Introduction and Main List
Listing by Performance Media
Listing, Grouped by Difiiculty
About the author ...

The repertoire listing which follows includes a body of music by Canadian composers and composers with a significant Canadian connection, from 1940 to the present. The time frame is due in part to historical factors, including relatively late settlement of Canada compared to the United States and a large initial population of immigrant church musicians who concentrated on choral music. The dissertation from which this information is extracted explores the historical development of music in Canada, the current stylistic nature of music by Canadian composers, and its realization in the bassoon repertoire. Three works were selected for detailed analysis, representative of neo-classical, neoromantic, and nationalistic traits.

The bibliography included here was compiled as part of the study. Almost all of these works are available directly from the National Office of the Canadian Music Centre, Chalmers House, 20 St. Joseph Street, Toronto, Ontario, M4Y, telephone (416) 961-6601. The CMC is organized for the sole purpose of promoting the exposure of Canadian music. The national office holds a lending library (2 month loan period), housing over 1800 works for various combinations of instruments and voices. Music can also be purchased from the Centre at very reasonable prices (most of this repertoire is $3.00-$15.00 Canadian). The National Office will also accept VISA, which saves the purchaser the problem of finding a source for Canadian currency money orders. Though falling beyond the boundaries of this listing, the Canadian Music Centre holdings include numerous works for oboe, and various chamber and orchestral combinations. As such, any I.D.R.S. member would benefit from contacting them and requesting information on the music available.

On the whole, the bulk of this repertoire is relatively conservative in style, and is accessible to both performers and audiences. It is worthy of exploration by all bassoonists, as a resource for new and interesting music for performance and study

Composer Adaskin, Murray (1906- )
Title Concerto for Bassoon and Orchestra
Media bassoon and orchestra
Difficulty D
Length 14'55"
Date 1960
Upper range eb"

Comments: A major work of great musical merit. The solo part demands a great deal of flexibility. Long cadenza in movement 1. The orchestral texture is clean and transparent throughout, allowing the solo to project. Thoughtfully and musically composed, though a very demanding work. A piano reduction was recently made by Boyd McDonald of Kitchener, Ontario and premiered by Gabor Janota.

Composer Adaskin, Murray (1906
Title Bassoon Quintet
Media bassoon and string quartet
Difficulty MD
Length 21'15"
Date 1977
Upper range b

Comments: Commissioned by the CBC. An intense and very substantial chamber work, demanding mature playing from all performers. Marked dramatic contrasts, traditional notation, but contemporary melodic structure with disjunct ranges and chromaticism.

Composer Archer, Violet (1913- )
Title Sonatina for Bassoon and Piano
Media bassoon and piano
Difficulty MD
Length 8'30"
Date 1978
Upper range c#''

Comments: Traditional notation, incorporating chromatic shifting as a harmonic device. The texture is less intricate than Archer's Sonata, and the accompaniment is less technically demanding. Very clearly marked for articulation and dynamics, with a great deal of interchange between solo and accompaniment. 'Me c#" occurs only once, with the range otherwise remaining below a'.

Composer Archer, Violet (1913
Title Sonata for Bassoon and Piano
Media bassoon and piano
Difficulty D
Length circa 12'5
Date 1980
Upper range c"

Comments: A three movement work, of considerable musical merit. The third movement is the most demanding, containing rhythmic and metric complexities and sensitive ensemble passages which require careful rehearsal. Traditional notation, with a very fluid melodic concept and dear textural treatment. Dedicated to George Zukermann.

Composer Barnes, Milton (1931-
Title A nerca I
Media solo bassoon
Difficulty MD
Length circa 6'
Date 1979
Upper range c"

Comments: Anerca is an Inuit word referring to the land as the breath of life. The composition reflects the composer's interpretation of the term through Inuit melodic materials. Traditional notation is used, except that alternate timbres are needed on some pitches, with no fingerings specified. Musically an extremely successful work. Movements 2 and 3 and based upon Inuit poetry.

