query: where does the bassoon sit in the orchestra

pos: Woodwind section Woodwind section The woodwind section, which consists of woodwind instruments, is one of the main sections of an orchestra or concert band. Woodwind sections contain instruments given Hornbostel-Sachs classifications of 421 (edge-blown aerophones, commonly known as "flutes") and 422 (reed aerophones), but exclude 423 (brass instruments). The woodwind section of the late 19th-century symphony orchestra (for instance, in compositions by Wagner, Brahms, Bruckner, Tchaikovsky, and Richard Strauss) typically includes: flutes (sometimes with one doubling piccolo), oboes (sometimes with one doubling cor anglais), clarinets (sometimes with one doubling bass clarinet and/or another doubling E-flat clarinet), bassoons (sometimes with one doubling contrabassoon).

neg: Tenoroon ensemble or orchestra (the latter could benefit from having a true tenor instrument in the woodwind department). It could effectively bridge the octave (or octave and a half if bass oboe is omitted) gap between the bassoon family and the oboe family. Although it does not effectively extend the range of the bassoon, it can be used to give more flexibility in that range where the bassoon lacks in mobility. Works: Tenoroon The tenor bassoon or tenoroon is a member of the bassoon family of double reed woodwind instruments. This group also includes the more widely known bassoon and contrabassoon,

neg: Bassoon Concerto (Neikrug) Bassoon Concerto (Neikrug) The Concerto for Bassoon and Orchestra is a composition for solo bassoon and orchestra in three movements by the American composer Marc Neikrug. The work was jointly commissioned by the National Symphony Orchestra, the Boston Symphony Orchestra, the Milwaukee Symphony Orchestra, and the National Arts Centre Orchestra. It was premiered in Boston November 21, 2013, with the Boston Symphony Orchestra and principal bassoonist Richard Svoboda performing under conductor Rafael Frühbeck de Burgos. The piece has a duration of roughly 20 minutes and is composed in three numbered movements. The concerto is scored solo bassoon and orchestra, comprising

neg: Archie Camden Archie Camden Archie Camden (1888–1979) was a British bassoonist; he was a pedagogue and soloist of international acclaim. His career began in 1906 when he joined the Hallé Orchestra, where he became principal bassoonist in 1914. In 1933 he moved to the BBC Symphony Orchestra, where he stayed until 1946 when he took up the same position in the Royal Philharmonic Orchestra. Camden was also one of the first bassoonists to experiment with recording. His record of the Mozart bassoon concerto still remains one of the most popular today. As a teacher, he was a professor of the bassoon at

neg: Tennessee Bassoon Quartet since 1972. Currently a member of the Knoxville Symphony Woodwind Quintet, McClelland has been a member of Windstrum, a bassoon/guitar duo; Lyric Chamberwinds, Smoky Mountain Chamber Players, and the Tennessee Bassoon Quartet. He is also professor of bassoon at the University of Tennessee in Knoxville. James Lotz is principal bassoonist with the Bryan Symphony Orchestra. He is a member of the Cumberland Quintet and of the Nashville Chamber Orchestra, and serves on the faculty of the Sewanee Summer Music Festival. He has been the principal bassoonist of the Chattanooga Symphony Orchestra and the Jaap Schroeder Chamber Orchestra as well as

neg: Bassoon Concerto (Weber) finales. Bassoon Concerto (Weber) Carl Maria von Weber's Concerto for Bassoon in F Major, Op. 75 (J. 127) was composed in 1811 for Munich court musician Georg Friedrich Brandt, and then revised in 1822. Primarily an opera conductor and composer, Weber had only arrived a few months earlier in Munich, where he was extremely well received. The concerto is one of two pieces written for bassoon by Weber, the other being "Andante e Rondo Ungarese", Op. 35 (J. 158). A typical performance lasts 18–20 minutes. The concerto is scored for solo bassoon and an orchestra consisting of two flutes, two

neg: Bassoon Concerto (Weber) Bassoon Concerto (Weber) Carl Maria von Weber's Concerto for Bassoon in F Major, Op. 75 (J. 127) was composed in 1811 for Munich court musician Georg Friedrich Brandt, and then revised in 1822. Primarily an opera conductor and composer, Weber had only arrived a few months earlier in Munich, where he was extremely well received. The concerto is one of two pieces written for bassoon by Weber, the other being "Andante e Rondo Ungarese", Op. 35 (J. 158). A typical performance lasts 18–20 minutes. The concerto is scored for solo bassoon and an orchestra consisting of two flutes, two oboes,

neg: Alberto Soriano Divertimento for bassoon and orchestra. Gerhard Hasse (bassoon), SODRE orchestra. Montevideo. ARCA FH 007 Symphonic movement for the victims of Buchemwald. Leipzig Symphonic orchestra.Conductor Adolf Frits Guhl . Qualiton Q1 4009 Madrigals for the walker. Sound constructions. Qualiton SQ14015 Alberto Soriano Alberto Soriano (5 February 1915 – 1981) was an Argentine composer and ethnomusicologist. He was born in Santiago del Estero. Alberto Soriano was born on February 5, 1915 in Santiago del Estero, (Argentina), where his family had settled in temporarily. But it was in Bahia (Brazil) where he spent his childhood and early youth. He began his musical studies

neg: Bassoon Concerto (Panufnik) Bassoon Concerto (Panufnik) The Bassoon Concerto, composed by Andrzej Panufnik in 1985, is a concerto for bassoon and orchestra dedicated to Jerzy Popiełuszko, an anti-communist Polish priest who was murdered by three secret police agents in 1984. The work was commissioned by the American bassoonist Robert Thompson. The concerto was premiered in Milwaukee in 1986, with Thompson as the soloist. Panufnik and Thompson recorded the concerto in 1987, with Panufnik conducting the BBC Symphony Orchestra. In the same year, they performed the work in Jerzy Popiełuszko's church. The concerto is scored for a small orchestra – only strings, a flute

neg: Graham Sheen Graham Sheen Graham Sheen (born 1952) is a bassoonist, teacher, composer and arranger. He is principal bassoonist of both the BBC Symphony Orchestra (since 1983) and the Academy of St Martin in the Fields (since 1976). From 1979 he has been professor of bassoon at the Guildhall School of Music and Drama, where he also teaches chamber music, orchestral repertoire and bassoon ensemble. His published works include solo works for bassoon, chamber music for both winds and strings and three song cycles. He has made numerous arrangements for wind ensemble and three volumes of graded pieces for the bassoon are

neg: Romance for bassoon (Elgar) Julian Lloyd Webber. Romance for bassoon (Elgar) The Romance, in D minor, Op 62, is a short work for bassoon and orchestra by Edward Elgar. It exists also in a transcription for cello and orchestra made by the composer. Both the bassoon and cello versions date from 1909-10. It is also published with the orchestral part reduced to a piano accompaniment. The Romance was composed for the principal bassoonist of the London Symphony Orchestra, Edwin F James, who gave the first performance in February 1911 at Hereford, with the composer conducting. The cello transcription remained unplayed until 1985. The work

neg: Romance for bassoon (Elgar) Romance for bassoon (Elgar) The Romance, in D minor, Op 62, is a short work for bassoon and orchestra by Edward Elgar. It exists also in a transcription for cello and orchestra made by the composer. Both the bassoon and cello versions date from 1909-10. It is also published with the orchestral part reduced to a piano accompaniment. The Romance was composed for the principal bassoonist of the London Symphony Orchestra, Edwin F James, who gave the first performance in February 1911 at Hereford, with the composer conducting. The cello transcription remained unplayed until 1985. The work was composed between

neg: Marvin P. Feinsmith Marvin P. Feinsmith Marvin has played principal bassoon with the Indianapolis Symphony Orchestra, the Mozarteum of Salzburg, the Brooklyn Philharmonia, co-principal with the Symphony of the Air, the Israel Philharmonic Orchestra, under Leonard Bernstein and Zubin Mehta, solo bassoon for the Bernstein “Mass”, and assistant principal bassoon with the Denver Symphony Orchestra. He is currently a member of the International Double Reed Society as well as Local 802, Musicians Union, New York. In respect to his esteemed teacher Simon Kovar, he passes on the Kovar system of bassoon technique, control and artistic performance. In order to teach this method, Marvin

