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The Tateshina Bassoon Quartet (+1) was performing these wonderful works.
They held recitals at the International Double Reed Society (IDRS) Conference in Birmingham, UK in 2009 and in Oklahoma City, U.S. in 2010. |
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NEW！
J.S.BACH / Suite #2, BWV-1008
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J.S.BACH / Suite #1, BWV-1007
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J.S.BACH / Suite #6, BWV-1012
The original key for this piece was in D major.
The original instrument for this piece was a "Violoncello-Piccolo" with 5 strings. It is not a piece written for a "Violoncello". |
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F.Schubert Sonate für Arpeggione und Klavier, D-821 for 2 Bassoons and Pianoforte (BNL2002) A newly invented 6-stringed instrument appeared in Vienna in early 19thC.
and after about 10 years, it disappeared, being called a guitar-violoncello, guitarre-d'amour or Arpeggione. |
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M.Corrette / Le Phénix , Concerto for 4 Basses
About the score,
This score comes from my own imagination, to perform the baroque repertoire with own modern German style bassoons which were completed only less than 100 years ago at the very end of romantic era, beginning of the 20th C.
The keyboard-part is added also, following the custom of those joyfully good old days.
All 4 bassoon-parts are reconstructed.
So, May be we can avoid the "Baroque bas-SWOON-ing" !? |
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To view the uncut version of the concert, you can click on http://www.idrs.org/multimedia/ (only IDRS members can view this site). |
J.S.Bach / PartitaⅡ, BWV-1004 －The Chaconne－ Including the famous CHACONNE, the original PARTITA was written for an unaccompanied Violin.
In this arrangement, the pianist doubles with Harpsichord and 2 bassoonists are required, to play all the 5 movements with no more bas-SWOON-ing !
In 1985, at the I.D.R.S. convention in Boulder,Co, U.S.A., I Played the CHACONNE with Mrs. Diana Torbert (one bassoon and piano version) whose beautiful performance I can never forget.
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To view the uncut version of the concert, you can click on http://www.idrs.org/multimedia/ (only IDRS members can view this site). |
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J.S.Bach / 2 CHORALS, Cantata #146/ #147
The "Melodie(Hymn)" appears also in his other cantatas ( #55, #144 etc.) as CHORAL - movement.
The cantata #147 version in 3/4, is obviously the variation of the same "Melodie" in grandeur style.
Bach's beautiful harmonization makes the simple Hymn into the most romantic-tune, I think.
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To view the uncut version of the concert, you can click on http://www.idrs.org/multimedia/ (only IDRS members can view this site). |
J.S.Bach / Suite #3, BWV-1009 Around the time of J.S.Bach, Violoncello was a new comer on the musical scene. But soon it swallowed up their former occupants, Viola da gamba living in the similar range, with it's repertory, as if it were a newly bred carnivorous invader.
The title the modern publishers use, "6 Suites for an unaccompanied Violoncello" is not exactly correct.
The "Suite #6" is written for another instrument called "Violoncello-piccolo", an 5 stringed (C-G-D-A-e) instrument, which uses the Alto-Clef frequently for its high range in the original manuscript.
The "Suite #5". The player is supposed to tune the 4th string (A) a tone lower (G). So the original notation was written a tone higher in the original manuscript.
It often gets the modern V'Cellists confused and appreciate the modern publisher's mercy for them.
The Bourree (5th movement) must have been played by many of us bassoonists, too.
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