Composer Beckwith, John (1927
Title Four Pieces for Bassoon Duet
Media bassoon duet
Difficulty M
Length 1 11'50''
Date 1951
Upper range b'

Comments: The two parts are fairly equal in demands, and chromaticism at the octave is a particular challenge. Well marked and musically interesting.

Composer Beecroft, Norma (1934- )
Title Collage '78
Media solo bassoon, piano, 2
percussionists, prepared tape
Difficulty D
Length 5'
Date 1978
Upper range g" +

Comments: Non-traditional notation: 1/4 tones in bassoon, alternate fingerings in the score, and pitch groupings marked to be played as fast as possible. The score also uses tennis balls in the piano. A long bassoon cadenza follows the end of the tape, which includes quarter tones in scale passages. Tape and percussion parts are well cued. The piece ends on a g", to be bent upwards.

Composer Bellemare, Giles (1952- )
Title Arguments (1982)
Media bassoon and string orchestra
Difficulty D
Length 13'
Date 1982
Upper range d#"

Comments: The introductory bassoon cadenza is accompanied by string tone clusters on cue. Texture and dynamics are effectively used, and the piece alternates between free and rhythmic sections. ne solo part is rhapsodic in style and heavily laced with grace notes, while the accompaniment is pointillistic at times. Accompaniment requires 9 violins, 3 violas, 3 celli, and double bass. A rewarding work for an advanced player with access to a good ensemble for accompaniment.

Composer Bissell, Keith (1912- )
Title Suite for Solo Bassoon, String
Quartet, and Percussion
Media bassoon and strings, with percussion
Difficulty D
Length circa 13'
Date 1977
Upper range f'' ''

Comments: Dedicated to Maurice Allard. Rated at Difficult because of range and facility required (CMC rates as MD). Bassoon solo with accompaniment, rather than an integrated chamber concept, requiring at least 2 percussionists. The solo part demands a great deal of technical fluidity and facility in the upper register. Traditional notation combined with a flowing melodic concept. A challenging but rewarding work.

Composer Brott, Alexander (1915- )
Title Hymn II Her
Media bassoon, flute, and string
orchestra
Difficulty D
Length circa 15'
Date 1978
Upper range f#''

Comments: The piece is motivically very dramatic, and the texture is well conceived. Traditional notation, with conservative use of limited musical materials. Counterpoint and motivic interweaving play prominent roles in the texture. The flute part is extremely athletic in concept, and there is a duo cadenza. Musically written.

Composer Coles, Graham (1948- )
Title Bassoon Piece, Opus 17
Media solo bassoon
Difficulty D
Length 4'25"
Date 1978
Upper range d"

Comments: Many new techniques are used, including slap tongue, flutter tongue, key slap, alternate fingerings, 1/4 tone slides, etc. A few of the graphic devices used are not dearly defined. The piece calls for interpretation and experimentation on the part of the player in order to determine the final performance.

Composer Coulthard, jean (1908- )
Title Lyric Sonatina for Bassoon and Piano
Media bassoon and piano
Difficulty MD
Length 11'05"
Date 1970
Upper range d#"

Comments: Lyric mood, with the motivic interaction between bassoon and piano requiring a sensitive accompanist. The third movement contains the most awkward technical passages, and requires some rapid tonguing. Musically substantial. One note useful for programming considerations - the work ends on a low activity level.

Composer Coulthard, jean (1908- )
Title Lyric Symphony for bassoon and
Chamber Orchestra (Symphony No. 3)
Media bassoon and orchestra
Difficulty M
Length circa 25'
Date 1975
Upper range c"

Comments: The harmonies occur in tonal regions, so the piece is not atonal. Limited brass and percussion in the orchestration. 2nd movement is very fluid in concept. The final movement is relentlessly driving and contains some potential balance problems (not unmanageable, but worth anticipating: thick accompaniment texture around mid-range bassoon). The soloist also serves in the ensemble and in supporting textural roles at times. Very worthwhile work.