neg: Marvin P. Feinsmith Feinsmith utilizes Simon Kovar’s "24 Daily Exercises for Bassoon" and Mr. Kovar’s system of teaching orchestral and solo repertoire, with focus on extreme control of dynamics, tone quality, phrasing, style, intonation, and pinpoint intervallic accuracy. Marvin P. Feinsmith Marvin has played principal bassoon with the Indianapolis Symphony Orchestra, the Mozarteum of Salzburg, the Brooklyn Philharmonia, co-principal with the Symphony of the Air, the Israel Philharmonic Orchestra, under Leonard Bernstein and Zubin Mehta, solo bassoon for the Bernstein “Mass”, and assistant principal bassoon with the Denver Symphony Orchestra. He is currently a member of the International Double Reed Society as well

neg: Bassoon Concerto (Neikrug) light, sometimes transparent orchestral sounds, contrasted with denser, bigger orchestral passages while the bassoon is not playing." Natasha Gauthier of the "Ottawa Citizen" also gave the work praise, saying of Neikrug, "His taut, disciplined writing — the concerto clocks in at a mean, lean 20 minutes — exploits the bassoon’s conversational quality, as well as its unusually expressive range. Neikrug mitigates the bassoon’s tendency to blend in, not cut through, with constantly judicious use of orchestral texture and colour." Bassoon Concerto (Neikrug) The Concerto for Bassoon and Orchestra is a composition for solo bassoon and orchestra in three movements by

neg: Robert S. Williams of the Tucson Symphony Orchestra. From 1972 to 1974, he held solo bassoon positions with the Winnipeg Symphony, Winnipeg CBC Orchestra, Colorado Philharmonic and Tucson Symphony. In 1974, at the age of 24, he won the principal bassoon position of the Detroit Symphony Orchestra. He has also played summer engagements with the Minnesota Orchestra and Boston Symphony at Tanglewood. Williams also plays in the DSO Bassoon Quartet, the DSO Woodwind Quintet, and the Bellingham Music Festival. He is on the faculty of Wayne State University and formerly has been on the music faculties of the Aspen Music School and Festival,

neg: Bassoon with independent parts; other types of concert wind ensembles will often have larger sections, with many players on each of first or second parts; in simpler arrangements there will be only one bassoon part and no contrabassoon. The bassoon's role in the concert band is similar to its role in the orchestra, though when scoring is thick it often cannot be heard above the brass instruments also in its range. "La Fiesta Mexicana", by H. Owen Reed, features the instrument prominently, as does the transcription of Malcolm Arnold's "Four Scottish Dances", which has become a staple of the concert band

neg: Frédéric Blasius the reign of Louis XVIII he became director of the fifth regiment band of the Imperial Guard, and a member of the king's private orchestra. In 1816 (or 1818) he retired and went to Versailles, where he died in 1829. Blasius wrote a number of works for the stage as well as instrumental pieces for Harmonie (small wind ensemble), concertos with orchestra, and chamber music with a particular emphasis on works for violin, clarinet, and bassoon. He also wrote pedagogical works for clarinet (see next) and bassoon. According to the music historian Deanne Arkus Klein, Blasius' compositions were "influenced by

neg: Michael Chapman (bassoonist) Conservatory in Parma. Upon returning to England, he served as principal bassoonist of the newly formed Northern Sinfonia, where he stayed for almost 15 years. In 1978, he became principal bassoonist of the Royal Philharmonic Orchestra and he held this post for the next 21 years. He taught privately, and at University of York, and Trinity College of Music in London. He made the first recording of Elgar’s Romance for bassoon and orchestra Op. 62 with the Northern Sinfonia conducted by Neville Marriner. Joubert's Bassoon Concerto was commissioned for Chapman. He founded his own reed-making company, applying a skill he

neg: Roger Birnstingl Roger Birnstingl Roger Birnstingl is a prominent British classical bassoonist. He started playing the bassoon at age 14, Educated at Bedales School and later studied with Archie Camden at the Royal College of Music in London. He has served as principal bassoonist of the London Philharmonic (1956–1958), the Royal Philharmonic (1961–1964) and the London Symphony Orchestra (1964–1977). He later served as principal bassoonist with the Orchestre de la Suisse Romande until his retirement in 1997. He is currently professor of bassoon at the Geneva Conservatoire, where his students have included Carlo Colombo, principal bassoonist of the Lyon Opera Orchestra; and

neg: Benjamin Kamins attended The University of Southern California for two years before winning a job as Associate Principal of the Minnesota Orchestra in Minneapolis at age 19 in 1972. In addition to playing in the orchestra, he also taught at St. Olaf College and Macalester College during this time. After playing in the Minnesota Orchestra for 9 years, he won the audition for Principal Bassoon of the Houston Symphony in 1981, and was the bassoon professor at the University of Houston from 1981 to 1985. He has also served as guest principal bassoon for orchestras such as The Los Angeles Philharmonic, The

neg: Ron Klimko Klimko Bassoon Band. Ron arranged many popular and classical works for bassoon quintet and bassoon band. Following a decline in health in 2011, he and his second wife, Kathryn George, relocated to Issaquah, Washington to be nearer to children and better medical care. In 2011 and 2012 he played in the Sammamish Symphony and the Microsoft Orchestra. He reconnected with his old Milton College friend, Glen Danielson, who had recently retired Principal English Horn with the Seattle Symphony. They enjoyed many hours of reminiscences and collegiality in the Microsoft Orchestra. Ron's last performance was with the Microsoft Orchestra, sitting near

neg: Bassoon Concerto (Panufnik) by Łukasz Borowicz, as part of a complete cycle of Panufnik's symphonic works. Bassoon Concerto (Panufnik) The Bassoon Concerto, composed by Andrzej Panufnik in 1985, is a concerto for bassoon and orchestra dedicated to Jerzy Popiełuszko, an anti-communist Polish priest who was murdered by three secret police agents in 1984. The work was commissioned by the American bassoonist Robert Thompson. The concerto was premiered in Milwaukee in 1986, with Thompson as the soloist. Panufnik and Thompson recorded the concerto in 1987, with Panufnik conducting the BBC Symphony Orchestra. In the same year, they performed the work in Jerzy Popiełuszko's church.

neg: Sinfonia Concertante for Four Winds major, K. 361. Sinfonia Concertante for Four Winds The Sinfonia Concertante for Four Winds in E flat major is a work thought to be by Wolfgang Amadeus Mozart, for oboe, clarinet, horn, bassoon, and orchestra, K. 297b (Anh. C 14.01). He originally wrote a work for flute, oboe, horn, bassoon, and orchestra, K. Anh. 9 (297B), in Paris in April 1778. There is considerable debate about the relation of the work as it is performed today to this original work. The Sinfonia Concertante is scored for solo oboe, solo clarinet, solo horn, solo bassoon, and an orchestra of two horns,

neg: Sinfonia Concertante for Four Winds Sinfonia Concertante for Four Winds The Sinfonia Concertante for Four Winds in E flat major is a work thought to be by Wolfgang Amadeus Mozart, for oboe, clarinet, horn, bassoon, and orchestra, K. 297b (Anh. C 14.01). He originally wrote a work for flute, oboe, horn, bassoon, and orchestra, K. Anh. 9 (297B), in Paris in April 1778. There is considerable debate about the relation of the work as it is performed today to this original work. The Sinfonia Concertante is scored for solo oboe, solo clarinet, solo horn, solo bassoon, and an orchestra of two horns, two oboes, and

