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Libby Larsen: Jazz Variations for Solo Bassoon (1977), Concert Piece for Bassoon and Piano (2008), Full Moon in the City (2013) Lior Navok: Ex Silentium for bassoon and piano (2018) Robert Paterson: Sonata for Bassoon and Piano [3] (2001); Elegy for Two Bassoons and Piano [4] (2006–07) Wolfgang Rihm: Psalmus for bassoon and orchestra (2007)
Richard D. P. Jones notes: "Without exception these works lie outside the normal routine of Bach's sacred vocal works". [9] Bach probably first performed the Magnificat on the feast day, 2 July. [1] Until 2003, most musicologists believed that Bach wrote the Magnificat for his first Christmas in Leipzig.
When the soprano and alto are notated in one staff, all stems for the soprano go up, and all for the alto go down. Similarly, when the tenor and bass are notated in one staff, the upper voice is marked by stems up, and both voices are written in bass clef, while the tenor is usually written in treble clef marked an octave down if it has its own staff.
This work and the Mozart Bassoon Concerto are the two concertos most often played in the bassoon repertoire. William Waterhouse asserts, “The bassoon concerto by Weber ranks second only to that of Mozart in importance.” [1] The concertos by Mozart and Weber were in the repertoire used for the famous playing exams at the Paris Conservatoire, along with newly commissioned works by French ...
Mozart wrote the bassoon concerto when he was 18 years old, and it was his first concerto for a wind instrument. [3] Although it is believed that it was commissioned by an aristocratic amateur bassoon player Thaddäus Freiherr von Dürnitz, who owned seventy-four works by Mozart, this is a claim that is supported by little evidence. [ 4 ]
Capel Bond, Bassoon Concerto No. 6 in B flat Major (1766) Bernhard Henrik Crusell, Bassoon Concertino in B flat Major; Franz Danzi, Four Bassoon Concerti in F Major (2), C Major and G Minor; François Devienne, Five Bassoon Concerti (1785) [13] Luigi Gatti, Bassoon Concerto in F Major, L7:e4; Johann Nepomuk Hummel, Bassoon Concerto in F Major ...
Nach dir, Herr, verlanget mich (For Thee, O Lord, I long), [2] BWV 150, [b] is an early church cantata by Johann Sebastian Bach composed for an unknown occasion. It is unique among Bach's cantatas in its sparse orchestration and in the independence and prominence of the chorus, which is featured in four out of seven movements.
A famous example of this is the beginning of Igor Stravinsky's Rite of Spring in which the bassoon plays in its highest register in order to mimic the Ukrainian Dentsivka. [2] Composers also wrote for the bassoon's middle register, such as in Stravinsky's "Berceuse" in The Firebird and Symphony No. 5 in E-flat major, Op. 82 by Jean Sibelius . [ 2 ]