I. Music for Bassoon or Contrabassoon Solo
II. Collections
III. Works For Bassoon (Or Contrabassoon) And Piano
IV. Works for Bassoon with Orchestral or Wind Ensemble Accompaniment

I. Music for Bassoon or Contrabassoon Solo

John Hess: Rondino for Solo Bassoon (1966), MMB Music Inc., 10370 Page Industrial Blvd., St. Louis, MO, 63132. Tel. (800) 543-3771,. FAX (314) 426-3590. $2.95

This is a very short, relatively rhythmic piece of moderate (Grade III) difficulty based on the juxtaposition of a rhythmic staccato main theme and a lyrical second theme. The range is very limited, rising only to eb above the bass clef (there is no tenor clef) and descending only to low D. It has a few rhythmic/metric problems (5/16 + 3/4, 5/8 + 2/4) and quite a few sharps and double sharps in the lyric section. It is about Grade III level and could easily be played by a high school or entry level college student. It is, however, a very short two pages long and probably lasts no more than two minutes. The style is neo-classical and not too disjunct.

Edward Hines: Yeni Makam I for Bassoon Solo (1989), Edward Hines Music, West Main St., Wendell, MA, 01379. $12.95 (includes shipping).

Based on the theoretical principles of Turkish music and ancient Turkish modes called Makam this work is very difficult to play (probably Grade V). It requires learning special fingerings for playing the quarter- and eighth-tones, fairly fast passage work, and complex rhythms and meters using these new fingerings, and rapid (probably double-tongued) articulations. The oriental-to-middle eastern style is, however, not too disjunct. The work is in four fairly short movements: slow, moderate, very slow, and very fast. It is a very exotic, colorful, challenging work and can be strongly recommended as a contrasting and interesting recital piece. Be prepared to spend a fair amount of time mastering its intricacies, however.

Johnny Reinhard: Dune for Bassoon (1990), 318 East 70th Street, Suite 5FW, New York, NY 1002 1.

Many I.D.R.S. members were fortunate enough to hear the avant garde bassoonist and microtonal specialist, Johnny Reinhard, perform his own work at the 20th I.D.R.S. conference in Towson, MD in August 1991. This is indeed a virtuoso piece. In Reinhard's own words:

Dune for solo bassoon is designed to showcase the fantastic realms of musical expression possible with the contemporary bassoon. As one might travel through different worlds in a Frank Herbert science fiction novel, the performer takes the listener through exotic soundscapes. Another appealing metaphor is the equation of the bassoon with the sands, both shaped by wind

Dune begins with the resonance juggling, proceeds with microtonal melody, glissandi, key percussion, diverse equal temperaments, and enters into territories rarely, if ever, visited.

Dune is divided into sections specifically referenced programmatically to characters/nations created by Mr. Herbert. These sections are:

1. Shai-halaud (the Worm) -Adagio
2. Paul Muad'Dib - Andante
3. Leo Atreides II - Andante (Variation)
4. The Spacing Guild - Bridge
5. The Tleilaxu -Development
6. The Ixans - Sound of Nature
7. Fremen - Con Bravura
8. Spice -Bubbly

The work is choreographed for the performer with specific movements and actions sequenced as it is played. The microtonal fingerings are written right into the score for the performer, and as can be seen from the musical example of the score, many non traditional performance practices are requested. This is definitely a Grade VI work. But with all of that, it is a tremendously effective piece. If one is willing to really work on it, this piece is an audial and visual knockout. (if you want to work on it, Reinhard's tape of the work can still be ordered from Towson. See elsewhere in this issue for the order form.)



Jürg Baur: Arabesques, Garlands, Figures for double bassoon, Breitkopf and Hartel, Postfach
1707, D-6200 Wiesbaden, Germany, Tel: 06128/6091, FAX: 06128/86416, Edition Breitkopf, 9069.

This is an interesting six movement work for unaccompanied contrabassoon. It is at times playful, even comical, as in the opening and closing movement quotes of "Ach du lieber Augustin" and the Bach chorale "Es ist genug" at the very end. It also requires some technique in the "Trill and Tremolo" movement. It is overall, however, very tuneful and not overly difficult. The range is only to a2 and the technical demands are no more than Grade IV in difficulty. It would be a great recital piece for a contra player looking for challenging but definitely playable material. The style is generally non-tonal but neo-classical in form and character.

It's exciting to see such good new literature for the contra. Now we need someone to catalog and annotate all these new contra works. Any volunteers out there?

Scott Meister: Für Spielen for solo bassoon (1991) (contact Professor Jon Beebe, School of Music, Appalachian State University, Boone, North Carolina 28608, Tel: 704/262-3020).

