20 Results for : bassoons

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    Easy Duets from Around the World for Bassoons
    Easy Duets from Around the World for Bassoons ab 17.49 € als Taschenbuch: 32 exciting pieces arranged for two players who know all the basics.. Aus dem Bereich: Musik, Noten & Musiktheorie,
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    Woodwind Instruments (eBook, ePUB)
    The care and understanding of an instrument are critical to its sound. This thorough book is therefore aimed at both the interested musician and those embarking on instrument repair as a full-time career. Organized into six parts, it guides the reader from initial diagnostic techniques all the way through to specialist repair instruction. It is packed with over 700 colour illustrations, step-by-step guidance and general advice. It covers clarinets, flutes, saxophones, oboes and bassoons. Written by a leading woodwind technician and teacher, it should be an essential companion in every workshop and be a handy reference for all musicians who want the best from their instruments.
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    Easy Classic Bassoon Duets
    Easy Classic Bassoon Duets ab 16.49 € als Taschenbuch: 25 favourite melodies from the world's greatest composers arranged especially for two bassoons with one very easy part and the other plays the tune.. Aus dem Bereich: Bücher, English, International, Englische Taschenbücher,
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    Feuerwerksmusik
    New College Choir Oxford // "This recording recreates the scale of [the] original outdoor performance with 24 oboes, nine each of horns and trumpets, a dozen bassoons, and a mighty percussion of four pairs of timpani including a unique pair of extra-large 'double drums' and four side-drummers. The effect is shattering, the clearest justification for 'authenticity' in performance" (BBC Music Magazine Top 1000 CDs Guide)
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    ...And Kristin Wolfe Jensen: UT Bassoons in Collaboration
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    Symphony No. 1 & Other Works
    Alexander Negerevich began writing Symphony No. 1 in September 2007 at his home in Stanthorpe, Queensland, Australia and completed the four movement work after a prolonged illness in late 2008. The four-movement work aims at exploring the relationship between tonal and dissonant harmonic structures. The tonal elements of the Symphony contrast against the dissonant subject material, creating an almost 'love-hate' relationship. The First Movement (Moderato) begins with a melancholic theme doubled by oboes and trumpets. It is accompanied by underlying semiquaver woodwind passages that give way to brass and string flourishes. After a brief pause in the strings and horns, a short rhythmic figure is announced by the first trumpet and mimicked by other brass and woodwind instruments. This motif is explored and soon joined by slow ascending and descending glissandos in the upper strings, followed by horns. This is accompanied by similar glissandos in the lower strings. English horn and oboe then follow with brief lyrical melodies that give way to a new subject announced by the 1st and 2nd Violins. A triplet motif hovering on the same pitch appears above the strings and leads to an echo-like figure punctuated by the brass. Another detached three note rhythm is played by the 2nd horns and copied by various Wind and Brass instruments which leads into a crescendo chord with an underlying timpani roll that announces the Allegro Vivace. A change of key signature at this point, introduces dramatic string passages that are interplayed between Woodwind and Brass flourishes. After some jostling between parts a small fugue develops between opposing String voicing that eventually lead to a high pitched 4 note semitone cluster that is soon released by another new String triplet motif which soon leads to a brief Moderato section where the 1st Oboe nonchalantly remembers the opening theme of the Symphony. Immediately, the Allegro Vivace is then re-introduced and hurries towards a dramatic finale, with Timpani hammering along in high gear. With virtually no pause the Symphony progresses into the second movement (Adagio) by a long held sustained note introduced in the bass clarinet. Immediately, a five note bird-like motif, which is developed throughout this entire movement, is announced by the English horn. With continuous obstinacy this motif is re-introduced many times by different instruments. A second melodic motif is played by the Clarinet with a same pitch triplet that often is interrupted by minor second clashes in the background, that again argue between consonance and dissonance. The movement progresses to a second dramatic flourish which finally gives way to a receding minor fifth fall in the strings followed by a small bass clarinet solo which dies away completely to nothing. The Third Movement (Moderato) is introduced by a chord shared between woodwind and strings that quickly leads to a chorale style Brass passage. Each individual String part then announces a Canon-type motif, played in a minor key which bears the sound of "burgeoning optimism". When the lower strings finally take up the minor-theme, short triplet motifs are sounded by Flutes, Bassoons and Clarinets that lead to a long held Contra Bassoon and Timpani pause which introduces a delicate String tremolo section. After a "softly treading" pizzicato figure in the strings that accompanies French Horn solos, the Brass announce a new melodic figure which is expanded by all sections of the orchestra. An urgent crescendo leads to a loud spine-tingling climax within