neg: Contrabassoon Gregg Henegar, London Symphony Orchestra; Kalevi Aho: Concerto for Contrabassoon featuring Lewis Lipnick Bergen Symphony Orchestra One of the few contrabassoon soloists in the world is Susan Nigro, who lives and works in and around Chicago. Besides occasional gigs with orchestras and other ensembles (including regular substitute with the Chicago Symphony), her main work is as soloist and recording artist. Many works have been written specifically for her, and she has recorded several CDs, including "THE BIG BASSOON","LITTLE TUNES FOR THE BIG BASSOON","THE 2 CONTRAS", "NEW TUNES FOR THE BIG BASSOON","BELLISSIMA", "ORIGINAL TUNES FOR THE BIG BASSOON", "COTT JOPLIN RAGS

neg: Alireza Motevaseli Orchestra, , IRIB Symphony Orchestra, and many others. He worked as a bassoon soloist with Maestro Shahrdad Rohani and the Tehran Symphony Orchestra, performing Sinfonia Concertante K297b from W.A.Mozart at Vahdat Hall. In late 2016, Motevaseli started to translate a series of videos about bassoon education into Persian. He worked with Tehran Symphony Orchestra as principal bassoonist, led by Shahrdad Rouhani, Riccardo Muti, Alexander Rahbari, Alexander Rudin, Mark Stivenson, Nasir Heidarian, Nader Mashayekhi, , Orwell Erdinç and Domina Jurana. He performed with Mediant Trio led by Alvin Avanessian He performed with IRIB Symphony Orchestra, led by the late . He

neg: Mark Elder Mark Elder Sir Mark Philip Elder (born 2 June 1947) is a British conductor. He is the music director of the Hallé Orchestra in Manchester, England. Elder was born in Hexham, Northumberland, the son of a dentist. He played the bassoon when in primary school, and at Bryanston School, Dorset, where he was one of the foremost musicians (bassoon and keyboards) of his generation. He attended Corpus Christi College, Cambridge, where he studied music and was a choral scholar. He later became a protégé of Sir Edward Downes and gained experience conducting Verdi operas in Australia, at the Sydney Opera

neg: Klaus Thunemann Klaus Thunemann Klaus Thunemann (born April 19, 1937) is a German bassoonist. Klaus Thunemann was born in Magdeburg, Germany. He originally studied piano but from the age of 18 focused on the bassoon. He was a student at the Hochschule für Musik in Berlin, where he studied under Willy Fugmann. Upon graduation Thunemann was engaged by the North German Radio Symphony Orchestra of Hamburg where he served as principal bassoonist from 1962 to 1978. During this time he also appeared frequently in chamber music and as a soloist. Thunemann has made an extensive discography, recording the bassoon repertoire of Vivaldi,

neg: Bassoon an annoyingly talkative person is still "better than Ezra learning how to play the bassoon," referring to Ezra Pound. British psychedelic/progressive rock band Knifeworld features the bassoon playing of Chloe Herrington, who also plays for experimental chamber rock orchestra Chrome Hoof. In 2016, the bassoon was featured on the album "Gang Signs and Prayers" by UK ”grime” artist Stormzy. Played by UK bassoonist Louise Watson, the bassoon is heard in the tracks "Cold" and "Mr Skeng" as a compliment to the electronic synthesizer bass lines typically found in this genre. The bassoon is held diagonally in front of the player,

neg: Julie Price (bassoonist) Graham Waterhouse. She was one of 16 bassoonists in the concert "The Proud Bassoon", celebrating William Waterhouse on 16 April 2011 in Wigmore Hall. She played in Waterhouse’s arrangement for two bassoon choirs of Giovanni Gabrieli's "Sonata Pian' e Forte" and movements from Gordon Jacob’s Suite, dedicated to Waterhouse. Price recorded with the ECO, conducted by Ralf Gothóni, Mozart's bassoon concerto and his "Sinfonia concertante" for flute, oboe, horn, and bassoon, K. 297b, and Edward Elgar's "Romance" for bassoon and orchestra, Op. 62. Price is a Visiting Professor of Bassoon at the Royal College of Music. She is married to

neg: Meyrick Alexander School of Music. In September 2010 he took up the post of Head of Woodwind at the Royal Welsh College of Music & Drama. Meyrick Alexander Meyrick Alexander (born 18 May 1952) is a British bassoonist. Meyrick Alexander was Principal Bassoon of the Philharmonia Orchestra for 30 years, joining in 1980, and leaving in the summer of 2010. He has appeared as a soloist on numerous occasions including performances of the Mozart Bassoon Concerto under Vladimir Ashkenazy. He has made two solo recordings with the London Chamber Orchestra. Alexander is a specialist in the performance of the Baroque bassoon in

neg: Meyrick Alexander Meyrick Alexander Meyrick Alexander (born 18 May 1952) is a British bassoonist. Meyrick Alexander was Principal Bassoon of the Philharmonia Orchestra for 30 years, joining in 1980, and leaving in the summer of 2010. He has appeared as a soloist on numerous occasions including performances of the Mozart Bassoon Concerto under Vladimir Ashkenazy. He has made two solo recordings with the London Chamber Orchestra. Alexander is a specialist in the performance of the Baroque bassoon in which capacity he plays in John Eliot Gardiner's Orchestre Révolutionnaire et Romantique and the English Baroque Soloists. He is a Professor at the Guildhall

neg: Chiel Meijering to Cover Unwanted Noise" (for four saxophones). Between July 2016 and March 2018, Meijering composed 117 bassoon concertos and chamber concertos for bassoonist Kathleen McLean, Professor at the Jacobs School of Music, Indiana University, co-principal bassoon of the World Orchestra for Peace and former associate principal bassoon of the Toronto Symphony Orchestra. These works are in a one movement form, shifting styles within each piece with influences of folk, jazz, avant garde, funk and classical. Many themes often come from his existing operatic scores and sketches. In addition to these, he also transcribed 55 recorder concertos written for Dan Laurin

neg: Peter Smith (oboist) for Oboe, Clarinet, Horn, Bassoon and Orchestra with the Philadelphia Orchestra in June 2004. A graduate of the Curtis Institute of Music, Smith studied with Philadelphia Orchestra Principal Oboe Richard Woodhams; Smith has also studied with Louis Rosenblatt and Marc Lifschey. Smith has appeared as soloist with the Lower Merion Symphony, the Bucks County Symphony, the Newark Symphony (Delaware), the Colorado Festival Orchestra, the Curtis Symphony, the Camerata Classica, and the Chamber Orchestra of Philadelphia. He is currently on the faculty of Temple University, where he is a member of the Conwell Woodwind Quintet. Peter Smith (oboist) Peter Smith has

neg: Tamás Benkócs Festival Orchestra. He has recorded a number of CDs, notably recording five discs of Vivaldi's complete bassoon concertos for the Naxos label. Tamás Benkócs Tamás Benkócs (born 1972) is a Hungarian classical basoonist. Tamás Benkócs studied music at the Franz Liszt Academy of Music in Budapest, Hungary, where he studied with Laszlo Hara, Jozsef Vajda and Tibor Fulemile. While studying, at the age of twenty, he was appointed principal bassoonist of the Budapest Festival Orchestra. He joined the newly founded Malaysian Philharmonic Orchestra in 1998 as principal bassoonist and in 2004 returned to his native Hungary where he continued working

neg: Duet concertino for clarinet and bassoon an old man humming the melodies dearest to him when he was a youth". On 4 April 1948, the world premiere was broadcast on Radio Lugano, with the Orchestra della Svizzera Italiana conducted by Otmar Nussio, with Armando Basile on Clarinet and Bruno Bergamaschi on bassoon. Strauss was not present, but it is mentioned in his notebook indicating that he might have listened to the broadcast. The British premier was given at Manchester by the Halle Orchestra on 4 May 1949 with John Barbirolli conducting and the clarinet played by Pat Ryan and Bassoon by Charles Cracknell. The work was

neg: John Williams the Boston Symphony Orchestra at Tanglewood in 1994; concertos for the flute and violin recorded by the London Symphony Orchestra; and a trumpet concerto, which was premiered by The Cleveland Orchestra and their principal trumpet Michael Sachs in September 1996. His bassoon concerto, "The Five Sacred Trees", which was premiered by the New York Philharmonic and principal bassoon player Judith LeClair in 1995, was recorded for Sony Classical by Williams with LeClair and the London Symphony Orchestra. Williams was the subject of an hour-long documentary for the BBC in 1980, and was featured in a report on "20/20" in 1983.