Composer Dolin, Samuel (1917- )
Title Isometric Variables (Bassooneries in
Free Variations)
Media bassoon and string orchestra
Difficulty M
Length 9'40"
Date 1957
Upper range b flat

Comments: Written for Nicholas Kilburn (co-principal bassoonist of the Toronto Symphony). Traditional notation, with clear section definition and contrast of texture. The solo part is mostly in mid to low register of the instrument, with lyric writing which is particularly idiomatic for the bassoon. Section contrasts are abrupt, but the work should be accessible to audiences.

Composer Douglas, Paul (1936- Title Jabora
Media solo bassoon
Difficulty D
Length circa 3'
Date 1981
Upper range b flat

Comments: Traditional notation, with a very free rubato implied. Some metric complexities to interpret, but dynamics and articulation are very clearly marked. Facile technique is required. The single movement work has three contrasting sections, and is dedicated to Gabor Janota.

Composer Eckhardt-Gramatte, S.C.
(1899-1974)
Title Concerto for Bassoon and Orchestra
Media bassoon and orchestra
Difficulty MD
Length 13'20"
Date 1950
Upper range b'

Comments: Piano reduction also available. Harmonically conceptualized in tonal regions (not atonal). The bassoon part contains large sections in the lower register of the instrument. The piano reduction poses balance problems in spots, but string scoring in the orchestra works out satisfactorily. Rhythmically straightforward writing. Movement 2 is particularly haunting, and the third movement contains two different cadenzas for use. Good potential program piece for a mature undergraduate player.

Composer Fodi, John (1944- )
Title Concertino for Bassoon and Chamber
Orchestra Opus 69
Media bassoon, 2 flutes, 2 clarinets, 2
horns, tuba, 2 violas, 2 celli,
contra bass
Difficulty D
Length circa 8'
Date 1983
Upper range c#''

Comments: Single movement work, with contrasting sections. Atonal, rhythmically intricate, and occasionally very aggressive in character. Texture is thin, with high activity levels in the few instruments used at any given point in the score. The solo takes on a rhapsodic character at times.

Composer Forsyth, Malcolm (1936- )
Title Quartet '61
Media four bassoons
Difficulty M
Length circa 8'
Date 1961
Upper range b'

Comments: Alternates activity between parts. Score is well marked for articulation and dynamics. For 4 trombones, bassoons, cellos, or horns. Parts I and 3 use tenor clef. A very programmable work because of musical contrasts and relatively light style.

Composer Freedman, Harry (1922- )
Title Quartet
Media four bassoons
Difficulty MD
Length 6'50"
Date 1973
Upper range d flat

Comments: A dramatic and intense work, with marked style contrasts. Most of the work is notated, except for one free section where pitch sequences and relative lengths are given. Considerable musical depth. For 4 trombones, 4 bassoons, or 4 cellos.

Composer Goldberg, Theo (1921- )
Title St. Francis' Sermon to the Birds
Media solo bassoon and tape
Difficulty MD
Length circa 6-8'
Date 1975
Upper range d flat

Comments: Tape is dearly cued in the bassoon part. The solo is fairly free, but in traditional notation. Based on speech patterns of the St. Francis Sermon. Bassoon part is well marked, and the work is accessible to both performer and audience. Tape must be obtained from the composer, as there is not a copy on file with the Canadian Music Centre.

Composer Healey, Derek (1936- )
Title Sonata "Il Dottore di Bologna" (1981)
Media bassoon and piano
Difficulty. . MD
Length 12'30"
Date 1981/1955
Upper range c"

Comments: Composed in a neo-classical style. The first movement is direct in character, while the second is hauntingly lyrical. The writing is idiomatic for
the bassoon, while maintaining a fresh nature. Playfully atonal materials combined with sensitive handling of texture make this work exeedingly successful. Written in 1955, revised in 1981.

