Bassoon

This late Renaissance work is written in a stirring imitative style. Particularly interesting are the meter changes involving metric modulations, a trait found in much of the dance music of the day. It makes an outstanding feature number for a recital as well as a wonderful musical offering in church. Learn More

Originally for Piano, Prokofiev transcribed his own piece for Bassoon Quartet. Learn More

third movement from  “Piano Sonata #15, Op. 28” (1801)

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For Bassoon and Piano, this is a nice filler piece for a recital. There are two versions of the accompaniment: Piano or Harp

UIL Prescribed Music List: 205-2-30548

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with Piano; Originally for Tuba, this piece was adapted for Bassoon. It is a nice recital piece for a High School or College student. It is fun and flashy. Learn More

Oboe, English Horn and Bassoon Learn More

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unaccompanied: These musical cameos reflect the characters of 6 people: the movements are entitled Sailor, Dreamer, Dancer, Curmudgeon, Blues Bassoonist, and Runner. The movements may be played individually or in any grouping. (Total duration: 15', the duration of the individual movements are 2'15", 2'25", 2'30",2'40", 2'45", and 2'30" respectively.) Learn More

A rollicking dance that can be played by Bassoon Quartet or with an added fifth part on Contrabassoon.

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"Solos for Celebrations and Remembrances" for solo trombone, or euphonium, or bassoon by Roger C. Vogel is a collection of 12 short songs for special occasions: 2 for birthdays, 3 for weddings, 2 for remembrances, one for an anniversary, and one each for Irish, Jewish and Italian celebrations. This is a fun and practical “must” for all trombone, euphonium or bassoon players to have in their repertoire. Learn More

with Piano

In Voodoo lore, Baron Cimetiére is the loa (spirit) who is the keeper and guardian of cemeteries. Depictions of him are quite chilling. He is usually pictured in dark tailcoat and tall dark hat—like an undertaker—wearing dark glasses with one lens missing. He carries a cane, smokes cigars and is a notorious trickster. Son of Cimetiére is based on materials from the composer’s Baron Cimetiére’s Mambo for wind ensemble.

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Variants on “Our God Almighty”

Trombone or Bassoon or Oboe Solo with Organ

or

Trombone/Bassoon Duet and Organ

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Oboe and Trombone/Bassoon Duet and Organ Learn More

with Piano; Sonata della speranza “Sonata of Hope” for bassoon and piano by Howard J. Buss was written for Dr. Ann Shoemaker and is dedicated to the memory of bassoonist Dr. Eric Van der Veer Varner. When work on this sonata began in the autumn of 2019 it was being composed for Eric, a friend of the composer. After Eric’s sudden, tragic death shortly thereafter, the project was shelved. Work resumed in the spring during the global Covid-19 pandemic. At the time, Italy was the epicenter of the crisis and the composer, having friends living there, was deeply concerned with their welfare. As the composition developed, Italy overcame the worst of the ravages of the disease, and the pandemic took firm hold in the United States. The composer wrote much of Sonata della speranza while at home in Florida adhering to governmental shelter-in-place orders.

The three movements address an array of emotions the composer experienced following the death of his friend and during the pandemic. The optimistic character of “Auspicious Sunrise” radiates the hope imbued in the morning glow of a new day. The musing nature of “Introspective” reflects the inner dialogue often experienced during the extended periods of social isolation. The buoyant, and at times whimsical third movement, “Serendipitous,” combines elements from the previous movements with new material: The music exudes an optimistic, forward thrust, while incorporating feelings from the daily experiences of living through the pandemic. Learn More

with Piano

This piece for bassoon and piano was written for my daughter, Megan Potter, for her Senior Recital in Bassoon in 2002. As I tend to write “concept” pieces, this Sonata was designed to be very personal and to revolve around my daughter and our immediate family.

The first movement depicts the “happy family” of her childhood, when we were all together. The second movement expresses some of the tender feelings she was then having for the young man whom she eventually married.

The third movement is one of my “Matthew” movements. I find that I often have my son in mind when I write some of my most cheerful and lively pieces and this one displays a certain jauntiness and irrepressible jocularity that Matthew always had as a young child. 

Notes by Barbara York

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unaccompanied; In a minor, H. 562 Learn More

with Piano; BWV 1035 (originally in E Major) Learn More

Medley of:

Mary Had a Baby

Rise Up, Shepherd Follow

Go, Tell it on a Mountain

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with Piano

The aria “Sposa Son Disprezzata” appears in Antonio Vivaldi’s opera “Bajazet,” written in 1735. As a pasticcio-style work, this Italian opera was composed using various arias from different masterworks and composers. In the case of Vivaldi’s Sposa, the aria was borrowed from Giacomelli’s “La Merope.” The title of this work translates roughly to “I am a scorned wife.”

Vivaldi scores the aria for a grief-stricken wife (Irene), who longs for the love of her husband. Yet, Irene’s husband, Tamerlano, seeks the love of another woman, ignoring the vows he has taken with his wife. Tamerlano, a lord and conqueror, carelessly pawns off his wife in an effort to court his other love interest. Feeling alone and confused, Irene laments her husband’s infidelity.

In this version, Sposa Son Disprezzata is arranged for bassoon and piano by Arizona State University bassoon profesor Albie Micklich. To capture the transparency of the “scorned wife’s” song, the bassoon’s tessitura rests in the middle and high registers, most accurately portraying a voice-like timbre. A floating, melancholy character of the melody persists throughout the aria. Micklich and ASU faculty collaborative pianist Andrew Campbell premiered this arrangement in the fall of 2010 to a very receptive audience.

–Maxwell Grube

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Bassoon, Viola, and Cello

Spring Reverie was composed during the spring of 2022 for Bassoonist Christopher Jewell by Howard J. Buss. This lyrical work showcases the beautiful sonority of the chamber ensemble. It was inspired by the glorious appearance of lush foliage on trees after a long winter. The character of the music is meditative, reflective, and at times conveys a hint of reverence. Spring Reverie received its world premier on March 16, 2023 in the Millennium Theatre of the Kennedy Center in Washington, D.C. by members of the Kennedy Center Opera Orchestra.

Duration: 10’30

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unaccompanied

Stuff is the first of four recital pieces commissioned by and dedicated to 78 adventure-seeking tubists representing 30 states and three countries, who fearlessly joined the 2001 Solstice/Equinox Commissioning Consortium. As each solstice and equinox approached during the year 2001, a new piece was sent out to the participants. All four pieces (Stuff, High Autumn, Just a Thought and Endorphins) now exist in multiple versions for orchestral and band instruments and are programmed frequently at conferences and on student and faculty recitals throughout the year.

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