neg: Bassoon repertoire. The bassoon is part of the standard wind quintet instrumentation, along with the flute, oboe, clarinet, and horn; it is also frequently combined in various ways with other woodwinds. Richard Strauss's "Duet-Concertino" pairs it with the clarinet as "concertante" instruments, with string orchestra in support. An ensemble known as the "reed quintet" also makes use of the bassoon. A reed quintet is made up of an oboe, clarinet, saxophone, bass clarinet, and bassoon. The bassoon quartet has also gained favor in recent times. The bassoon's wide range and variety of tone colors make it well suited to grouping in

neg: William Waterhouse (bassoonist) Jean Françaix dedicated his 1942 "Divertissement" for bassoon and string quintet (or orchestra) to him when it was published in 1968, also in 1994 his Trio for oboe, bassoon and piano. Victor Bruns dedicated his "Trio op. 97 für Fagottino, Fagott und Kontrafagott" to William Waterhouse. Stanley Weiner wrote a "Sonata for Bassoon Solo" op. 32. Graham Waterhouse dedicated "Mouvements d'Harmonie" and "Hexenreigen" to him and composed "Phoenix Arising" for bassoon and piano and "Epitaphium" as a tribute to his father's memory. In 2008 he composed the bassoon quartet "Bright Angel", in memory of a hike with his father through

neg: Bassoon such as Joseph Haydn, Michael Haydn, Johann Christian Bach, Giovanni Battista Sammartini and Johann Stamitz included parts that exploited the bassoon for its unique color, rather than for its perfunctory ability to double the bass line. Orchestral works with fully independent parts for the bassoon would not become commonplace until the Classical era. Wolfgang Amadeus Mozart's "Jupiter" symphony is a prime example, with its famous bassoon solos in the first movement. The bassoons were generally paired, as in current practice, though the famed Mannheim orchestra boasted four. Another important use of the bassoon during the Classical era was in the

neg: Peter Musson Gurzenich Orchestra of Cologne, the Australian Chamber Orchestra,the Tasmanian Symphony Orchestra and the Sydney Symphony Orchestra. He has also performed widely as a soloist and as a member of chamber music ensembles. Musson has also had a very successful teaching career with former students having held professional playing and teaching positions on four continents. He has been on staff at the Belfast School of Music, the Krefeld Musikschule and the Queensland Conservatorium where he was Senior Lecturer in Bassoon and Chamber Music until 2002. "From Fire by Fire" Queensland Wind Soloists 4MBS 1990 "William Hurlstone Chamber Music" Continuum 2001 Peter

neg: Tennessee Bassoon Quartet Tennessee Bassoon Quartet The Tennessee Bassoon Quartet, formed in 1985, consists of bassoonists Keith McClelland, James Lotz, James Lassen and Michael Benjamin. The four, from Knoxville and Oak Ridge, Tennessee, formed the group to provide additional performance opportunities for their bassoon talents. They have performed primarily in Tennessee, North Carolina, and Kentucky with a repertoire that includes Renaissance music, jazz, Gilbert and Sullivan, Saint-Saëns, and Scott Joplin. The Tennessee Bassoon Quartet performed on the Grammy Award winning PDQ Bach recording "Music for an Awful Lot of Winds and Percussion". Keith McClelland has been principal bassoonist with the Knoxville Symphony Orchestra

neg: Heinrich Konietzny in several professional orchestras. From 1936 to 1939 he held a permanent position as solo bassoon player in the radio orchestra of the Reichssender Saarbrücken (today: Saarländischer Rundfunk). In the years 1939–1945 he had to join the German army in World War II. In 1946 he became first bassoon player in the symphony orchestra of the radio station of Saarbrücken (Saarländischer Rundfunk). He held this position until 1964. Parallel to this activity he also conducted a woodwind ensemble of the same orchestra. Today, Konietzny is best known as a composer. Beginning in the year 1930 he studied composition in the

neg: Bassoon Concerto (Mozart) the bassoon concerto when he was 18 years old, and it was his first concerto for a wind instrument. 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. Scholars believe that Mozart may have written five bassoon concertos, but that only the first has survived. The concerto is scored for a solo bassoon and an orchestra consisting of 2 oboes, 2 horns in Bb (sometimes transcribed for F), violin I/II, viola, and cello and double

neg: Arthur Sullivan never asked his players to do what was either uncongenial or impracticable." Sullivan's orchestra for the Savoy operas was typical of the theatre orchestra of his era: 2 flutes (+ piccolo), oboe, 2 clarinets, bassoon, 2 horns, 2 cornets, 2 trombones, timpani, percussion and strings. According to Geoffrey Toye, the number of players in Sullivan's Savoy Theatre orchestras was a "minimum" of 31. Sullivan argued hard for an increase in the pit orchestra's size, and, starting with "The Yeomen of the Guard", the orchestra was augmented with a second bassoon and a second tenor trombone. He generally orchestrated each score

neg: Ron Klimko not publish or perform it due to copyright restrictions. Perhaps someday it will be performed. Over the years he experimented with harmonies and wrote works for woodwind instruments. His own work "Passages," for clarinet and bassoon, was performed at the concert for the celebration of his life held in Moscow, Idaho in June 2012. In retirement, he and his family lived in McCall, Idaho, from 2003 to 2012, where he was President and Director of the McCall Chamber Orchestra. Every year for the last several years he organized a summer concert of the McCall Bassoon Band, now called the Ron

neg: Judith LeClair Judith LeClair Judith LeClair (born 1958), from Newark, Delaware, is an American bassoonist. She has been the principal bassoon in the New York Philharmonic since 1981 and on the faculty at the Juilliard School since 1985. LeClair began studying the instrument at age 11 and began her professional career at the age of 15 in a performance with the Philadelphia Orchestra playing the Mozart Sinfonia Concertante with colleagues from the Settlement Music School in Philadelphia, where she studied with Shirley Curtiss. She studied bassoon with K. David van Hoesen at the Eastman School of Music and held the principal chair

neg: Mordechai Rechtman Mordechai Rechtman Mordechai Rechtman (; born 16 May 1926. — ) is an Israeli bassoonist, conductor, educator and arranger. Mordechai Rechtman was born in Wuppertal, Germany. He immigrated to Palestine with his parents in 1934. In 1948, as a bassoonist with an ensemble of the Israel Philharmonic Orchestra, he played Hatikva, the Israeli national anthem, at the signing ceremony of the Israeli Declaration of Independence. Rechtman began playing the bassoon at age 12 and began his professional career three years later, playing principal bassoon with the Palestine Opera, where he remained until 1945. He was awarded first prize at the

neg: Benjamin Kamins Boston Symphony Orchestra, and the New York Philharmonic. He has been Professor of Bassoon at Rice University since 1987, where he continues to be an advocate for young musicians and classical music performance. He is also Principal Bassoon of the Sun Valley Summer Symphony, and holds teaching positions at the Round Top Festival Institute in Texas and the Music Academy of the West in Santa Barbara, California. Benjamin Kamins Benjamin Kamins (born December 13, 1952) is an American bassoonist, currently active and nationally recognized as both a teacher and performer. He spent his childhood in Los Angeles, and currently resides

neg: Simon Kovar Music for 28 years. Kovar also taught at Teachers College at Columbia University, the Music Academy of the West, and the Curtis Institute of Music, the Manhattan School of Music, Mannes College of Music, and the Conservatoire de musique du Québec à Montréal. His students ranged from top orchestra bassoonists, including Sol Schoenbach and Bernard Garfield to jazz musicians, including saxophonists Stan Getz and Ray Pizzi. His "24 Daily Studies for Bassoon", written in the late 1950s, are considered first-rate practice exercises for the bassoon. In the 1950s, Kovar moved to Encino, California where he continued teaching almost until the