Composer Hetu, Jacque (1938- )
Title Elegie pour Basson et Piano
Media bassoon and piano
Difficulty D
Length circa 8'
Date 1979
Upper range eb"

Comments: The second movement of Hetu's Concerto, arranged for bassoon and piano by the composer. Atonal writing, but not twelve-tone, drawing heavily on disjunct chromaticism (2nd, 7ths). Loose ABA form, with all three sections relatively slow in tempo. A musically substantial work.

Composer Hetu, Jacque (1938- )
Title Concerto pour Basson et Orchestre de
Chambre, Opus 31
Media bassoon and orchestra
Difficulty D
Length circa 18'
Date 1979
Upper range e"

Comments: Movement 2 reviewed separately as bsn & piano work. A major work of considerable merit. Requires technical facility and flexibility. Unique texture contrasts are the predominant style feature. Movement 3 uses intricate meter shifts.

Composer Hiscott, James (1948- )
Title Influence and Infusion
Media bassoon and piano
Difficulty M
Length circa 15'
Date 1974
Upper range b flat

Comments: Lengthy work,* with a few very clearly documented new techniques in the bassoon part. The piano part utilizes graphic notation. Frequent use of silence between musical events lends a very spacious quality. Suitable for exposing the moderately advanced student to "new" notation, if a good accompanist is available.

Composer Johnston, Richard (1917- )
Title Suite for Bassoon and Piano
Media bassoon and piano
Difficulty MD
Length 7'40"
Date 1946
Upper range b"

Comments: Texture is well handled, except for thick spots in the fourth movement. A very programmable work, melodic in concept, and well written for the instrument. The first movement is stylistically derived from Stravinsky, the second from Milhaud's bitonality. The Nocturne was written for Loren Glickman while he was a graduate student at Eastman, and the March was inspired by "the missteps priests make when they try to walk in time with the recessional after mass."

Composer Johnston, Richard (1917- )
Title Suite for Bassoon and Orchestra
Media bassoon and orchestra
Difficulty MD
Length 8'30"
Date 1946
Upper range ... b'

Comments: Re-scoring of the same piece as Suite for Bassoon and Piano. Very programmable, melodic in concept, and well written for the instrument.

Composer Johnston, Richard (1917- )
Title Duo Concertante No. 2
Media bassoon and piano
Difficulty M
Length circa 16'
Date 1980
Upper range c"

Comments: A carefully composed and orchestrated work, primarily utilizing the middle register of the bassoon. The second movement is derived from a Canadian folksong, "Did you see that there bird?", with a transcription included in the piano score. An accessible, challenging, and interesting work though the accompaniment is quite demanding.

Composer Kenins, Talivaldis (1919- )
Title Sextet for Bassoon and Strings
Media bassoon and string quartet plus
Contra bass
Difficulty D
Length circa 13 1/2
Date 1978
Upper range eb"

Comments: Dedicated to Gerald Corey, hence the score calls for switching between French and German bassoons. An extremely substantive work, primarily in traditional notation. Multiphonics, flutter-tongue, glissandi, shakes, and microtonal shifts are employed for specific passages, with clear fingering indications in the score. String parts call for humming while playing. All parts are challenging, so sufficient rehearsal time should be allowed to perfect the work. Worth the effort.

Composer Knox, Roger (1953- )
Title Quartet for Bassoon and Strings
Media Bassoon, violin, viola, cello.
Difficulty D
Length 18'49"
Date 1980
Upper range eb"

Comments: Harmonically, the piece uses constantly shifting chromaticism. It demands as much technique and musicianship from each string player as from the bassoonist. Dramatic atonality. The bassoonist is called upon to tongue sixteenths at MM quarter-note= 152 in the third movement. Musically challenging and satisfying.

Composer Koprowski, Peter Paul (1947)
Title Images III (Upper Puntledge)
Media solo bassoon
Difficulty MD
Length circa 5'
Date 1980
Upper range ... eb"

MISSING PAGE p. 67

for each of two string groups. Neoclassical style, with some 12 tone writing, other sections merely atonal. Traditional formal structures, with a clear texture and musically linear concept. Parts are clearly articulated. Performance would require mature string players, but the work is definitely worthy of exposure.

