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Ron Dough
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« Reply #30 on: 15:27:20, 26-09-2008 » |
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Replace the clarinet with an oboe, and that's the Bax septet lineup, whereas Saint-Saëns uses trumpet, piano, string quartet and double bass.
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George Garnett
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« Reply #31 on: 15:35:04, 26-09-2008 » |
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Anything for cornet, clarinet and big trombone, fiddle, cello and big bass drum, bassoon, flute and euphonium?
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Don Basilio
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« Reply #32 on: 15:42:02, 26-09-2008 » |
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With Kathleen Ferrier vocals, I take it, George.
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To every thing there is a season, and a time to every purpose under heaven.
A time to weep, and a time to laugh: a time to mourn, and a time to dance
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Reiner Torheit
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« Reply #33 on: 16:15:05, 26-09-2008 » |
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Anything for cornet, clarinet and big trombone, fiddle, cello and big bass drum, bassoon, flute and euphonium?
Sounds like the line-up for the Mellstock Quire, GG  Although I'm not really sure about the euph... Ah, the euph of today, eh? |
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"I was, for several months, mutely in love with a coloratura soprano, who seemed to me to have wafted straight from Paradise to the stage of the Odessa Opera-House"
- Leon Trotsky, "My Life"
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Ron Dough
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« Reply #34 on: 16:18:06, 26-09-2008 » |
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You might need to brush up on your Peter Dawson, Rei, (or failing the which, T Wogan, Esq.).
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autoharp
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« Reply #35 on: 16:27:10, 26-09-2008 » |
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Anything for cornet, clarinet and big trombone, fiddle, cello and big bass drum, bassoon, flute and euphonium?
Bernard Van Dieren's Serenade for 9 instruments. Flute, alto flute, bassoon, horn, euphonium, violin, viola + double bass. Not that far off. At least I got the Ufo. |
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Ron Dough
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« Reply #36 on: 17:17:13, 26-09-2008 » |
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The Schubert octet instrumentation (shared by Xenakis' beautiful Anaktoria) is one that could be used more I think.
Howard Ferguson's Octet uses the same forces, too, r. |
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Reiner Torheit
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« Reply #37 on: 17:21:41, 26-09-2008 » |
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Let us not forget the magnificent corpus of music for this line-up:  |
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"I was, for several months, mutely in love with a coloratura soprano, who seemed to me to have wafted straight from Paradise to the stage of the Odessa Opera-House"
- Leon Trotsky, "My Life"
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richard barrett
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« Reply #38 on: 18:07:35, 26-09-2008 » |
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Let us not forget the magnificent corpus of music for this line-up:
That would presumably be Kagel's Pas de cinq for five performers with walking sticks. |
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Don Basilio
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« Reply #39 on: 19:07:34, 26-09-2008 » |
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With Kathleen Ferrier vocals, I take it, George.
All together for the Floral Dance, I believe. |
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To every thing there is a season, and a time to every purpose under heaven.
A time to weep, and a time to laugh: a time to mourn, and a time to dance
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Turfan Fragment
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« Reply #40 on: 22:29:27, 26-09-2008 » |
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In the more than the sum of its parts department I once heard a free improvisation among seven bassoonists. An amazing sound. Sadly, no repertoire exists, so they'll have to continue improvising. The bassoon is of all instruments perhaps the least suitable for improvisation, since fingering etc takes such an enormous amount of planning, and the bassoonist never has occasion to improvise in the first place, short of making such an opportunity him/herself.
The best instrument to combine with a bassoon is more bassoon; everything else is not genteel enough.
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thompson1780
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« Reply #41 on: 22:34:48, 26-09-2008 » |
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Actually the thought of lots of Bassoons made me think of that Alphorn programme, where they had an Alphorn Quartet. Fantastic.
Other than the tuning difficulties, would an Alphorn-Bassoon combo be good? I feel the sounds would go well.
Tommo
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Made by Thompson & son, at the Violin & c. the West end of St. Paul's Churchyard, LONDON
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martle
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« Reply #42 on: 22:35:37, 26-09-2008 » |
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Nominations for best use of bassoon(s) in a chamber music context? Mine is the two in Stravinsky's Octet. And that's, er, flute, clarinet, two bassoons, trumpet, cornet, two tombones. This is the combo that came to S 'in a dream' (if you believe anything he ever said about his dreams).
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Green. Always green.
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thompson1780
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« Reply #43 on: 22:41:01, 26-09-2008 » |
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Ah, two bassoons you say. Very interesting. And two trombones? I can see that Stravinsky has issues....
[ed. That's enough Prof. Tommo]
.........which all clearly goes to show that when writing the Octet, Stravinsky was two-timing Gertrude Stein with Marilyn Munro.
Prof Tommo
The Traum-Attic
Vienna
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Made by Thompson & son, at the Violin & c. the West end of St. Paul's Churchyard, LONDON
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martle
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« Reply #44 on: 22:45:03, 26-09-2008 » |
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Marilyn Munro.
Any relation to Caroline Munro, Prof. Dr. Dr. Tommo?  (Sorry, Syd. Really, really sorry. It will stop soon, promise.) |
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Green. Always green.
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