Bassoon

This was my first time to attend the music concert, and I am very enjoyed both of them. The first one I went was in the David Geffen Hall at Lincoln Center. And the second one I went was Merkin Concert Hall at Kaufman Music Center. Compare with each music hall, I like the David Geffen Hall better not just because it’s big and having many seats, it is first buildings completed on the Lincoln Center site and home to one of its first resident organization. The New York Philharmonic is the oldest symphony

Osborne Rhapsody for Bassoon by, Sonatine by Alexander Tansman, Concertino by Paulo Mignone, Bassoon Sonata by Gustav Schreck, and Hungarian Fantasy by Carl von Weber. Wilson Osborne, born in 1906, studied theory and composition at the University of Michigan under the supervision of Ross Lee Finney. Osborne, a neoclassical composer taught music theory and composition at Philadelphia's New School of Music. Osborne's most frequently performed piece was Rhapsody for bassoon. The Rhapsody, originally

Analysis of Firebird by Stravinsky Immediately we are introduced to the leitmotif, major and minor thirds, within a tritone. This returns at bars 15 - 18 and at various other parts in the suite of which I will later elaborate. Within the opening few bars the pizzicato and legato combined in the cello and bass section produces an ominous opening to the work. The base drum roll and the murky off beat and horn entry at bar 5 makes it clear that it is evil magic. One of

The music of Stravinsky has always been “ahead of time” in the way of using new and different ways of presenting music. His early ballets such as Firebird, Petrushka, and The Rite of Spring being a great example of his modernism and will to compose music which is both innovative and shocking. For this essay I have chosen to write about The Firebird (1910) and The Rite of Spring (1913). Firebird was Stravinsky’s first Ballet and his first composition that reached many people because of its modernism

I attended Auburn University’s AU Chamber Ensembles at The Goodwin Recital Hall on Monday, November 14, 2016, that began at 7:30 p.m. The concert featured performances from Auburn Bassoon Ensemble, Auburn Guitar Ensemble, Auburn Wind Quintet, Auburn String Trio, Nova Saxophone Quartet, and Auburn Horn Ensemble. The ensemble lasted approximately 60 minutes and offered a very gratifying listening experience. The audience dressed very casual but the AU Chamber Ensemble performers wore all black. The

Almost definitely imitating the act of new life waking in the spring soil, Stravinsky starts the haunting introduction to his world-renown ballet, Rite of Spring, with a high-pitched lone bassoon. The unstable eeriness continues as a horn and pair of clarinets join in the rubato tempo. Just as everything wakes and bursts into life in spring, so does the piece as more and more instruments join in. Each instrument seems to have a different theme, but seems necessary in portraying the thick texture

In Ravel’s Piano Concerto in G, the fundamental concerto principle of contrast is expressed through his experimentation of timbre, range, and color coupled with his use of rhythm, polytonality, and orchestration. In the first movement, Allegramente, the interaction, balance, and relationship between the piano and orchestra change from section to section and also within sections to give structure for the whole work. Ravel’s orchestration, especially in the use of percussion and harp, are important

For the Spring Concert this year, the Concert Band played three very different and technically demanding pieces, which includes “Endless Rainbows,” “Semper Fidelis,” and “Courtly Airs and Dances.” Though these three pieces were different in mood, each piece still required proper tone, intonation, balance, and full-effort from every musician in the band. Personally, to make sure that I was putting my best effort in rehearsing the pieces in class, I would make sure that I played with a warm, open,

Although the exact origin of the bassoon is unknown (JSTOR 7-14), we do know that the earliest versions of the bassoon appeared in Italy, around the 15th century. The earliest form of the bassoon was a wooden instrument, folded in half (to reduce the vertical size of the instrument). There were many bassoon-like instruments in the late 14th/early 15th century (JSTOR 48). One example could be the low-register shawm. This instrument was a larger version of a late 14th century oboe. Even though the

Mus 7755 Dr. McFarland The Romantic Bassoon As the 19th century begins we see a huge transition in what composers call for in their instrumentalists. One major aspect of this that posed a problem for the bassoon is the increasing sizes and scores of the pieces being composed. One critical example is the sheer size of the pit orchestra for the multiple Wagner operas. These ensembles were massive in comparison to the ensembles of the 18th century and before both in the literal numbers and the way