neg: Johann Friedrich Fasch flutes, 2 oboes & bassoon in A minor Fwv K:a 2 \ Suite for 2 oboes & 2 bassoons in A minor Fwv K:a 3 \ Suite for 2 oboes & 2 bassoons in A minor Fwv K:a 4 \ Suite for 2 oboes & bassoon in A minor Fwv K:B 1 \ Suite for 2 orchestras (3 flutes, 3 oboes, 2 bassoons, strings and basso continuo in each orchestra) Fwv K:B 2 \ Suite for 2 flutes, 2 oboes & bassoon in B flat major Fwv K:B 3 \ Suite for 2 flutes, 2 oboes & bassoon in B

neg: Sophie Carmen Eckhardt-Gramatté for trumpet, clarinet, bassoon, strings, and timpani; three piano concertos; two violin concertos; a piece for two pianos and orchestra; a bassoon concerto; various chamber works; as well as numerous instrumental solos for piano and violin. Most of her compositions remain unpublished. Sophie Carmen Eckhardt-Gramatté Sophie-Carmen Eckhardt-Gramatté (; 6 January 1899 in Moscow, Russia – 2 December 1974 in Stuttgart, Germany) was a Russian-born Canadian composer and virtuoso pianist and violinist. Born in Moscow as Sofia (Sonia) Fridman-Kochevskaya, Eckhardt-Gramatté studied at the Conservatoire de Paris, where her teachers included Alfred Brun and Guillaume Rémy for violin, S. Chenée for piano,

neg: Roger Birnstingl Kim Walker. He is also a joint president of the British Double Reed Society. Roger Birnstingl Roger Birnstingl is a prominent British classical bassoonist. He started playing the bassoon at age 14, Educated at Bedales School and later studied with Archie Camden at the Royal College of Music in London. He has served as principal bassoonist of the London Philharmonic (1956–1958), the Royal Philharmonic (1961–1964) and the London Symphony Orchestra (1964–1977). He later served as principal bassoonist with the Orchestre de la Suisse Romande until his retirement in 1997. He is currently professor of bassoon at the Geneva Conservatoire, where

neg: Tennessee Bassoon Quartet He was born in Montana, but has roots in Scandinavia. He has also held bassoon positions with orchestras in Santiago, Chile and Louisiana. He has performed with jazz greats Ellis Marsalis, Charles Neville, Steve Masakowski and Bobby McFerrin. Michael Benjamin was a member of the Knoxville Symphony Orchestra for twenty years, and currently plays for the Oak Ridge and Kingsport Symphonies. Tennessee Bassoon Quartet The Tennessee Bassoon Quartet, formed in 1985, consists of bassoonists Keith McClelland, James Lotz, James Lassen and Michael Benjamin. The four, from Knoxville and Oak Ridge, Tennessee, formed the group to provide additional performance opportunities for

neg: Gwydion Brooke the Weber bassoon concerto with Malcolm Sargent and the Royal Liverpool Philharmonic Orchestra. Gwydion Brooke Gwydion Brooke (16 February 191227 March 2005) was the principal bassoonist of the Royal Philharmonic Orchestra and a member of its "Royal Family" of wind instrumentalists, along with Jack Brymer (clarinet), Terence MacDonagh (oboe), and Gerald Jackson (flute). Born Frederick James Gwydion Holbrooke, he was the son of the composer Joseph Holbrooke. After the death of Sir Thomas Beecham in 1961, Walter Legge hired Brooke as the principal bassoonist of the Philharmonia Orchestra, where he remained until his retirement in 1979. His recordings include one

neg: Gwydion Brooke Gwydion Brooke Gwydion Brooke (16 February 191227 March 2005) was the principal bassoonist of the Royal Philharmonic Orchestra and a member of its "Royal Family" of wind instrumentalists, along with Jack Brymer (clarinet), Terence MacDonagh (oboe), and Gerald Jackson (flute). Born Frederick James Gwydion Holbrooke, he was the son of the composer Joseph Holbrooke. After the death of Sir Thomas Beecham in 1961, Walter Legge hired Brooke as the principal bassoonist of the Philharmonia Orchestra, where he remained until his retirement in 1979. His recordings include one of the Mozart bassoon concerto with Beecham and the Royal Philharmonic Orchestra, and

neg: Bassoon Concerto (Jolivet) Bassoon Concerto (Jolivet) French composer André Jolivet wrote his Concerto for Bassoon, String Orchestra, Harp and Piano in 1953-1954. It was premièred on 30 November 1954 by Maurice Allard and the Orchestre Radio-Symphonique de Paris. It lasts about 13 minutes and is considered one of the most difficult concertos in the instrument's repertoire. The concerto is in four movements. Echoing the Baroque slow-fast-slow-fast Sonata da chiesa, it also displays influence from Neo-classicism and Jazz. The serene opening "Recitativo" displays the large range of the bassoon while the second movement "Allegro gioviale" features joyful syncopated rhythms. Its melodic lines suit the

neg: Flute Concerto (Tower) with the low register of the flute alone before the orchestra comes. As the flute gets more active, the chamber-size orchestra provides competitive tension which is matched phrase by phrase as the piece heads relentlessly towards to a finale where the "music blows wide open" (Wincenc) in a virtuosic display of flute scales and arpeggios." The work is scored for solo flute and a small orchestra comprising an additional flute (doubling piccolo), oboe, clarinet (doubling bass clarinet), bassoon, trumpet, bass trombone, two percussionists, and strings. The Flute Concerto has been praised by music critics. Reviewing the world premiere, Bernard Holland

neg: Jaan Hargel Conservatoire where his best-known student was Herman Talmre, the long-time principal oboist with the Estonian Radio Symphony Orchestra (now the Estonian National Symphony Orchestra). From 1946–49, he taught at Tartu Teacher Training Institute (now the Institute of Educational Science at the University of Tartu) and from 1948–66 at Tartu Music School (now Tartu Heino Eller Music School) where his students were Heldur Värv, Alo Põldmäe (oboe), Jaan Õun, Peeter Rööp (flute), Ilmar Aasmets (bassoon), etc. Jaan Hargel's father Jaan Hargel (1887–1962), afterwards changed his name to Hargla, was an actor at Tallinn Drama Theatre, ballroom dancing instructor, football and athletics

neg: Karen Geoghegan Gilbert Innes Prize for woodwind and the 2004 Concerto competition, and in 2004 and 2005 was awarded the Wolfson Scholarship. In 2006 she gave a recital on BBC Radio Scotland, and also performed the Hindemith Trumpet and Bassoon Concerto with John Wallace. She was a member of the National Youth Orchestra of Scotland for four years and in 2007 performed with Camerata Scotland NYOS Futures. , Geoghegan is in her final year at the Royal Academy of Music with John Orford. During her first year she performed the Mozart Bassoon Concerto with the Academy String Orchestra, and received the Violet

neg: John Orford British orchestras, including the London Symphony Orchestra, London Philharmonic, Royal Philharmonic, and the Philharmonia. John Orford John Orford is a British classical bassoonist. He studied under Charles Cracknell and William Waterhouse at the Royal Manchester College of Music. After graduation, he became a member of the Bournemouth Sinfonietta, and later the BBC Symphony Orchestra. In 1982, he was appointed Principal Bassoon of the London Sinfonietta. In 1984, he joined the faculty at the Royal Academy of Music and the Guildhall School of Music and Drama as professor of bassoon. In 1999, he commissioned Geoffrey Grey to write the piece "Preamble

neg: John Whitfield (conductor) 1026 (1991) and solo recorder under Richard Hickox in Benjamin Britten "Noye's Fludde" on Virgin Classics. Whitfield won several awards during his time playing the bassoon with the National Youth Orchestra. Before leaving Oxford he was invited in 1978 by Lillian Hochhauser to audition for Rudolph Barshai who immediately offered him the post of first bassoon with the Israel Chamber Orchestra. He has also edited performing editions of operas for the Royal Opera House and the English National Opera, and four Franz Lehár operettas for publication by Weinberger. His arrangement for wind quintet of Mozart's Serenade in Bb, K361 was