Many readers will remember Scott Meister's Fantasmi, an earlier work for solo bassoon also written for Jon Beebe and performed by him at the I.D.R.S. conference in Las Vegas, in August, 1987. As Jon Beebe writes:

I have performed the piece several times with great success; it may even be more popular than Fantasmi. It is quite light, often whimsical (the title operates on several levels when translated), and quite a bit easier to prepare than the earlier work. Meister hopes that this attribute makes it more attractive to bassoon students.

The work is in four movements (Ein, Zwei, Drei, and Vier!) and requires multiphonics, simple microtones, foil over the bell, and an extra reed in the mouth (as in Fantasmi), a sock cymbal played with the left foot, and three ping pong balls inserted in the bell, which are blown out at the last movement to end the world This piece would require less preparation than Fantasmi and should provide some humorous (and startling) audial and visual effects. It is about a Grade IV-V in difficulty and would make an excellent recital selection for either a professional or talented graduate student recital.

II. Collections
Orchester Probespiel: Test Pieces for Orchestral Auditions for Bassoon and Contrabassoon.

Edited by Karl Kolbinger and Alfred Rinderspacher. C.F. Peters Corp., New York (373 Park Ave. South, Tel: 212-686-4147, FAX: 212-689-9412), London, Frankfurt. $27.50.

This very handsome volume of orchestra excerpts was prepared by two of Germany's most distinguished bassoonists in conjunction with the German Music Council (Deutschen Musikrates) and based on statistical studies by the German Union of Orchestras (Deutschen Orchestervereinigung e.V.). It contains those passages from the orchestral and operatic literature most often requested in auditions. Although it is only 47 pages long, it manages to cover virtually all of the literature from the classical to the modern era and pulls together into one volume what normally requires many excerpt books to accomplish. Printed in clear and large type, this volume is a must for the serious bassoon student preparing for auditions. It will save one valuable time hunting down the bassoon parts for works such as the Ravel Piano Concerto, Verdi's Othello, or even Leoncavallo's Der Bajazzo! It also contains the most important contra passages as well: Mother Goose, Salome, etc.

Eugene Bozza: Onze Études sur des Modes Karnatiques pour Basson. Editions Leduc (175 Rue Saint-Honore, 75040, Paris, France) AL 24 551.

The Bozza Eleven Karnatique Mode Studies is not a new work. First published in 1972, the studies are based on 24 modes which the composer lists in the preface and urges the performer to practice separately. The studies themselves are very difficult, with the range extended consistently to high e2. Leduc lists them as level 8 in difficulty on their scale of I to 9. The publishers sent them to the I.D.R.S. for review because they felt they wanted the work to reach a larger bassoon audience. The studies are typically "Bozza" in style and character-at times very technical and demanding, at other times very lyrical and melodious. But they are never easy.

They are a good workout and demand the very highest level of playing throughout. If you are unfamiliar with them and have tired of the Orefici Bravura Studies or the Bianchi Etudes, this is the next technical step you might want to take.

Orchestral Studies for Contrabassoon. Edited by Hans Rudolf Seith, Edition Breitkopf Nr. 6471. Breitkopf und Hartel (see address earlier).

This edition, though not new (from 1965) contains most of the important contra solos and passages from the literature from Beethoven to Schoenberg and includes a number of lesser known works by composers like Busoni, David, Pfitzner, and Raphael. There are curious omissions, such as the Ravel Mother Goose solo-probably because of copyright problems, however, since La Valse is there. But virtually all the Richard Strauss works are there, and the collection is invaluable to the contra player (or teacher) for that section alone. Again, it's nice to see the availability of contra music in our times. I recommend this volume most strongly to you.

III. Works For Bassoon (Or Contrabassoon) And Piano

Carl Almenräder: Potpourri Op. 3 for Bassoon and Piano
John Ernst Galliard: Six Sonatas for Bassoon or Violoncello (with a thorough bass for the harpsichord).
Ludwig Milde: Andante und Rondo Op. 25 for Bassoon and Piano

Series by William Waterhouse Bassoon Heritage Editions (P.O. Box 4991, Ft. Lauderdale, Florida 33338.)

These three works are from the facsimile series of Bassoon Heritage Editions, the work of William Waterhouse and Henry Skolnick. They are beautifully reproduced facsimile editions of the original publications and represent a unique opportunity to rediscover works long out of print or, as in the case of the Galliard Sonatas, to explore the original "unrealized" versions of well known pieces.