Composer Simeonov, Blago (1934-)
Title Burlesque Fantastique
Media bassoon and piano
Difficulty MD
Length 4'15'' 5
Date 1962, revised 1977
Upper range c#'' /opt. eb"

Comments: A unique and aggressive work, based upon limited musical materials. Three part form. Potentially a good addition to a "polite but bland" program.

Composer Surdin, Morris (1914-1979)
Title A la Bassoon
Media bassoon trio
Difficulty MD
Length 4'30"
Date 1968
Upper range c"

Comments: Good use of texture, avoiding thickness. Most of the difficulty lies in range in the upper part. Musically towards the lighter end of the spectrum.

Composer Turner, Robert (1920- )
Title Chamber Concerto for Bassoon and 17
Instruments
Media bassoon and chamber orchestra
Difficulty D
Length circa 16'
Date 1973
Upper range d"

Comments: Four movement work, the first movement contains layered rhythmic complexities in the accompaniment (9 over 5 over 7). Well orchestrated, but requires a high professional level of playing on all parts and a competent conductor. Tonally very free, rhythmically intricate. Commissioned by Zukermann.

Composer Twa, Andrew (1919- )
Title Serenade No. 2
Media bassoon and string orchestra
Difficulty MD
Length 12'
Date 1951
Upper range eb"

Comments: Movement I is very modal and twistingly chromatic in melodic construction: distinctive writing. A very fresh melodic approach and effective textural writing in the strings.

Composer Weait, Christopher (1939- )
Title Variations for Solo Bassoon
Media solo bassoon
Difficulty D
Length 6'20"
Date 1972

Upper range ... d"

Comments: Composed to illustrate new techniques for the bassoon. Flutter tongue, glissandi, multiphonics, etc. Fingerings for special effects are well documented in the score, but very intricate to work 'Ut. 12-tone composition.

Composer Weinzweig, John (1913- )
Title Divertimento No. 3
Media bassoon and string orchestra
Difficulty D
Length 17'50"
Date 1960
Upper range d flat

Comments: An atonal work. The piano reduction by the composer is well done and playable, though the piece would be more effective with strings. Dynamic and timbre shading are well indicated in the score. Notation is straightforward and clear, and the work is relatively approachable. Slight jazz influence.

Composer Weisgarber, Elliot (1919- )
Tide Thoughts on an Ancient Japanese
Melody
Media solo bassoon
Difficulty MD
Length circa 6'
Date 1979
Upper range c"

Comments: One movement, flexible tempo. Rhythmically very free, with implicit Oriental modality and very clear markings of the composer's intentions. Effective use of space between melodic fragments. The work is based on the composer's transcription of an original Japanese melody (Weisgarber is professor of Asian music and Composition at UBC). A brief, but extremely effective work.

Composer Weisgarber, Elliot (1919- )
Title Sonata for Bassoon and Piano
Media bassoon and piano
Difficulty MD
Length 16'15"
Date 1973
Upper range eb"

Comments: Pentatonic writing, based upon Japanese materials. Long continuous upper register passages tax endurance in performance. Movement 2 is based upon a song from the Tsugaru region.

Composer Weisgarber, Elliot (1919- )
Title Five Pieces (1982)
Media bassoon and piano
Difficulty D
Length approximately 15'- 18'
Date 1982
Upper range c"

Comments: Built in tonal regions, the work is freely melodic with an accompaniment which is very sensitive texturally. The Intermezzo uses meter shifts with a constant eighth value, and the final Fantasia is a set of variations on a Quebec folk song. Challenging, but very worthwhile. Endurance is not a problem in this work.

Composer Wevers, Harold
Title Into the Land of Shadow
Media bassoon and piano
Difficulty M
Length approx. 4'
Date 1980
Upper range g'

Comments: In the style of a notated free improvisation. All sections are written out, some contain rhythmic intricacy. Potentially a good work for introducing advanced hs/early college students to contemporary.

