FANTAISIE PASTORALE BOZZA PDF

Exploiting the Oboe to its full potential, Fantaisie Pastorale is an exciting and challenging addition to the advanced oboists' repertoire. The piece begins with an emotional, characterised cadenza, portraying the pastoral title. However, the tempo gradually increases through the piece, evoking the fantasy aspect, climaxing with flourishing semiquavers and ending with a grand tonic cadence. Bozza 's Fantaisie Pastorale for Oboe and Piano is not only symbolic, but also includes exciting challenges, making for an imperative performance piece in the Oboe repertoire. All categories.

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It may perhaps look odd to find Saint-Saens as the first composer on a disc of twentieth-century music; but yes, the Oboe Sonata was written in , the last year of his life as Poulenc's was composed in his final year. It is a slight work, more often found in conservatoires than in concert halls, but as it has appeared so infrequently on record—I have met only three other recordings of it in 40 years—it is good to have so polished a performance now available.

Saint-Saens was rather nondescript in the initial Andantino , but the pastoral musings of his second movement have atmosphere and charm, and the finale, certainly as played here, is deliciously light. The Bozza Fantaisie pastorale , a skilful piece of writing, was commissioned as a test piece for the Paris Conservatoire diploma to which we owe so much French wind music but makes a brilliant concert item: a lengthy opening cadenza is followed by a lyrical section and then a scherzando that calls for consummate technique—which Schellenberger, the principal oboe of the Berlin Philharmonic, displays with panache.

An even more valuable acquisition to the catalogue is this performance of the Dutilleux Sonata, a subtle work making much use of canon, in which Rolf Koenen's deft playing in the scherzo admirably partners the oboe's frolics. In the Poulenc Sonata of , oboe connoisseurs can compare Schellenberger's voluptuous, somewhat self-consciously beautiful tone with Janet Craxton's more delicate, refined sound on BBC Artium: beside the desolation she conveys in Poulenc's lament in memory of Prokofiev whose Romeo and Juliet it quotes this new performance may seem too objective, but the Scherzo's pungency and spiky tonguing are very striking.

Apart from the Poulenc, the most substantial twentieth-century work here, and the only one in advanced idiom, is Bennett's extended rhapsodic meditation After Syrinx. Deeply poetic and enormously demanding technically for both oboe and piano, it takes Debussy's solo flute piece as its starting and finishing points and on the way includes a cadenza for each player and two scherzos.

As an exhibition of virtuosity and artistry this is stunning. Follow us.

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Fantaisie pastorale (Pierné, Paul)

It may perhaps look odd to find Saint-Saens as the first composer on a disc of twentieth-century music; but yes, the Oboe Sonata was written in , the last year of his life as Poulenc's was composed in his final year. It is a slight work, more often found in conservatoires than in concert halls, but as it has appeared so infrequently on record—I have met only three other recordings of it in 40 years—it is good to have so polished a performance now available. Saint-Saens was rather nondescript in the initial Andantino , but the pastoral musings of his second movement have atmosphere and charm, and the finale, certainly as played here, is deliciously light. The Bozza Fantaisie pastorale , a skilful piece of writing, was commissioned as a test piece for the Paris Conservatoire diploma to which we owe so much French wind music but makes a brilliant concert item: a lengthy opening cadenza is followed by a lyrical section and then a scherzando that calls for consummate technique—which Schellenberger, the principal oboe of the Berlin Philharmonic, displays with panache. An even more valuable acquisition to the catalogue is this performance of the Dutilleux Sonata, a subtle work making much use of canon, in which Rolf Koenen's deft playing in the scherzo admirably partners the oboe's frolics. In the Poulenc Sonata of , oboe connoisseurs can compare Schellenberger's voluptuous, somewhat self-consciously beautiful tone with Janet Craxton's more delicate, refined sound on BBC Artium: beside the desolation she conveys in Poulenc's lament in memory of Prokofiev whose Romeo and Juliet it quotes this new performance may seem too objective, but the Scherzo's pungency and spiky tonguing are very striking. Apart from the Poulenc, the most substantial twentieth-century work here, and the only one in advanced idiom, is Bennett's extended rhapsodic meditation After Syrinx.

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