All six of the Galliards are there in their original unedited and lightly articulated versions for the bassoonist interested in accuracy to peruse and/or edit to his or her own concepts or tastes. Some talented keyboardists might also like the challenge of realizing the figured basses from the original.

The Almenräder Potpourri was first published in 1824 (before the Heckel factory was founded in 1831) and is a typical introduction, allegretto, Polacca virtuoso work of the period. What is curious about the work is that it requires the bassoonist to play high e2, f2, and, incredibly, high g2l! Obviously the pre-Heckel bassoon had a greater range than the so-called "improved" instrument. With the high-note ossias this work is only a Grade IV. But if you plan on tackling the ultrissima notes, it's a definite V. (Try the small pin hole in the bocal-it works wonders for these high notes.)

The Milde Andante und Rondo is a more conventional work in terms of both range and style. In the tradition of his famous Studies, the work reminds one of the music of Carl Maria von Weber and Carl Jacobi, though perhaps a bit less technically difficult than the latter. The range ascends only to c2 and is a Grade III+ to IV work, it could be played easily by a talented high school student. It would make a nice fairly "flashy" recital piece on one's own program.

Clifford A. Julstrom: Scherzo for Bassoon and Piano
Clifford A. Julstrom: Aria for Bassoon and Piano

These two works by the late Clifford Julstrom were recently performed by Robert Koper, bassoon and Rosa Julstrom, piano. They are being sold through his widow, Rosa. In a neoclassical, tonal, but chromatic style, they would make nice, shorter recital pieces. The Aria (Grade III, to high Bb2) has some nice lyrical sections without being overly sentimental. The Scherzo is in a rapid three meter and has some playful but essentially lyrical sections that make it more waltz-like than scherzo in quality. It is also a non-complicated Grade III and ascends only to high A These are a pair of easy listening, easy going works that might fit well as "fillers" in a recital program for yourself or your students.

Oskar Morawetz: Sonata for Bassoon and Piano (1981). Jaymar Music Ltd. (P.O. Box 2193, London, Ontario, Canada N6A 4E3; U.S. Agent: Oxford University Press, 200 Madison Ave., New York, NY 10016).

This is a very large scale 15' 30" three movement work by Czech-born Canadian composer, Oskar Morawetz. It was commissioned by David Carroll and first performed by him at Banff and Toronto in 1982. I.D.R.S. members might have heard David McGill's excellent performance of it at the Towson conference in August, 1991. The work is written in an expressive, somewhat austere and somber style of greatly expanded tonality. The bassoon writing is very idiomatic and demanding technically but not extremely so. There are some complex but playable rhythmic intricacies throughout and the range is only to c2. Because of its length and intensity, it would definitely require at least the maturity of an upper level college student. It is a musically, if not technically challenging work that deserves to reach a larger audience.

Carl Maria von Weber: Andante e Rondo Ungarese for Bassoon and Piano, Op. 35. Edited by William Waterhouse, Universal Bassoon Edition UE 18134 (Vienna, Austria).

As they did with the Weber Op. 75 Concerto, Universal Bassoon Edition editors Milan Turkovic and William Waterhouse have come out with a definitive edition of this bassoon classic. As Waterhouse states in the Preface, "The aim of this edition is to restore Weber's text free of any editorial intervention." Waterhouse, however, cautions the performer not to regard this edition as to what Weber completely wanted, "...it is evident however that, while meticulously marking certain passages, elsewhere he has deliberately left his interpreter free to determine matters of articulation and accentuation according to his own preference and technique."

So, for the most part, this edition gives all of us a fresh look at what Weber left us to interpret. There are a few editorial dynamics added but they are clearly bracketed. This is a strongly recommended edition, not only for yourself but, equally important, for your students.

Alec Wilder, Sonata #2 for Bassoon and Piano. Margun Music, Inc. (167 Dudley Rd., Newton Centre, MA 02159). $10.00

When prolific American composer Alec Wilder died in 1980, he left a veritable truckload of music behind, primarily for winds, and primarily in disarray. This included three wonderful Sonatas for bassoon and piano, two Suites for clarinet, bassoon, and piano and many other works including some excellent wind quintets. Fortunately, Margun Music, run by Gunther Schuller, has come to the rescue of Wilder's music with excellent editions of his important works for winds, such as this Sonata. As a close friend to the old New York Woodwind quintet, especially Bernard Garfield, the bassoonist, before his Philadelphia years, and the great hornist, the late John Barrows, Alec Wilder wrote many a tuneful work for these and other fine musicians. This second Sonata for bassoon, probably the most successful of the three, is such a piece. It is not easy music, about Grade IV, with a range to high d2, which often stays high for some touchy, but reasonable, passage work as at the beginning of the third movement.