neg: Chiel Meijering between 2012-2015 scored now for bassoon and string orchestra. These multi movement works could be described as encore pieces or concertinos. The later concertos are more complex in structure, rhythmically and technically demanding for both the bassoon and string orchestra. McLean assisted Meijering throughout this creative process by proofing and making editing suggestions, often he would ask her for assistance in titles and would request she write down a riff as a personal signature that he would incorporate and expand upon in some of these concertos. Meijering is often inspired by family roots, photographs, art, and daily events. Knowing of

neg: Stephen Maxym Stephen Maxym Stephen Maxym (July 17, 1915 – October 12, 2002) was an American bassoonist. Born in New York City, he attended the Institute of Musical Arts (now The Juilliard School) before Joining the Pittsburgh Symphony Orchestra as Principal Bassoon under Fritz Reiner. After serving in the US Merchant Marine during World War II, he auditioned for Erich Leinsdorf to become Principal Bassoon of the Metropolitan Opera Orchestra, a position he maintained until he retired from his active orchestral career. While at the Metropolitan Opera, he performed under many of the great conductors of his day, including Herbert von Karajan,

neg: Woodwind quartet Concerto for woodwind quartet and orchestra (1935) by Jean Françaix, and the Concerto Grosso for woodwind quartet and wind ensemble (1959) by Heitor Villa-Lobos. Paul Hindemith added a harp to the woodwind quartet in his Concerto for flute, oboe, clarinet, bassoon, harp, and orchestra (1949). Woodwind quartet A woodwind quartet, sometimes casually called wind quartet, is an ensemble of four woodwind instruments, or music written for four instruments. The usual scoring is flute, oboe, clarinet and bassoon. The instruments in a woodwind quartet usually have different ranges that allow for rich harmonies with high and low tones. Since these four

neg: Colin Brumby string orchestra and harpsichord. He won a number of awards. In 1969 he won the Albert H. Maggs Composition Award, composing the work "A Ballade for St. Cecilia : Cantata for Chorus, Orchestra and Soloists". In 1981 Brumby was awarded an Advance Australia Award for services to music. He has also won the Don Banks Fellowship (1990) and the APRA award for most performed Australasian serious work. Brumby's music includes operas; concerti for flute, oboe, clarinet, bassoon, horn, trumpet, piano, violin, viola, and guitar; two symphonies; orchestral suites and overtures; chamber works; sonatas for flute, clarinet and bassoon; incidental music

neg: Per Hannevold Per Hannevold Per Hannevold, born 1953, is a member of the Bergen Woodwind Quintet and has been principal bassoon of the Bergen Philharmonic Orchestra since 1979. He was a member of the Norwegian Radio Orchestra (Kork) from 1974 till 1979. He is a Professor at the Grieg Academy, University of Bergen. His repertoire includes all of the standard bassoon concerto and chamber music works, and Ruth Bakke’s Illuminations, John Williams’s The Five Sacred Trees, and Jean Françaix’s Concerto. Worldwide appearances include performances in Taiwan, Lithuania, and the Lincoln Center concert honoring the 50th Anniversary of the Universal Declaration of Human

neg: Per Hannevold as well as works by David Maslanka and Oivind Westby. He has studied conducting with Aldo Ceccato and Sergiu Celibidache. Per Hannevold Per Hannevold, born 1953, is a member of the Bergen Woodwind Quintet and has been principal bassoon of the Bergen Philharmonic Orchestra since 1979. He was a member of the Norwegian Radio Orchestra (Kork) from 1974 till 1979. He is a Professor at the Grieg Academy, University of Bergen. His repertoire includes all of the standard bassoon concerto and chamber music works, and Ruth Bakke’s Illuminations, John Williams’s The Five Sacred Trees, and Jean Françaix’s Concerto. Worldwide appearances

neg: Richard Faith Longing, Valerie Errante, soprano The Songs of Richard Faith. Joseph Hopkins, baritone; Richard Faith, piano. Hopkins Recording Company Incantations and Rhymes. Trio Ariana The Ensemble da Camera of Washington. Fantasy Trio for Violin, Clarinet and Piano New Works for Bassoon. Suite for Bassoon and Piano The Catalina Chamber Orchestra. Concerto for Clarinet and Chamber Orchestra ASCAP Biographical Dictionary. 4th ed. New York: Jaques Cattell Press, 1980. Anderson, Ruth. Contemporary American Composers, a Biographical Dictionary. 2nd ed. Boston: G.K. Hall & C0., 1982 Kimball, Carol. Song: A Guide to Art Song Style and Literature. Wisconsin: Hal Leonard Corporation, 2006. Richard Faith

neg: K. David van Hoesen Orchestra from 1952-1954. He played the bassoon in the Lake Placid Sinfonietta starting in 1947 and retired from teaching in 1991. He died in Pittsburgh, PA on October 3, 2016. K. David van Hoesen Karl David van Hoesen (1926 – October 3, 2016) was former principal bassoonist of the Rochester Philharmonic Orchestra and Professor emeritus of the University of Rochester, Eastman School of Music as chair of the Wind, Brass and Percussion Department. In 1950 he graduated from the Eastman School of Music in New York, USA, with a bachelor's degree. From 1950 to 1954 he was professor of bassoon

neg: Duet concertino for clarinet and bassoon for his orchestra, the Orchestra della Svizzera Italiana. The concerto was written with an old friend in mind: Professor Hugo Burghauser, who had been the principal bassoonist with the Vienna Philharmonic but had since emigrated to New York. The score published by Boosey and Hawkes in 1949 has the dedication to Burghauser. Strauss had written to him in 1946: I am very busy with an idea for a double concerto for clarinet and bassoon thinking especially of your beautiful tone - nevertheless, apart from a few sketched out themes it still remains no more than an intention. Perhaps it would

neg: Bassoon Concerto (Weber) heavily on dominants and tonics. Chiefly a composer and conductor of operas, Weber had a flair for the theatrical, which he used to great effect to introduce the soloist by the orchestra. At the end of the introduction the orchestra plays five measures of a cadential six-four while raising a massive crescendo from piano to fortissimo, lands on a root-position dominant seventh chord, then drops out, leaving a solo timpani playing the tonic F at a pianissimo for two measures of alternating eighth notes and eighth rests, creating what Waterhouse calls “theatrical expectancy.” The bassoon enters triumphantly with the first

neg: Lyndon Watts Duda. In 2003 he premiered the Bassoon Quintet of Graham Waterhouse at the Gasteig. At the 2009 IDRS conference in Birmingham he played in several recitals, for example with bassoonist Thomas Eberhardt "Lacrimosa" of Louis Andriessen, Holliger's "Three Pieces", Sofia Gubaidulina's Duo for two bassoons, and the premiere of Bernd Redmann's "Secret doors" for two bassoons and orchestra. In December 2009 he took part in the festival of contemporary music "Klangaktionen" in Munich. In 2011 he premiered Redmann's "Migrant" for bassoon and string quartet in Munich. Playing a Baroque bassoon built by Peter de Koningh after Eichentopf, Watts recorded arrangements

neg: John Miller Jr. John Miller Jr. John Miller is a musician and bassoonist. Miller received his early musical training at the Peabody Conservatory in Baltimore and the New England Conservatory in Boston. He also holds a BS degree in humanities and engineering from MIT and was awarded a Fulbright grant for music study in Amsterdam. While in Boston, he founded the Bubonic Bassoon Quartet and made the premier recording of the Hummel Bassoon Concerto, released along with the Weber Concerto on Cambridge Records. Miller assumed the position of principal bassoon of the Minnesota Orchestra in 1971, when he also joined the music faculty

neg: Carl Almenräder Carl Almenräder Carl Almenräder (3 October 1786 in Ronsdorf (Wuppertal) – 14 September 1846 in Biebrich) was a German performer, teacher and composer. The design of the modern bassoon owes a great deal to Almenräder, who, assisted by the German acoustics researcher Gottfried Weber developed the 17-key bassoon whose range spanned three octaves and a half. Carl Almenräder was the son of a teacher: he taught himself to play the bassoon after he was given one when aged just 13. He started out in 1810 playing in a theatre orchestra in Cologne, but he switched to an orchestral position in

