SONATA FOR BASSOON AND PIANO
William D. Davis--Southern Music
While this is not a recent publication, it is a work that deserves a wider reputation. Of the newer pieces for bassoon that I have played in recent years, few have been as rewarding to perform as this sonata. It is written in a strongly melodic style, so it thus is not typical for our time. Both solo and piano lines share the melodic function, and in this case the accompaniment, while pianistic, is rather difficult. The bassoon part is also fairly demanding, being quite technical in the third and fourth movements.
Perhaps the most striking moments in the work occur however in the slow movement which features quarter-tone steps in the solo melody. This movement, which is a beautiful recitative, is the finest example I know which utilizes quarter-tone intervals. The composer has furnished a double set of fingerings from which to choose for playing these notes, and in only one case did I prefer to use one which I devised myself. Bassoon students need only be careful to avoid allowing the pitch to bend in moving from one quarter-step to another. Thus a very well-centered, or defined pitch through the quarter-steps is appropriate, rather than a quasi glissando effect. This work represents an excellent recital choice for advanced college students who possess a solid technical facility and good upper register fluency up to the highest Eb on the instrument.
CONCERTO IN C FOR BASSOON
J. A. Kozeluch
Musica Rara
This edition of a work that has attained a secure place in the standard repertoire of the bassoon provides the bassoonist with an alternative to the earlier edition published in 1976. A comparison of the two versions will reveal several differences in both thematic notes and ornament interpretations. No revision of the work as written by Kozeluch has been undertaken in this edition, and in this case the ornaments have been presented in original notation with suggested methods of execution as they occur. Thus the performer always has the opportunity to identify the ornaments and evaluate the editor's interpretation. The cadenzas which have been provided for the first and second movements seem well done, musical, appropriate to the moment, and lucid in phrasing. This concerto is a brilliant solo work for bassoon and is one of the best of the classical era for our instrument.
TRIO IN G FOR TWO BASSOONS AND CONTINUO
J. P. Schiffelholz
Musica Rara
This recent publication will be well received by bassoonists who enjoy playing chamber music. Whether enjoyed as an unaccompanied duet just for personal pleasure with another player, or programmed with continuo for a recital, this trio sonata is an effective work for bassoon. Both solo parts share prominently in the melodic role, sometimes in a closely linked duet, other times following independent rhythms and counterpoint. The texture is lavishly embellished, the lines are lively, and the three movement plan is nicely balanced. The score clearly sets forth the editor's interpretation of the ornaments and the notation is clear and consistent in appearance. Good college students should have no problems with the technical demands presented by this trio.