Скачать с ютуб Gustav Schreck: Bassoon Sonata, Op. 9 (1887) в хорошем качестве

Gustav Schreck: Bassoon Sonata, Op. 9 (1887)

00:00 - I. Allegro ma non troppo 05:30 - II. Largo 09:47 - III. Allegro _____ Bassoon: Meyrick Alexander Piano: Catherine Milledge Year of Recording: 2010 _____ "Schreck's Sonata for Bassoon and Piano op. 9 is in three movements with the melody given equally to both instruments. The piano part, however, is quite thick at times, which may require the bassoonist to play slightly louder than the marked dynamics. There are many opportunities to use rubato throughout the work. It is not known for whom Schreck composed this work. However, a very prominent bassoonist in Leipzig up until 1888, was Julius Weissenborn (1837-88), so perhaps it was written with him in mind. The first movement is marked "Allegro ma non troppo" and is in a sonata-allegro form, beginning in the key of Eb Major. The transition begins in measure 15, which leads to the second theme at measure 32 in the key of Bb Major. The closing theme begins in measure 43 in Bb Major, which ends the exposition at measure 64. All of the melodic material in this movement is slurred and is mostly scales and arpeggios. The development begins in measure 65 and goes through several key areas before the recapitulation occurs at measure 109, back in the home key of Eb Major. The transition is eliminated in the recapitulation, so the second theme immediately follows the principal theme, beginning in measure 117 in Eb Major. The closing theme begins in measure 127 and there is a short coda to finish out the movement in measure 143. The difficulties in this movement lie in getting all the slurs to be smooth, and balancing with the heavy piano part. Some of the slurs are quite large and may require a flick or alternate fingering to produce the slur effectively. For example, in the first measure of the movement, there is a slur from g to eb1, which may require either flicking the c# key or lifting the first finger in the right hand for the eb to speak. The range of this movement is not terribly large, only going up to an ab1 a few times. The second movement is marked "Largo" and is in an ABA form. This movement in particular, has a lot of vocal qualities, almost in imitation of an opera aria. The movement presents the first theme in the key of Ab Major with the piano accompaniment being much thinner in this section. The 'B' section of the movement begins in measure 17 and has a thicker and more agitated piano line. There is a short cadenza, beginning in measure 29, which leads to the return of the 'A' theme in measure 33. Another short cadenza at the end of measure 44, leads to a coda in the next measure, which ends the movement. The difficulties in the second movement are very similar to those in the first, as most of the passages are slurred and have some larger intervals within these slurs. The range of this movement is a bit wider, going up to db2 in the second cadenza. The final movement is marked 'Allegro' and is also in a sonata-allegro form, beginning in the key of Eb Major. After a four bar introduction, the principal theme is presented in measure 5, with the transition beginning in measure 13, leading to the second theme, which begins in measure 38 in the key of Bb Major. The closing material begins in measure 50 and the development begins in measure 64. The principal theme does not return in the recapitulation so the development ends at the return of the second theme in measure 105, back in the tonic key of Eb Major. The closing material begins in measure 117, leading to a short cadenza in measure 140. A slightly faster coda begins in measure 145, which brings the work to a resounding close. Since the tempo in the final movement is a bit faster than the first, there are a few more technical demands in this movement. There are several 16th note passages throughout, some repeating just a few notes in close succession. For example, at the beginning of the development in measure 64, there are 16th notes going up and down between d1, eb1, and f1, which may require an alternate f1 fingering to produce this passage smoothly. A common alternate for the f1 in a passage such as this, is to play the eb1 key normally, then lift off all the fingers in the left hand to produce the fl. Again there are some balance issues with the piano, which may require louder playing by the bassoonist. The piano part is fairly difficult, so you will need a competent player to perform this work, but it certainly is an enjoyable and satisfying work to play for both the bassoonist and pianist." (Daniel Lipori) _____ © COPYRIGHT Disclaimer, Under Section 107 of the Copyright Act 1976. Allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.