neg: Contrabassoon the instrument. The instrument is notated an octave above sounding pitch in bass clef, with tenor or even (rarely) treble clef called for in high passages. Tonally, it sounds much like the bassoon except for a distinctive organ pedal quality in the lowest octave of its range which provides a solid underpinning to the orchestra or concert band. The lowest range, in comparison with the bassoon, can be played more quietly than the bassoon can. Although the instrument can have a distinct 'buzz', which becomes almost a clatter in the extreme low range, this is nothing more than a variance

neg: Julius Weissenborn Julius Weissenborn Christian Julius Weissenborn (April 13, 1837 – April 21, 1888) was a German bassoonist, teacher and composer. Weissenborn was born in Friedrichs-Tanneck near Eisenberg, Thuringia. He was principal bassoonist of the Leipzig Gewandhaus Orchestra from 1857 – 1887. He taught at the Leipzig Conservatory beginning in 1882. Apart from a small canon of Romantic works, he is chiefly remembered for his pedagogical works, the "Practical Bassoon School" and the "Bassoon Studies, Opus 8" (which includes the "Fifty Advanced Studies"), which are still in widespread use. He died, aged 51, in Leipzig. The "Practical Bassoon School" (called "Practical Method

neg: Bezauberndes Fräulein Bezauberndes Fräulein Bezauberndes Fräulein (The Charming Young Lady) is a musical comedy in four scenes, similar in style to an operetta. Ralph Benatzky wrote both music and libretto, inspired by the French farce "La petite chocolatière" by Paul Gavault. The work premiered on 24 May 1933, in the Volkstheater in Vienna, Austria. The cast does not require operatic voices, just singing actors. The required orchestra comprises piano, flute, oboe, two clarinets, two trumpets, bassoon, three saxophones, banjo, guitar, percussion and strings. Alternatively, the instrumental music has also been arranged for two pianos. The piece is set in an unnamed German-speaking

neg: John Orford John Orford John Orford is a British classical bassoonist. He studied under Charles Cracknell and William Waterhouse at the Royal Manchester College of Music. After graduation, he became a member of the Bournemouth Sinfonietta, and later the BBC Symphony Orchestra. In 1982, he was appointed Principal Bassoon of the London Sinfonietta. In 1984, he joined the faculty at the Royal Academy of Music and the Guildhall School of Music and Drama as professor of bassoon. In 1999, he commissioned Geoffrey Grey to write the piece "Preamble and 5 Variations" for bassoon and piano. He has appeared with all the major

neg: Bassoon Italy, Germany and England. Meanwhile, composers such as Joseph Bodin de Boismortier, Michel Corrette, Johann Ernst Galliard, Jan Dismas Zelenka, Johann Friedrich Fasch and Telemann wrote demanding solo and ensemble music for the instrument. Antonio Vivaldi brought the bassoon to prominence by featuring it in 37 concerti for the instrument. By the mid-18th century, the bassoon's function in the orchestra was still mostly limited to that of a continuo instrument—since scores often made no specific mention of the bassoon, its use was implied, particularly if there were parts for oboes or other winds. Beginning in the early Rococo era, composers

neg: Arthur Weisberg Arthur Weisberg Arthur Weisberg (April 4, 1931 – January 17, 2009) was an American bassoonist, conductor, composer and author. Weisberg was born in New York City. He attended The High School of Music & Art, majoring in bassoon and studying with Simon Kovar, and graduating in 1948. Soon after leaving Juilliard, he found notable success securing the principal chairs with the Houston and Baltimore Symphony Orchestras and second bassoon with the Cleveland Orchestra, before coming back to New York City. After pursuing study of conducting with Jean Morel he again returned to the bassoon as principal for Symphony of the

neg: Julius Weissenborn at an intermediate level, most of them are quite challenging, exploring all keys and even the extreme ranges of the bassoon. Julius Weissenborn Christian Julius Weissenborn (April 13, 1837 – April 21, 1888) was a German bassoonist, teacher and composer. Weissenborn was born in Friedrichs-Tanneck near Eisenberg, Thuringia. He was principal bassoonist of the Leipzig Gewandhaus Orchestra from 1857 – 1887. He taught at the Leipzig Conservatory beginning in 1882. Apart from a small canon of Romantic works, he is chiefly remembered for his pedagogical works, the "Practical Bassoon School" and the "Bassoon Studies, Opus 8" (which includes the "Fifty

neg: Eugène Bozza Orchestra" is a three-movement work and one of 19 concertos written by Bozza. Bozza created a deep repertoire of music for Bassoon. "Recit, Sicilienne, et Rondo" is a solo piece with piano accompaniment that explores both the high and low range of the bassoon. Due to its technical demands and lyrical melodies, this piece is a mainstay of the conservatory repertoire for bassoon. "Aria," a piece written for Alto Saxophone and Piano, draws inspiration from the works of J. S. Bach, especially the "Manual for the Fantasy in F" and the "Pastorale in F Major" (BWV 590). It is one

neg: Friedrich Ramm oboe part was also composed for Ramm.) In 1787 (14 March) Mozart participated in a benefit concert for Ramm in Vienna. Friedrich Ramm Friedrich Ramm (1744–1813) was a German oboist for whom Wolfgang Amadeus Mozart wrote several works. Ramm was principal oboist in the orchestra of Charles Theodore, Elector of Bavaria in Munich and in Mannheim, where Mozart first met him in 1777. Mozart the following year composed a Sinfonia Concertante for Ramm and several of his colleagues, thought to be or be related to the Sinfonia Concertante for Oboe, Clarinet, Horn, Bassoon and Orchestra K. 297b. In 1781, Mozart

neg: Peter Smith (oboist) Peter Smith (oboist) Peter Smith has been associate principal oboe of the Philadelphia Orchestra since 1991. He has spent summers participating in such festivals as the Colorado Music Festival, where he was principal oboe in 1991. He was featured in the Philadelphia Orchestra’s performance of Martinu’s Sinfonia concertante for violin, oboe, cello, bassoon, and orchestra at the Mann Center for the Performing Arts in July 1994. He was also a soloist in The Philadelphia Orchestra’s Absolutely Mozart Festival in a performance of Mozart’s Quintet for Piano and Winds with pianist Emanuel Ax in June 2003. Smith performed Mozart’s Sinfonia Concertante

neg: Bernard Garfield to 2008. He also taught at Temple University from 1957-2004. In addition to performing and teaching, Mr. Garfield is also a noted composer. His compositions include woodwind trios, three quartets for bassoon with string trio, piano solos, songs, and duets for bassoon and piano. A list of his complete works can be found on his official website. (See the external link below.) Among Garfield's solo recordings with the Philadelphia Orchestra are the Mozart Sinfonia Concertante, K. 297b (1957), the Mozart Bassoon Concerto, K. 191 (1961), the Haydn Sinfonia Concertante (1958) and the Weber Andante e Rondo Ongarese, Op. 35 (1962).