Composer Wuensch, Gerhard (1925- )
Title Concerto for Bassoon and Chamber
Orchestra
Media bassoon and orchestra
Difficulty MD
Length circa 25- Date 1976
Upper range fb"

Comments: Tonally free, rhythmically traditional writing. The texture in the orchestral writing contains the potential to cover the soloist at times. Solo part contains an interesting concept of melodic development.

Composer Zuckert, Leon (1904- )
Title Suite for Bassoon Solo
Media solo bassoon
Difficulty D
Length 13'50"
Date 1975
Upper range eb"

Comments: Traditional notation, but technically awkward and intricate in spots. Generally metric, this is an extended work with very effective contrast between movements and considerable musical substance. The manuscript is very difficult to read in spots. Dedicated to Christopher Weait.

Composer Zuckert, Leon (1904- )
Title Concerto for Bassoon and String
Orchestra
Media bassoon and string orchestra
Difficulty D
Length 20'25"
Date 1976
Upper range eb"

Comments: Tonally free, and quite programmable, with interesting section and style contrasts.

Composer Zuckert, Leon (1904- )
Title Melancholic Piece
Media bassoon and piano
Difficulty M
Length circa 7'
Date 1980
Upper range cb"

Comments: Strongly modal and lyrical, with dramatic chromaticism. A musically distinctive work. Ile manuscript is difficult to read in spots in the accompaniment. For trombone, bassoon, or violoncello and piano.

Barnes Anerca I
Coles Bassoon Piece
Douglas Jabora
Goldberg St. Francis' Sermon
Koprowski Images III
Weait Variations
Weisgarber Thoughts
Zuckert Suite

Bassoon and Piano

Archer Sonata
Archer Sonatina
Coulthard Lyric Sonatina
Healey Sonata
Hetu Elegie
Iliscott Influence and Infusion
Johnston Duo Concertante
Johnston Suite for Bassoon and Piano
Lidov Fantasy
Morawetz Sonata
Schudel A rietta and Scherzo
Sexton Newfoundland Suite
Simeonov Burlesque Fantastique
Weisgarber Five Pieces (1982)
Weisgarber Sonata
Wevers Into the Land of Shadow
Zuckert Melancholic Piece

Bassoon and Orchestra

Adaskin Concerto
Bellemare Arguments (1982)
Brott ....... Hymn II Her
Coulthard Lyric Symphony
Dolin Isometric Variables
Eckhardt-Gramatte Concerto
Fodi Concertino
Hetu Concerto
Johnston Suite for Bassoon and Orchestra
Mann Sinfonia Concertante
Sherman Sinfonia Concertante
Turner Chamber Concerto
Twa Serenade No. 2
Weinzwig Divertimento No. 3
Wuensch ........ Concerto
Zuckert Concerto

Bassoon Soloist in Chamber Works

Adaskin Bassoon Quintet
Beckwith Four Pieces
Beecroft Collage '78
Bissell Suite
Forsyth Quartet
Freedman Quartet
Kenins Sextet
Knox Quartet
Kunz Fun for Two
Pishny-Floyd Four Movements
Sexton Stringscape with Figure
Surdin A la Bassoon

About the author ...

Marc Apfelstadt is assistant professor of bassoon at the University of North Carolina at Greensboro. He performs regularly with the East Wind Quintet and as principal bassoon with the Greensboro Symphony Orchestra. Before coming to Greensboro, Dr. Apfelstadt played principal oboe with the Prince Edward Island Symphony and taught Woodwinds at the University of Prince Edward Island, PEI, Canada. He holds the Doctor of Musical Arts degree in Bassoon from the University of Wisconsin-Madison, as well as the B.S. degree from Indiana State University and the M.M. degree from the University of Illinois at Urbana-Champaign. His dissertation, Canadian Bassoon Repertoire: History, Traits, and Characteristics, with Analysis of Representative Works, is available through University MicroFilms International. Dr. Apfelstadt is also a computer programmer and software developer for Wm. C. Brown Company, and recently co-authored a set of music theory instructional software entitled Music Fundamentals.

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