• Three Romances. Bn & Pf Bassoon Solo - Sheet Music
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Three Romances. Bn & Pf Bassoon Solo - Sheet Music

Schumann wrote these Three Romances in 1849 initially for Oboe (or violin or clarinet) with Piano. His efforts were not tied to a commission or request by a prominent soloist of the day, unlike other examples in the genre from Weber, Spohr, and others of that era. Thus, they are not overtly challenging pieces.The first piece, marked Nicht schnell (Not quickly), presents a lovely theme on the bassoon, supported by imaginative accompaniment on piano. The mood is tranquil throughout. That description might also apply to the second piece, marked Einfach, innig (Simply, ardently), but for a somewhat tense middle section. All three pieces are very similar in the character of their main themes: each, in fact, is songful and might have served the voice just as well as the bassoon. The third piece is the liveliest of the trio. Marked Nicht schnell, it is also the most rugged and colorful-sounding one in its main theme. There is more than a hint of Brahms here, a composer who was just beginning to make his mark. The middle section is lovely, similar in character to the opening melodies of the first two pieces. The piano accompaniment is deftly wrought throughout, never overwhelming the bassoon, yet always making its supportive presence felt. These Three Romances were first published in 1851.

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Details

Summary
Instrument:
Piano Accompaniment Bassoon Solo
Genres:
Romantic Period
Publishers:
Clifton Edition
ISBN:
9790570811090
Item types:
Physical
Usages:
School and Community
Shipping Weight:
0.3 pounds
Detailed Description
Bassoon and Piano - Grades 7 - 8

SKU: ST.C109

Composed by Martin Gatt. Wind & brass music. ABRSM grades 7 and 8 and Trinity Grade 7. Romantic. Clifton Edition #C109. Published by Clifton Edition (ST.C109).

ISBN 9790570811090.

Schumann wrote these Three Romances in 1849 initially for Oboe (or violin or clarinet) with Piano. His efforts were not tied to a commission or request by a prominent soloist of the day, unlike other examples in the genre from Weber, Spohr, and others of that era. Thus, they are not overtly challenging pieces.
The first piece, marked Nicht schnell (Not quickly), presents a lovely theme on the bassoon, supported by imaginative accompaniment on piano. The mood is tranquil throughout.
That description might also apply to the second piece, marked Einfach, innig (Simply, ardently), but for a somewhat tense middle section. All three pieces are very similar in the character of their main themes: each, in fact, is songful and might have served the voice just as well as the bassoon.
The third piece is the liveliest of the trio. Marked Nicht schnell, it is also the most rugged and colorful-sounding one in its main theme. There is more than a hint of Brahms here, a composer who was just beginning to make his mark. The middle section is lovely, similar in character to the opening melodies of the first two pieces. The piano accompaniment is deftly wrought throughout, never overwhelming the bassoon, yet always making its supportive presence felt.
These Three Romances were first published in 1851.

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