Kotta $32.95

Forrás

Four Pieces for Clarinet, Bassoon and Piano. Max Bruch. Bassoon Solo sheet music. Clarinet Solo sheet music. Piano Accompaniment sheet music.

Fordítás

Four Pieces for Clarinet, Bassoon and Piano. Max Bruch. Fagott Solo kotta. Klarinét Solo kotta. Zongorakísérettel kották.

Forrás

Four Pieces for Clarinet, Bassoon and Piano composed by Max Bruch. 1838-1920. Arranged by Albie Micklich. For Clarinet, Bassoon, Piano. Chamber music. Published by Potenza Music. P2.30033. This arrangement of Four Pieces from "Eight Pieces, Op. 83" by Max Bruch started while I was working on my DMA degree at Michigan State University and performing as a member of the Trio Sonor, a clarinet, bassoon, and piano trio. Since repertoire for this particular combination is surprisingly limited, we arranged additional works that suited our trio. Upon first hearing it, the phrase materials and harmonies of Bruch's Op. 83 impressed us as strikingly beautiful and immediately accessible to audiences. Since Bruch composed two versions of Op. 83 - a version for clarinet, viola, and piano, and another version for violin, cello, and piano - I had more liberties with the technical considerations and musical aesthetics to arrange the bassoon part from both viola and cello scores. The range and lyrical style translated easily to the bassoon and beautifully exploited the register timbres of the instrument. Additionally, the majority of the technical writing in the parts for viola and cello lent itself well to the bassoon.

Fordítás

Four Pieces for Clarinet, Bassoon and Piano composed by Max Bruch. 1838-1920. Által szervezett Albie Micklich. A klarinét, fagott, zongora. Kamarazenei. Kiadja a Potenza Music. P2.30033. This arrangement of Four Pieces from "Eight Pieces, Op. 83" by Max Bruch started while I was working on my DMA degree at Michigan State University and performing as a member of the Trio Sonor, a clarinet, bassoon, and piano trio. Since repertoire for this particular combination is surprisingly limited, we arranged additional works that suited our trio. Upon first hearing it, the phrase materials and harmonies of Bruch's Op. 83 impressed us as strikingly beautiful and immediately accessible to audiences. Since Bruch composed two versions of Op. 83 - a version for clarinet, viola, and piano, and another version for violin, cello, and piano - I had more liberties with the technical considerations and musical aesthetics to arrange the bassoon part from both viola and cello scores. The range and lyrical style translated easily to the bassoon and beautifully exploited the register timbres of the instrument. Additionally, the majority of the technical writing in the parts for viola and cello lent itself well to the bassoon.