the movement. Lower Woodwind and Brass then develop a rousing Fortississimo, which drops in tension to a Flute flourish and English Horn solo. Finally the strings play a series of chords that are accompanied by Flutes and Horns which mimic the earlier pizzicato of the Strings. The fourth movement Allegro Moderato begins with an "urgent", "pressing" motif announced by Horns and Trombones whilst Timpani rolls thunder underneath. Wind and Brass announce short thematic motifs that are strongly accompanied by rapid broken chord passages within the Strings. A two-bar Timpani solo leads into a slowly expanding crescendo, of small semiquaver motifs, played by the Strings to a huge climax. Towards the conclusion of the movement a slower tempo change occurs heralded by a long Bassoon note which is joined by a small Bass Clarinet solo, reminding the listener of the second movement thematic material. Gradually the musical focus changes into a punctuated dotted rhythm with rising triplet flourishes that culminate in a dynamic ending. The Lament on Shattered Lives was composed in 2007. It reflects the tragedy of daily life for innocent Iraqi citizens going about their daily business in the unstable environment post Saddam Hussein. Influenced by the daily news reports filtered through the worldwide media, the Lament depicts the atrocities committed by terrorists and extremists, bent on causing mayhem and destruction. Upon listening to one such news report, telling of the deaths of more than fifty people killed by a senseless act of destruction, the composition aims at reflecting the belief that no religion can condone the death of innocents for any reason, nor can any human justification be given for such barbarism. The Lament is composed for String Orchestra alone. Cellos introduce a melancholy five bar melody which gradually is taken up by each section playing the same theme. The work then moves into a forceful passage of suspensions. After a climax of repeated notes, the tension is released and then interrupted by a surge of dissonance that depicts the peace of daily life being forever interrupted by shattering explosions. Another tonal cluster with each section appears in two bar intervals and grows in intensity into a frenzied rhythmic attack. This climax unwinds into a fading, but ominous sounding duet between the cello and double bass sections. New thematic material emerges in the middle section, with the theme being enveloped by tremolo and counter melodies. After a second round of dissonant triplets, the original theme returns in a new key and fades to a peaceful ending. The Manhattan Requiem was composed on the very day American citizens and the world witnessed the tragedy of September 11th, 2001. The composition is a tribute to those Americans and individuals of different nationalities who lost their lives as a result of the terrorist attacks that occurred. The composition was originally conceived and written for Piano Quartet, but was subsequently reworked one year later for full String Orchestra with timpani in an expanded form. The work depicts the horror and tragedy of the day through long, drawn-out chord clusters with suspensions. The unison movement of the work portrays a chorale structure, reminiscent of a hymn. The work concludes with layered sections building towards a climax.
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    Music of Russian Composers
    Piano Synergy Duo. Husband-and-wife team Ruslan Sviridov and Irina Khovanskaya created the Piano Synergy Duo in 1996. Using their unique musical potential, the duo designs concert programs in which they perform together as well as individually. The results have been a constantly heavy demand and continuing success. For the past 14 years, the duo has toured extensively throughout Russia, Europe, and the Unites States. Now, for the first time, listeners have an opportunity to hear them on a CD. Irina Khovanskaya was born to a musician's family in Russia's Moscow Region in 1972. She began piano lessons at age 4 and gave her first recital about two years later in Kiev. Ten years of formal musical training followed at the Moscow Central Special Music College, during which time she also concertized extensively as a recitalist and with orchestras. Several of these events took place at the Moscow Conservatory's Small Hall, but she also played as far afield as the Russian Space Center (Moscow Region) and on USSR TV. Receiving a Bachelor's Degree in 1990, Khovanskaya's studies and performing career continued as she entered the Moscow State Tchaikovsky Conservatory, where her teacher was Victor Merzhanov. Now her performances become international. Besides appearances with the Moscow Symphony Orchestra and in many Russian cities, she performed in Zurich, Munich, Brussels, and Warsaw. Contests in Russia, Germany, and Belgium were capped by Khovanskaya's winning First Prize in the Texas Steinway Society Piano Competition in Dallas, Texas in 1999. With her Conservatory Diploma (1996) and post-graduate work behind her, Dr. Khovanskaya now resides in San Antonio, Texas. In addition to performance engagements, she teaches piano at the University of the Incarnate Word and adjudicates in piano competitions. Ruslan Sviridov was born in 1973 in Tambov, Russia. He began to study music at age 7 and gave his first public performance at the age of 8. His years of study at the Tambov Music School and later at the Rachmaninov Music College in Tambov were marked by many competition triumphs and literally hundreds of concerts and recitals throughout Russia's Central Region. First prizes came from the Tchaikovsky Regional Piano Contest (1989), the Bartok Regional Contest (1989), and the Kabalevsky Regional Competition