neg: Wilbur Simpson Wilbur Simpson Wilbur H. Simpson (December 6, 1917 in Angola, Indiana – June 17, 1997 in Platte Lake, Michigan) was an American classical bassoonist and pedagogue. At Northwestern University, he studied with Hugo Fox, principal bassoonist of the Chicago Symphony Orchestra. During World War II, he served in the navy aboard the battleship . He was in the Navy Band that played aboard the during the Japanese Surrender. In 1946, he joined the Chicago Symphony Orchestra, first as contrabassoonist, then as second bassoon, where he remained until his retirement in the fall of 1991. He was awarded the Theodore Thomas

neg: Wilbur Simpson Many of his former pupils now occupy positions in leading orchestras of the world. Wilbur Simpson Wilbur H. Simpson (December 6, 1917 in Angola, Indiana – June 17, 1997 in Platte Lake, Michigan) was an American classical bassoonist and pedagogue. At Northwestern University, he studied with Hugo Fox, principal bassoonist of the Chicago Symphony Orchestra. During World War II, he served in the navy aboard the battleship . He was in the Navy Band that played aboard the during the Japanese Surrender. In 1946, he joined the Chicago Symphony Orchestra, first as contrabassoonist, then as second bassoon, where he remained

neg: Archie Camden the Royal Manchester (now Northern) College of Music from 1914 to 1933; he later taught at the Royal College of Music in London. His most famous students included Roger Birnstingl, Michael Chapman, and Martin Gatt. He also conducted the London Stock Exchange Orchestra. In 1962, Camden published his book "Bassoon Technique." He was awarded an OBE in 1969. Archie Camden Archie Camden (1888–1979) was a British bassoonist; he was a pedagogue and soloist of international acclaim. His career began in 1906 when he joined the Hallé Orchestra, where he became principal bassoonist in 1914. In 1933 he moved to the

neg: Friedrich Ramm Friedrich Ramm Friedrich Ramm (1744–1813) was a German oboist for whom Wolfgang Amadeus Mozart wrote several works. Ramm was principal oboist in the orchestra of Charles Theodore, Elector of Bavaria in Munich and in Mannheim, where Mozart first met him in 1777. Mozart the following year composed a Sinfonia Concertante for Ramm and several of his colleagues, thought to be or be related to the Sinfonia Concertante for Oboe, Clarinet, Horn, Bassoon and Orchestra K. 297b. In 1781, Mozart wrote his Oboe Quartet, K. 370 for Ramm, while the composer was staying in Munich to finish Idomeneo. (The opera's superb

neg: Victor Guillermo Ramos Rangel Victor Guillermo Ramos Rangel Victor Guillermo Ramos Rangel (Cúa, Miranda state, Venezuela, 10 February 1911 - Caracas, 10 December, 1986) was a Venezuelan classical musician. Started his career in the Caracas Musical Declamation Academy (nowadays renamed in honor to José Ángel Lamas), where he graduated as composer. Ramos was one of the first students of Vicente Emilio Sojo and helped him in the compilation of Venezuelan folk songs. In 1930, he is part of the founders of the Venezuela Symphony Orchestra and the Orfeón Lamas. In this orchestra dedicated to execute the Bassoon. From 1941 to 1950, he was professor

neg: Bernhard Romberg Bernhard Romberg Bernhard Heinrich Romberg (November 13, 1767 – August 13, 1841), was a German cellist and composer. Romberg was born in Dinklage. His father, Anton Romberg, played the bassoon and cello and gave Bernhard his first cello lessons. He first performed in public at the age of seven. In addition to touring Europe with his cousin Andreas Romberg, Bernhard Romberg also joined the Münster Court Orchestra. Together with his cousin, he later joined the court orchestra of the Prince Elector Archbishop of Cologne in Bonn (conducted by the Kapellmeister Andrea Luchesi) in 1790, where they met the young Beethoven.

neg: Marc Engelhardt North German Radio Symphony Orchestra, Southwest German Radio Symphony Orchestra and Bamberg Symphony. Since 1995 Marc Engelhardt has taught at both the Saar Academy of Music and the State University of Music and Performing Arts Stuttgart, where he has been Professor of Bassoon since 2004. Prof. Engelhardt has given master classes in Russia, China, Korea and Europe, and is a faculty member of the Internationale Bachakademie Stuttgart's Festival Ensemble programme for young musicians. Marc Engelhardt Marc Engelhardt, a bassoonist, was born in 1961 in Radevormwald, Germany. From 1976 to 1982, he studied with Prof. Günter Pfitzenmaier in Cologne and from

neg: Perry Bauman 1952 to 1964, and with the orchestra of the National Ballet of Canada from 1960 to 1966. While in Toronto, Bauman taught at the Royal Conservatory of Music, where his pupils included Lawrence Cherney and Harry Freedman. In 1956, Bauman founded the Toronto Woodwind Quintet with Gordon Day (flute), Ezra Schabas (clarinet), Eugene Rittich (horn), and Nicholas Kilburn (bassoon). Bauman performed with the quintet until 1971, when Melvin Berman took over the oboe chair. From 1971 through 1979, Bauman was co-principal oboe, later principal oboe, of the Edmonton Symphony Orchestra. In 1979, he came back east to teach at the

neg: Leonard Sharrow University Bloomington. He spent many summers on the faculty of the Aspen Music Festival before joining the Pittsburgh Symphony Orchestra as co-principal bassonist in 1977. After retiring from Pittsburgh a decade later he returned to Bloomington, and eventually relocated to Cincinnati, Ohio, where he died of leukemia. Leonard Sharrow Leonard Sharrow (August 4, 1915 – August 9, 2004) was one of the foremost American bassoonists of the 20th Century. Born in New York City, he joined the NBC Symphony Orchestra when it was first organized, eventually becoming principal bassoonist (and recording the Mozart Bassoon Concerto with Arturo Toscanini in 1947);

neg: Václav Vonášek he was a member of the Czech Philharmonic Orchestra. Since March 2016 he is contrabassoonist of the Berlin Philharmonic Orchestra. Václav Vonášek Václav Vonášek (born 1980) is a Czech classical bassoonist. He began to study the bassoon at the Concervatory in Plzeň (teachers Ladislav Šmídl and Matouš Křiváček). He went on to study at the Academy of Performing Arts in Prague (prof. František Herman and prof. Jiří Seidl). He gained yearlong scholarship to study at the Royal College of Music in London where he studied with Andrea de Flammineis and Martin Gatt. Vaclav Vonasek is the founder and member of

neg: Bassoon Concerto (Neikrug) personalized specificity of sound world." Anne Midgette of "The Washington Post" similarly called the work "a collection of wandering phrases, starting with a movement that features juxtapositions of ascending bassoon lines and descending orchestral lines (and vice versa), and that moves on to the requisite slow movement, followed by the requisite rapid one, without ever quite taking hold of the qualities of timbre and incision for which it seems to be groping." Elaine Schmidt of the "Milwaukee Journal Sentinel" was more favorable, writing, "Constructed like a conversation between bassoon and orchestra, the piece is supports the bassoon's solo passages with

neg: Duet concertino for clarinet and bassoon recordings include: Duet concertino for clarinet and bassoon The Duet Concertino for Clarinet and Bassoon in F with String Orchestra and Harp (TrV 293) was written by Richard Strauss in 1946-47 and premiered in 1948. It is the last purely instrumental work he wrote. The first mention of the "Duet-concertino" in Strauss's notebook is 15 December 1946 when he was at Baden. He mentioned working on it again in September 1947 when at Pontresina, finishing the score on 16 December 1947 when he was in Montreux. The impetus for completing it was a commission in the summer of 1947 from

neg: Duet concertino for clarinet and bassoon Duet concertino for clarinet and bassoon The Duet Concertino for Clarinet and Bassoon in F with String Orchestra and Harp (TrV 293) was written by Richard Strauss in 1946-47 and premiered in 1948. It is the last purely instrumental work he wrote. The first mention of the "Duet-concertino" in Strauss's notebook is 15 December 1946 when he was at Baden. He mentioned working on it again in September 1947 when at Pontresina, finishing the score on 16 December 1947 when he was in Montreux. The impetus for completing it was a commission in the summer of 1947 from Otmar Nussio

neg: Romance for bassoon (Elgar) two of Elgar's most large-scale works, the Violin Concerto and the Second Symphony, and is a contrastingly short and gentle piece, lasting under eight minutes in performance. The Elgar expert Michael Kennedy remarks of it that it portrays the bassoon as poet and singer rather than comedian. The work is scored for an orchestra consisting of, besides the solo bassoon, 2 flutes, 2 oboes, 2 clarinets in B♭, 2 bassoons (2nd ad lib) 3 horns in F, 3 trombones ad lib, timpani, and strings. Both versions have been recorded. Liner notes to EMI recordings mentioned above, by Michael Kennedy and