Methods & Etudes
Miguel del Aguila "Sunset Song" for Bassoon and Piano
Sunset Song Op 42 (1994)
for bassoon and piano
Sunset Song for bassoon and piano was written and premiered in 1994 at the Los Angeles Museum of Art, Bing Theater. It is the composer's second large work featuring the bassoon as soloists (after Hexen) and like Hexen it is also dedicated to bassoonist Judith Farmer who premiered it with the composer at the piano. Sunset Song is technically a tour de force for both the bassoon and the piano. It is a happy, sensuous, obsessive and at times mocking often reflecting the time in which it was written and the events of a Mexico tour that followed the first performance during which the piece underwent revisions. Sunset Song starts with an introduction played by the bassoon almost entirely. This introduction uses elements of 1950's pop music. A middle section fallows where a static -almost Middle Eastern- ostinato rhythmic pattern beats with increasing tension. This pattern is then transformed to a Latin beat which finally returns the piece to the opening mood. The bassoon ends the piece in an irreverent tone, with a pitch written two octaves above the official limit of the instrument’s register. The title Sunset Song was inspired by California’s sunsets and the sun setting on the Pacific Ocean.
Ignacio Cervantes "Two Cuban Dances" for two Bassoons
Two Cuban Dances
for two bassoons
I. Los Tres Golpes
Arranged by Paquito D'Rivera for two bassoons. Includes two performance scores.
Michael Daugherty: "Bounce" for two Bassoons
Bouce was commissioned by bassoonist Chuck Ullery of the St. Paul Chamber Orchestra. Like other recent works by Michael Daugherty, such as SNAP! for cymbal soloists and chamber ensemble, Viola Zombie for two violas, MXYZPTLK for two flute soloists and chamber orchestra, and Flamingo for two tambourine soloists and chamber orchestra, Bounce explores the musical and timbral possibilities of two similar instruments separated stereophonically on the stage.
Francaix Bassoon Concerto
I. Allegro moderato
Dedicated to Maurice Allard, this work was written in 1979, and premiered in May of 1980 by Horst Winter with the Radio-Sinfonie Orchester Frankfurt. This is the piano reduction of the original, written for bassoon and 11 strings, the full orchestral parts are rental only from Schott. Strings are 3-3-2-2-1.
Alyssa Morris: "Mathematics" for bassoon & piano
Mathematics: Sonata for bassoon and piano
by Alyssa Morris (b.1984)
3. Integral Calculus
The three movements follow the traditional fast-slow-fast pattern. Overall, the piece makes great use of rhythmic complexity between the bassoon and piano as well as very melodic writing to generate interest. It is challenging to perform and to put together, but well worth the effort. Premiered at the 2012 IDRS Convention at Miami University.
Jose Siqueira: "Dre Etuden" (Bassoon & Piano)
Drei Etuden (Three Etudes)
for bassoon and piano
by Jose Siqueira (1907-1985)- Brazilian composer
I. Ad libitum
II. Tempo di Modinha
III. Allegro scherzoso
Reprinted by permission of DVfM (Breitkopf und Haertel). This piece was a requirement for the 2017 IDRS Young Artist competition.
Weissenborn Practical Method for Bassoon
"Practical Method for the Bassoon" including "Fifty Advanced Studies"
Augmented and Adapted by WF Ambrosio
This edition is often referred to as the "Purple Weissenborn".
Included in this edition are the "Practical Method for Bassoon" as well as the "Fifty Advanced Studies Op 8 #2". There is also a trill chart, and a brief introduction and tutor about the bassoon.
W.A. Mozart: "Concerto K. 191" for Bassoon and Piano
II. Andante ma adagio
III. Rondo- Tempo di Menuetto
This edition by Milan Turkovic has one of the better and more easily readable piano reductions available. It also comes with separate (printed on a separate sheet of paper) cadenzas by Turkovic.
Gabriel Parès: "Pares Scales for Bassoon"
Parès Scales for Bassoon
by Gabriel Parès (1862-1934)- French composer
The classic scale and arpeggio studies of Gabriel Parès were adapted in the 1940s for like-instrument study by Rubank's Harvey Whistler, and are now the standard for elementary scale instruction. Presenting all the major keys up to four flats/sharps (and the relative minors), each unit also includes long tone and embouchure studies. Supplemental material includes comprehensive chromatic scales, fingering and speed studies, lip slurs (brass) and exercises to strengthen the upper register (woodwinds).
Erwin Schulhoff: "Bass nightingale" for Solo Contrabassoon
for unaccompanied contrabassoon
by Erwin Schulhoff (1894-1942)- Czech composer and pianist
II. Perpetuum mobile
Alec Wilder: Moosacaglia for Oboe, Bassoon, and Horn
for oboe, bassoon, and horn
by Alec Wilder (1907-1980)- American composer
The horn player is meant to play from the score. There is no individual horn part.