for Young Pianists (1990), to name only a few. Sviridov went on to enter the Moscow State Conservatory, studying with Victor Merzhanov. Concerts and competitions continued, now at a higher level. He played with symphony orchestras in several Russian cities, including Moscow, Ulyanovsk, and Tambov, and at the Glinka Music Festival in Smolensk. During 1994-96, he took Grand Prize or First Prize (or both) or a Special Jury Prize at competitions in Italy at Tortona, Alassio, San Bartolomeo al Mare, and Caltanissetta, Sicily. His first U.S. triumph was a Special Jury Prize in Kingsville, Texas (1995). In addition to an international list of recitals, Sviridov's career is distinguished by a substantial body of television tapes and live appearances, starting in Russia and extending through Italy, Switzerland, Portugal, and the United States (NBC). During his studies in Moscow, culminating in a Doctoral Degree (1998), he taught piano and music theory. Leaving Russia in 1998, Dr. Sviridov again picked up his teaching activity in San Antonio, Texas, also his base for concertizing and contest adjudication. ______________________________________________________________________________________________ Tchaikovsky, The Nutcracker Suite As charming and entertaining as The Nutcracker ballet turned out, one would hardly imagine that Peter I. Tchaikovsky (1840-1893) did not care much for the score himself. The composer had been a little reluctant to compose this music on a subject that was prescribed for him and for which the choreographer had given him an over-detailed scenario. He completed the score in 1891, and some months before the premiere of the full ballet the following year he extracted a concert suite. The scenario of The Nutcracker ballet was taken from a story by E.T.A. Hoffmann as adapted by Alexander Dumas, Sr. It has to do with Clara, a young girl who receives a grotesque looking nutcracker for Christmas, only to have it magically transformed into a prince who carries her off on fantastic adventures. The movements of the Suite do not follow the progress of the story exactly, but are ordered to form a good musical sequence. The "March" has a toy quality, reminding us that the only military operations that Clara witnesses are imaginary ones between mice and gingerbread soldiers. The "Dance of the Sugar- Plum Fairy " was composed originally for the celesta, a bell-like keyboard instrument that personifies this character perfectly. This was the first time a composer had written for the instrument. In the second act of The Nutcracker, Clara and her Nutcracker are treated to an international divertissement of dances at the court of the Sugar-Plum Fairy. One part of this is the "Trepak," a wild Russian dance and one of the nationalistic elements in the ballet. More exotic is the Chinese "Dance of the Reed Flutes," originally featuring shrill flutes and piccolos and mumbling bassoons. When we think of waltzes, we usually think of Johann Strauss. But Tchaikovsky was also one of the great waltz composers of his century. Waltzes from Eugene Onegin and the Serenade for Strings bear witness. The "Waltz of the Flowers" is the finale to The Nutcracker Suite and one of the most graceful movements ever penned by Tchaikovsky. Stravinsky, Five Easy Pieces for Piano Duet The years of World War I (1914-1918) were years of small pieces for Igor Stravinsky (1882-1971). Self-sequestered in Switzerland for most of the duration, the composer found few opportunities for performances or publication. Stravinsky occupied himself chiefly with small- scale stage works, songs, and short instrumental pieces. At that time, his oldest children, Theodore and Mika, had become good enough pianists for him to write music for each of them to play with their father. So originated the series of Five Easy Pieces for piano duet. The child's part was usually a melody played in octaves, while the father's part filled out the texture and contained any complicated passage work. Stravinsky later orchestrated four of the duets to produce his Suite No. 1 for small orchestra. Stravinsky's musical sense of humor is, of course, famous. In these miniature character pieces, we can hear the same wry satire that charms us in much of his other music from this period. The Five Easy Pieces touch on various "national" musical characteristics. Following a relatively serious "Andante" comes an "Española" composed after a trip to Spain in 1916. The "Balalaika" celebrates the Russian folk instrument. "Napolitana" was another travel souvenir, this time to Naples in 1917. The concluding "Galop" is a spoof on the archetypical endings of French ballets of the 19th century. It's high spirits and satirical jabs sum up the flavor of the Five Easy Pieces. Rachmaninov, Six Pieces for Piano Duet, Op. 11 Like his mentor Tchaikovsky, Sergei Rachmaninov (1873-1943) did not enjoy teaching. He did so only when he needed money. Rachmaninov found himself in that financial position in 1893, the year Tchaikovsky died. Taking on more private lessons, he also taught music theory at a girls' academy. Rachmaninov's publisher, knowing his need and also knowing the market for his piano music, convinced him to write something for piano four-hands. The result was the Six Pieces for Piano Duet published in 1894, which turned out to be the longest work Rachmaninov ever created for piano duet. The movements are "character" pieces in the best romantic salon tradition, and they contrast with one another effectively. The opening "Barcarolle" floats along on the undulating lilt of a gondola song, yet Rachmaninov infuses it with his own characteristic melancholy. Cas
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    Oh Joy! Oh Rapture!