The four movements are only marked quarternote= ca 88, marked quarternote= ca 72, marked quarternote= ca 100, and marked quarternote= ca 64 but follow an allegretto, andante, allegro (scherzo), and adagio sequence. The second and fourth movements are lovely tunes, reminiscent of the man who wrote "I'll be Around" and It's So Peaceful in the Country," to name just two of his many "tin-pan-alley" tunes. Wilder is not easy to play, however, you have to put a lot into it to keep it from begin too light and frivolous. But if you think of him as a sometimes Poulenc, sometimes Gershwin, sometimes Hindemith composer, you can get a lot out of performing his music. He had a unique niche in the American musical scene from 1950-1980, and if you don't know his music, then this Sonata #2 is a great introductory piece for you.

Louis Moyse, Ten Pieces for Bassoon and Piano, Op. 37, No. 5, Ed. 3801. G. Schirmer,
Distributed by Hal Leonard Publishing Corp. (7777 West Bluemound Rd., P.O. Box 13819, Milwaukee, WI 53213, Tel: 414/774-3630, FAX: 414/774-3259.

These ten pieces are wonderful, easy (Grade II-III) showpieces of programmatic music written very characteristically for the bassoon. For the teacher looking for short interesting pieces to capture and hold the attention of young bassoon students, these are a must. With titles like "The Clumsey Frog," "Treebeard's Humming Song," "Dancairo the Smuggler," and "The Limping Old Clock" and music to match, they can't miss! But, beyond that, they are of good enough quality to warrant consideration as encore pieces or demonstration pieces of a bassoon to young audiences. With a range only to g1, they are not difficult but can be used to teach solid rhythmic, melodic, and dynamic concepts which are built right into the music. Buy these pieces. I'm sure you'll find many uses for them. They're a delight!

Victor Bruns, Zwei Stücke für Kontrafagott und Klavier, Op. 57 (1975) Edition Breitkopf NR 7540.
Victor Bruns, Sechs Stücke für Kontrafagott und Klavier, Op. 80 Edition Breitkopf (see address earlier).

These two works for contra and piano from the prolific pen of Victor Bruns are valuable additions to the repertoire. The Two Pieces, Op. 57, feature a contrasting lyrical andante and a lilting waltz second movement. The neo-classical style is typical of Bruns' work. The range ascends only to high a2 and are very accessible Grade III level work in difficulty. The Six Pieces, Op. 80, are each shorter in length and feature a variety of moods-from the march-like first movement, to the tranquil third and the scherzo-like fifth-they provide a cornucopia of contrasting ideas. Here the range extends to high e2 (but with ossias) though the Grade is still a III in overall difficulty. Both compositions would provide a good challenge for a reasonably experienced college-aged contra player. He or she would benefit greatly from working on them, because the music of Victor Bruns "wears" well when one has to practice it at length. (This is a trait not shared among all composers!)

Again, it is nice to see what variety of solo literature is becoming available to the modern contrabassoonist. Victor Bruns continues to do us a great service by writing these fine pieces for a much neglected instrument.

IV. Works for Bassoon with Orchestral or Wind Ensemble Accompaniment

Carl Maria von Weber, "Rondo" from Concerto Op. 75. Transcribed for band by Peter Schmalz (score and parts $35.00).

Franz Danzi, Concertino, Op. 47 for solo clarinet, solo bassoon, and chamber band. Transcribed by Peter Schmalz (score and parts $45.00).

Antonio Vivaldi, Concerto in C Major, F. VIII, No. 13. Transcribed for bassoon and band by Peter Schmalz (score and parts ($35.00).
Phoebus Publications, 1303 Faust Ave., Oshkosh, WI 54901.

These are three transcriptions of popular bassoon works which might prove very useful for your performance needs. The Weber needs no introduction as a work. The Danzi and this C Major Vivaldi Concerto are less well known to me, but they are works very representative of their respective composers. The transcriptions by Peter Schmalz are very clean and clear. The solo parts are intact from the original. The chamber band writing for the Danzi and Vivaldi is clarinet choir for the latter adding only flute, two oboes, and two horns for the Danzi. The Weber adds trumpets, timpani, and Eb soprano clarinet to the ensemble, but retains a bright transparent quality by eliminating the saxes and lower brass. The balance between soloists and accompaniment, therefore, is always positively retained. I recommend these arrangements to those of you who might have a good wind ensemble at your disposal for accompanying you or your students.

