassoon. Bryn Mawr, Pa: T. Presser, 1991.

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5

Denisov, Ėdison Vasilʹevich. Fünf Etüden für Fagott solo =: Five studies for bassoon solo = Cinq etudes pour basson solo. Leipzig: Deutscher Verlag für Musik, 1986.

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Bassett, Leslie. Metamorphoses: Bassoon solo / Leslie Bassett. New York: C.F. Peters Corp., 1992.

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7

Johnston, Ben. Pursuit: Bassoon and tuba : 1992. [Baltimore]: Smith Publications, 1996.

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8

Larsen, Libby. Jazz variations: For solo bassoon. Boston, Mass: E.C. Schirmer, 1987.

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9

Spencer, William G. The art of bassoon playing. Princeton, N.J: Summy-Birchard, 1986.

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10

Lipori, Daniel G. A researcher's guide to the bassoon. Lewiston, N.Y: E. Mellen Press, 2002.

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Book chapters on the topic "Bassoon music"

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Colwell, Richard J., Michael P. Hewitt, and Mark Fonder. "The Bassoon." In The Teaching of Instrumental Music, 272–88. Fifth edition. | New York ; London : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315619033-20.

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Moosbauer, Bernhard. "Notation und Satzverständnis in Philipp Friedrich Böddeckers Sonate für Violine und Basso Continuo." In Musik in Baden-Württemberg, 159–72. Stuttgart: J.B. Metzler, 2001. http://dx.doi.org/10.1007/978-3-476-02822-8_9.

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Duffek. Jr., Mihály. "Performance and Transcription of Baroque Solo Pieces for Bassoon." In Studies in Music Pedagogy - The Methodological Revitalisation of Music Education. University of Debrecen Faculty of Music, 2020. http://dx.doi.org/10.5434/9789634902263/9.

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This essay examines the sources of the autograph and other copies of two selected solo pieces, J. S. Bach's Cello Suites and Georg Philipp Telemann's Fantasies for Solo Flute used to make a bassoon transcription. Using the special literature on the subject of the Baroque style of playing in general, the articulation, ornamentation, dynamics and tempi of the two pieces were determined. along with the role and playing possibilities of the period bassoon. Aspects of the transcription include: a brief description of the habitual Baroque transcription and its tradition, presentation and evaluation of other bassoon transcriptions of the selected pieces, detailed aspects of the author’s transcription of the articulation, ornaments, dynamics, tempi and breathing. Also discussed are the purpose of the completed transcription, its role in education, and its place in the bassoon repertoire. Keywords: bassoon, solo bassoon, baroque, transcription, Bach, Telemann

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"The Bassoon." In The Teaching of Instrumental Music, 175–90. Routledge, 2015. http://dx.doi.org/10.4324/9781315665016-20.

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"List of Illustrations and Music Examples." In The Bassoon, 9–11. Yale University Press, 2017. http://dx.doi.org/10.12987/9780300183641-001.

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Tilmouth, Michael, David Kimbell, and Roger Savage. "Adolf Busch Variations And Fugue For Small Orchestra On A Theme Of Mozart, Op. 19." In The Classics of Music, 88–92. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198162148.003.0008.

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Abstract This is an earlier work than the set of variations on a Mozart theme by Dr Adolf Busch that was produced at a Reid Concert two years ago.1 The theme is the trio of a minuet [K. 568 No. 5] from one of Mozart’s sets of dances written for the public ballrooms of Vienna. Dr Busch gives it in Mozart’s original scoring-for strings without violas, and with a flute and bassoon taking turns to double each phrase of the melody, varying the repeats with displays of their flea-like agility.

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Toff, Nancy. "Introduction." In The Flute Book, 285–442. Oxford University PressNew York, NY, 1996. http://dx.doi.org/10.1093/oso/9780195105025.003.0018.