    Oh, Joy! Oh, Rapture! New York Gilbert & Sullivan Players Albert Bergeret, conductor and music director 'Hail, hail, the gang's all here!' What better way to begin this sampling of our company's enthusiasm for G&S than with the original chorus from Pirates of Penzance whose melody was later borrowed for those familiar words? With cat-like tread TRACK 1 The Mikado the most popular of the G&S collaborations and only nominally Japanese, is one of several works for which Gilbert chose an exotic setting as a thin disguise for the English society of which he was making fun. Even Nanki-Poo's famed catalogue of song includes only standard English offerings, sentimental parlour ballads, martial music, and sea chanteys! A wand'ring minstrel I TRACK 2 Comes a train of little ladies TRACK 3 Three little maids from school TRACK 4 A more humane Mikado TRACK 5 Patience spoofs the Aesthetic movement (Whistler, Oscar Wilde) but, more broadly, the excesses of any fad or cult and it's mindless followers. In this piece, one of the idols gives a 'how to' recipe for posing successfully as a cult icon. Am I alone and unobserved? TRACK 6 H.M.S. Pinafore the 2nd full-length G&S collaboration (1878), is only half as long as The Mikado (1885). While later works became more subtle, complex, and elaborate, Pinafore has a palette of bright primary colors and needs no apology for it's relative simplicity, it is a model of brevity and clarity, and estabished the pattern of Gilbert's witty poking of fun at social and individual human foibles, perfectly set off by Sullivan's music. The more pretentious Titanic sank, but this saucy ship has proven virtually indestructible. Our selections are the pieces with which the characters introduce themselves. I am the Captain of the Pinafore TRACK 7 I'm called Little Buttercup TRACK 8 I am the monarch.. When I was a lad TRACK 9 The Yeomen of the Guard is the most 'operatic' of the Gilbet & Sullivan works, full of rich texture and subtle color. Sullivan's stirring overture is one of his finest orchestral settings. In the first chorus, a tough 16th century street crowd is brilliantly evoked by Gilbert's use of archaic vocabulary with alliteration and by Sullivans' use of hard driving rhythms with angular uneven meters, jarring dissonance and stark modal harmony. In 'I have a song to sing' each verse is longer than the last, it's structure finds many precedents in English folksong and was inspired by a sea chantey sung by the crewmen on Gilbert's yacht. The lyrics mirror the story of the opera's central love triangle the way Jack Point wishes it would turn out, the next selection, 'When a wooer goes a-wooing,' presents the reality of what actually happens. In between comes a paean to the grim glory of the Tower of London, where the story is set in a historical context. Overture TRACK 10 Here's a man...I have a song to sing, O TRACK 11 When our gallant Norman foes TRACK 12 When a wooer goes a-wooing TRACK 13 The Gondoliers presents a world where 'all is merry May.' It is as sunny and upbeat as Yeomen is shadowed. The first selection here is extracted from the ebullient 20-minute musical extravaganza that opens the work, rich in Italianate melodies and Italian lyrics to set the mood. The second selection poses a universal Gilbertian philosophic point: 'take life as it comes.' Buon giorno... We're called gondolieri TRACK 14 Try we lifelong TRACK 15 The Pirates of Penzance is the most 'child-friendly' of the G&S, with it's colorful pirates, comic police, and nearly non-stop action. It also contains the best-known and most often parodied pattersong and, in 'Poor Wand'ring One,' not only a splendid aria for a coloratura soprano but an example of one of Sullivan's deliberate and delicious borrowings from other composers, here, the classic 'Sempre libera' from La traviata. We leave you with the first, and still one of the best, of the G&S 'double choruses,' as the Victorian maidens rapturously romanticize 'death and glory' to the more realistically apprehensive policemen. Hail, Poetry TRACK 16 I am the very model TRACK 17 Poor wand'ring one TRACK 18 When the foeman bares his steel TRACK 19 New York Gilbert & Sullivan Players Albert Bergeret, Artistic Director Andrea Stryker-Rodda, Assistant Music Director and