Gotowa bibliografia na temat „Bassoon Concerto”

Recent studies of bassoon music in twentieth-century Russia have unearthed a rich trove of previously little-known repertoire. Despite the abundance of original Russian bassoon music, little of it approaches the sophistication of the bassoon writing within the late nineteenth- and early twentieth-century Russian symphonic tradition. One work which does come close to equaling those aesthetic standards is Lev Knipper’s Concerto for Bassoon and String Orchestra (1970), which confronts the bassoonist with far greater expressive and technical demands than previous Russian solo bassoon works. In order to facilitate this concerto’s incorporation into the standard bassoon repertoire, the present study has produced the first-available critical edition of the score, piano reduction and solo bassoon part to this concerto. The edition is framed by a concise biography of the composer, including an overview of his various compositional style periods, historical background on the concerto itself and an assessment of its musical contents.

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.

The Concerto for Bassoon by Andrzej Panufnik is a valuable addition to bassoon literature. It provides a rare opportunity for the bassoon soloist to perform a piece which is strongly programmatic. The purpose of this document is to examine the historical and theoretical context of the Concerto for Bassoon with special emphasis drawn to Panufnik's understanding of religion in connection with Polish national identity and the national struggle for democratic independence galvanized by the murder of Father Jerzy Popieluszko in 1984. Panufnik's relationship with the Polish communist regime, both prior to and after his 1954 defection to England, is explored at length. Each of these aspects informed Panufnik's compositional approach and the expressive qualities inherent in the Concerto for Bassoon. The Concerto for Bassoon was commissioned by the Polanki Society of Milwaukee, Wisconsin and was premiered by the Milwaukee Chamber Players, with Robert Thompson as the soloist. While Panufnik intended the piece to serve as a protest against the repression of the Soviet government in Poland, the U. S. context of the commission and premiere is also examined. Additionally, the original manuscript and subsequent piano reduction are compared. Although the Concerto for Bassoon has been subject to formal analysis by several scholars, discussion of the piece is generally contained within a larger discussion of several other compositions, and a comprehensive analysis of the piece has not yet been presented. This document contains a thorough formal analysis of all movements, as well as analysis of Panufnik's compositional style within the context of serialism, postmodernism, and the new Polish school of composition. The Concerto fro Bassoon features several devices common to Panufnik's larger opus, including the se of a common three-note cell, strong contrasts between section and movements, and symmetrical patterns of transposition, metric alteration, dynamic alteration, and registral expansion.

Mozart's Concerto for Bassoon, K. 191 has long been an important part of the Classical era bassoon repertory. Few composers of the Classical period wrote for the bassoon as a solo instrument, and even fewer still paired it with an orchestral backing. K. 191 not only is unique within the bassoon repertory, but also stands out in the compositional career of Mozart as being his first completed wind concerto, composed at the age of eighteen. Mozart did not write cadenzas for K. 191; therefore a large part of the performance itself is untouched by Mozart's hand. Depending on personal (or teacher) preference, the performer may write an original cadenza for the performance or use an existing cadenza written by a well-known bassoonist or composer. In either case, the cadenza is removed stylistically from Mozart and almost always removed from the Classical period. While there are many guides on how to write a cadenza in the Classical style, there are none specific to the bassoon and its capabilities, strengths, or weaknesses during this period. Also lacking is an informational resource that critiques cadenzas on how they adhere to or stray from Classical performance practice, and more specifically to the performance abilities of the bassoon. A document that analyzes the abilities of the Classical era bassoon would be a useful guide in an era where accurate performance practice is increasingly sought after, even expected, in live performance.

Thesis (D.M.A.)--University of North Texas, 2004.<br>Accompanied by 5 recitals, recorded Feb. 26, 2001, Nov. 12, 2001, Aug. 8, 2002, July 21, 2003, and Oct. 27, 2003. Includes bibliographical references and discography (p. 40-46).

The grouping of these four compositions is intended to create a balanced portfolio, illustrating the management of a variety of forms, media and compositional problems. The submission divides into two parts: Part I - The Compositions: (i) <I>Pezzo Concertante</I> A single-movement orchestral piece for double woodwind; 4 horns; 3 trumpets; 3 trombones; tuba; timpani; 4 percussionists; harp; strings. Duration c 11' This piece is a single-movement structure, compact and complete in itself, with some display elements for each section of the orchestra. It aims to provide both an interesting challenge for professional orchestral players and a strong and direct audience appeal. (ii) Concerto for Bassoon and Chamber Orchestra. In addition to the solo part it is scored for flute; clarinet; oboe; 2 horns; trumpet; trombone; strings. Duration c 15' This work plays continuously but is subdivisible into five sections of which the first three are virtually separate movements. It is designed to have an almost chamber-musical intimacy, while at the same time giving the soloist an opportunity to display many of the possibilities of the instrument. (iii) <I>Sea Gods</I> This is a setting for 8-part choir of a poem by H.D. (Hilda Doolittle). Duration c 7'30'' The setting was planned for a professional choir of not fewer than 16 singers, but could be very effective sung by a large chorus. It attempts to match the vivid imagery and intense feeling of H.D.'s powerful poem. (iv) <I>Improvisation</I> for Wind Quintet A single-movement work. Duration c 5' This short piece was written in 1991 for the Albany Wind Quintet who gave its first performance. Part II - The Notes: These explain some of the motivations and aims which inspired each piece. A short description of each work is given, together with a brief account of some of the underlying compositional techniques and considerations.

John Williams är att betrakta som en av giganterna inom den amerikanska filmmusikkompositionen. Förutom filmmusik så har han komponerat ett flertal beställda solokonserter för betydande instrumentalister och orkestrar, däribland The Five Sacred Trees för fagott och symfoniorkester som är skriven för New York Philharmonics 150-års jubileum och denna orkesters solofagottist Judith LeClair. I detta examensarbete analyseras de första två satserna från ett motiviskt, strukturellt och i viss mån harmoniskt perspektiv, samt genomgås hur det kan påverka instuderingsprocessen och författarens interpretatoriska val. Referensmaterialet som används är främst en pianoreduktion av stycket, samt en doktorsavhandling gällande styckets pedagogiska användningsområden av John Michael Lopinto från 2004. Slutsatser efter analysen inkluderar bland annat att de två satserna i stora drag kontrasterar varandra, att konserten innehåller så pass många olika klangkaraktärer att det krävs extra arbete från solistens sida för att kunna framföra denna med endast piano, samt att John Williams kontinuerligt utvecklar motiv från tidigare verk och inkorporerar dem i konserten och har fortsatt att arbeta på detta vis även efter tillkomsten av denna konsert. Min förhoppning är att det här arbetet ökar min egen och omvärldens insikter om denna konsert, och ökar sannolikheten för att detta verk framförs i större utsträckning i framtiden.<br><p>John Williams fagottkonsert, sats 1-2.</p><p>Medverkande: Gabriella Varga Karlsson, fagott</p><p>Georg Öquist, piano</p><p></p><p></p><p></p>