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Abstract This catalog emphasizes the finest compositions for flute from each historical era, with considerable attention given to works by flutists. In general, this catalog includes “professional” quality literature; that is, music suitable for public performance. It includes very little purely pedagogical material, though some works, such as Kuhlau chamber music, may be of marginal interest to a general audience. The catalog includes music for piccolo, alto flute, and bass flute as well as for concert C flute. It includes some material originally written for flute choir, but does not include flute ensemble arrangements. (See the Selected Bibliography for other catalogs that do list large ensembles and arrangements.) The list includes both solo literature-accompanied and unaccompanied-and small chamber works. The general criterion for the latter was that the flute be the principal or one of the principal instruments; for this reason, woodwind quartets (flute, oboe, clarinet, and bassoon) and woodwind quintets (flute, oboe, clarinet, bassoon, and horn) are omitted. Very few of the ensemble works require more than five players.

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McCutchan, Ann. "Dan Welcher." In The Muse that Sings, 77–86. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195127072.003.0009.

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Abstract Born and raised in Rochester, New York, Dan Welcher was trained at the Eastman School of Music and the Manhattan School of Music. His composition teachers included Samuel Adler, Warren Benson, and Ludmilla Ulehla. For six years he was principal bassoonist of the Louisville Orchestra, and from 1976 to 1990 he was a member of the artist faculty of the Aspen Music Festival, teaching bassoon and composition. Welcher was composer-in-residence with the Honolulu Symphony Orchestra from 1990 to 1993. He is professor of composition at the University of Texas, where he directs the New Music Ensemble.

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"The Saxophone’s Business in the Band (1949)." In Grainger on Music, edited by Malcolm Gillies, Bruce Clunies Ross, Bronwen Arthur, and David Pear, 356–60. Oxford University PressOxford, 1999. http://dx.doi.org/10.1093/oso/9780198166658.003.0043.

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Abstract Editor’s Note: The world-renowned composer knows all about bands and writes for them. The sax family, he says, is indispensable, but must be balanced and complete. We are told that Adolphe Sax created the saxophones with the definite intention of providing a group of instruments midway in tonal strength between the weaker sonorities of the reeds and the stronger sonorities of the brass. This office the saxophone family most satisfactorily performs—that is to say, as long as the family is complete and tonally well-balanced within itself. It is obvious that if the soprano saxophone is missing, the tone-strength gap between the oboe and the cornet will be unfilled, and that Adolphe Sax’s laudable intention (of providing a delicately gauged transition from weaker to stronger instruments within each register) will be frustrated in the soprano tonal area. Likewise, if the baritone saxophone be missing, the midway tone-strength between the bassoon and the trombone will be lacking and Sax’s subtle scheme brought to thought in the bass tonal area.

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Ritter, Georg Wenzel. "Six Quartets for Bassoon and Strings, Opus 1." In Recent Researches in the Music of the Classical Era, 55. A-R Editions, 1999. http://dx.doi.org/10.31022/c055.

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Conference papers on the topic "Bassoon music"

1

Synofzik, Thomas. "„Würde Sie’s zu sehr ermüden zu begleiten?“ – Clara Schumann als Lied- und Kammermusikpartnerin." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.82.

Full text

Abstract:

80 percent of Clara Schumann‘s playbills in her complete collection of concert programmes (Robert-Schumann-Haus Zwickau) include vocal participation of solo singers, choirs or actors. The question is to which extent Clara Schumann used to accompany these vocal contributions herself on the piano. Only rarely are other accompanists named on the concert playbills, but evidence from concert reviews suggests that these vocal contributions normally served as rests for the solo pianist. Sometimes separate accompanists are named in the concert reviews. In orchestral concerts it was usually the conductor who accompanied solo songs on the piano, not the solo pianist. The Popular Concerts in St. James’s Hall in London were chamber concerts, which had a regular accompanist who was labelled as „conductor“ though there was no orchestra participating. These accompanists sometimes also performed with instrumentalists, e. g. basso continuo music from the 18th century or piano reductions of orchestral concerts.

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