Rehearsal Accompanist Lucy Ito, Sally Small, Production Assistants Larry Tietze, Orchestra Manager NYGASP Ensemble SOPRANOS: Robin Bartunek, Meredith Borden, Kimilee Bryant, Susan Case, Charlotte Detrick, Lynelle Johnson, Margaretha Ohse, Laurelyn Watson, Lauren Wenegrat ALTOS: Lee Berman, Victoria Devany, Laura Koeneman, Melissa Parks, Ariane Reinhart, Angela Smith, Maariana Vikse, Lara Wilson TENORS: Michael Connolly, Thomas Donelan, Michael Galante, Michael Scott Harris, Alan Hill, Keith Jameson, Mark Montague, Larry Raiken, Paul Sigrist BARITONES/BASSES: Christopher Briggs, Louis Dall'Ava, Gary Dimon, Richard Holmes, Keith Jurosko, Lance Olds, Stephen Quint, Philip Reilly, Samuel Shaw, William Whitefield NYGASP Orchestra VIOLINS: Andrea Andros, concertmistress, Paula Flatow, Rachel Heineman, Valerie Levy, Maxim Moston, Eleanor Schiller, Svetoslav Slavov, Peter Van DeWater, William Zinn VIOLAS: Carol Benner, Carol Landon CELLOS: Daniele Doctorow, Amy Camus BASS: Deb Spohnheimer FLUTES: Laura George, Margaret Swinchoski, OBOE: Nancy Ranger CLARINETS: Larry Tietze, Joan Porter, Renee Rosen BASSOONS: Andrea Herr, James Jeter FRENCH HORNS: Heidi Garson, Peter Hirsch TRUMPETS: Terry Sizor, Richard Titone TROMBONES: Steve Shulman, Paul Geidel, Joseph Stanko PERCUSSION: Michael Osrowitz.
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    Handel In Italy-Cantatas,Arias,Serenata
    This 14-CD set showcases works from Handel's short but astonishingly productive time in Italy in his twenties, just before he settled in London. His travels around the country provided him with the opportunity to meet a number of influential contemporaries, and the results of this compositional flourishing are wide-ranging, from opera via instrumental music to secular cantatas. This release focuses particularly on the latter, affording the listener a fascinating glimpse into the first appearance of many melodic ideas which would later resurface in Handel's mature dramatic works. Indeed, listeners might well feel as though they are listening to scenes from operas - cantatas were a means, at the time, of circumventing the ban on opera in Rome. The familiar theme of the joys and sorrows of love pervades much of the music, but the pieces are richly varied, particularly in their scoring: we hear flutes, recorders, oboes, bassoons, trumpets and the full contingent of strings, including viola da gamba, in numerous different combinations. Often, the orchestral forces for a particular piece are modest, but the emotional depth that Handel draws out is always striking. A high-calibre, international roster of soloists and ensembles performs the works, with many of the compositions for soprano sung by Stefanie True, whose "vocal agility, accurate intonation and stylish ornamentation are spot-on in this repertoire" (Music Web International). Meanwhile, early music specialists Contrasto Armonico bring "soft and warm sonorities" to the set (Gramophone). This set presents an extensive collection of works which George Frideric Handel wrote during his short but astoundingly fruitful stay in Italy. Here he met the great composers of the day, imbuing the rich Italian style, full of drama, cantabile and instrumental brilliance. The set's focus is on the secular Cantatas, all of them mini-operas in scale and substance, dealing with human emotions of love, jealousy, hope and despair. The influence of Handel's stay in Italy can be found in many of his great operas and oratorios he later wrote in London. Apart from the Cantatas the set includes a selection of Italian Duets, and the Serenata Aci, Galatea & Polifemo. Excellent performances in Historically Informed Performance Practice, by Contrasto Armonico, Musica Perduta and specialist vocal soloists. Recorded between 1988 and 2014. Contains liner notes written by Philip Borg-Wheeler.
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    Per la Tromba & il Corno da Caccia
    The old instruments of the Stadtpfeiffer were replaced by French-styled oboes and bassoons in German courts and cities at the beginning of the 18th century. These became the "bandes de hautbois" to which trumpets were added, the combination becoming the basis of the military band.
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