Johann Evangelist Brandl (1760-1837), Concertino für Fagott und Orchester edited by Stephan Weidauer with a piano reduction by Eberhard Buschmann. Hofman-Verlag, Postfach 1360, D-7060 Schorndorf, Germany, Tel. 07181/7811, FAX 07181/7814. DM 35.

German bassoonist Stephan Weidauer from Saarbrucken, who earlier brought out the Bassoon Concerto by Peter Lindpainter (1791-1856) at the I.D.R.S. conference in Manchester in 1989, has done it again. He has discovered, edited, and published in a very handsome edition another "new" bassoon work-this Concertino by J.E. Brandl. In his presentation of the work at the I.D.R.S. conference in Frankfurt last August, Weidauer described Brandl's life primarily as second music director to Franz Danzi at the court in Karlsruhe. Brandl appears to have left little music behind. But he did write a number of bassoon works, primarily for a rich industrialist and talented amateur bassoonist from Münster (near Colmar, France) named Jacques Hartmann (1774-1839).

The style of the piece is decidedly classical, quite Weber and Jacobi-like, but somewhat easier technically than either of these composers. It ascends to high C#2 and d2, but only at the very end of the single Allegro ma non troppo movement. It is, except for these few high notes, a challenging Grade III work which could be played by a talented high school or college student. But you might want to reserve it for your own recital program. With its flashy and, at times, lyrical F major passage work, it could be a nice opening (or closing) single movement work on your next program. The printing of the edition is particularly nice-on good bond paper and in large, easy-to-read music print. This work is a welcome new addition to the classical repertoire.

Antonio Vivaldi:

Concerto for Bassoon, Strings, and Continuo (RV 502, Op. 40 #11, F. Vill #24, Bb Major) "per Gioseppina (ce mot barre) o sia fagotto" ($18.50)

Concerto for Bassoon, Strings and Continuo (RV 491, Op. 40 #13, F. VIII #25, F Major) ($18.50)

Concerto for Bassoon, Strings and Continuo (RV 482, Op. 40 #16, F. 290, D minor Unfinished) ($13.00)

Concerto for Bassoon, Strings and Continuo (RV 468, Op. 40 # 17, F. 294, C major Unfinished) ($15.00)
Add $3.00 for Postage.

All four works edited by Vernon Read and published by RR Products, 1133 South Baywood Ave., San Jose, CA 95128.

These handsome editions consist of the complete edited score, parts, and a facsimile reproduction of the original score. The first two are fairly well known works by the composer, especially the Bb Major Concerto.

The last two works, however, are somewhat unique and relatively unknown to the bassoon world. As editor Vernon Read describes them:

Neither of the two concerti are included in the complete works of Vivaldi and appear here for the first time. For reasons unknown, the movements were completed but the additional movements were not written. In the case of the slow movement of the C Major, no strings parts were written and through some analysis, one can see that Antonio was somewhat at a loss here for smooth harmonic continuity. While the fast movements contain the nice idiomatic style found in the bulk of Vivaldi's concerti, they remain among his lesser work in terms of form and melodic inventiveness. They are, however, worthy of performance and should find their way to recitals and bassoon studios.

The C major work is in two movements, an Allegro and an Adagio. The unfinished D minor Concerto consists of a single Allegro moderato movement. All four of the editions are lightly edited, clearly printed, and basically ready for performance. The editor has not provided a continuo realization, leaving this to the inventiveness of the harpsichordist.

In all, these are nice editions to have. With the facsimile scores at hand for ready reference one is able to get as close as possible to Vivaldi's probably intentions with these works.

Paul Hayden, Hambridge Quavers for Oboe and Bassoon (1989). Contact composer at Department of Music, Eastern Illinois University, Charleston, IL 61920, Tel: (217) 581-3010, FAX: (217) 581-2722.

This work was written for Louisiana State University professors Mark Ostoich, oboe, and William Ludwig, bassoon, and was premiered by them at the I.D.R.S. conference in Manchester, England in August, 1989. The name derives from where the work was completed by the composer-the Hambridge Center for the Creative Arts and Sciences in the summer of 1989. According to the composer, "The principal rhythmic unit used in the piece is the eighth-note (quaver)."

It is a very challenging work for both instruments, probably a Grade V, in one movement. There are three main sections: fast at the beginning and end and a meno mosso in the middle. While it doesn't require any unusual musical technique, the traditional ones call for definitely advanced technical facility. The bassoon part ascends only to high d2, but requires solid technique in both the highest and lowest registers. The ensemble work between the two instruments could also be tricky.

The work is written in a non-tonal, but highly rhythmic and exciting style that would be very pleasing to "work out" with one's fellow performer. As a skillful work written well for both instruments, it deserves to reach a larger double reed audience.

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