Online catalog of concert music: solos, duos, chamber music & more!
Bassoon music (Click on an instrumentation link, works are listed in alphabetical order within each category.)
Solo bassoon, unaccompanied
SIX CAMEOS (2011) for solo bassoon by Roger C. Vogel. These entertaining musical cameos reflect the characters of six 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.) Grade V-VI.
You Tube links (paste into your browser):
5. "Blues Bassoonist"http://www.youtube.com/watch?v=X__ekuk8vBI
Bassoon and one other instrument
(includes bassoon duos) (Top of Page)
BEHIND THE INVISIBLE MASK (2006) for bassoon and one percussion by Howard Buss is a compelling duo that mixes Buss unique style of soaring lyricism and exciting contrasts with intriguing rhythms. The title refers to the complex of emotions a person may experience while reconciling conflicts between his/her internal world and public role (invisible mask).The percussion set-up includes: marimba, temple blocks, bongos, tam-tam, bass drum, maracas, tambourine, suspended cymbals and agogo bells. This is a memorable, captivating feature number for advanced players. (1145) Grade V. Percussion set-up.pdf - Score sample.pdf
DISCOURSE for flute & bassoon by Edward Troupin. Ed Troupin (1925-2004) enjoyed an international reputation as a composer of instrumental music. Throughout his long and illustrious career as a professor of music at Ithaca College and later the University of Florida, he inspired numerous young composers. Mr. Troupin received his bachelors degree from Harvard University with a major in mathematics. Later he earned his master of music degree from the University of Michigan, where he studied with Ross Lee Finney. Troupins sound-world is dramatic and full of vitality. This entertaining duo is cast in five short and entertaining movements: Assertion, Reflection, Eulogy, Fantasy, and Comedy. The colorful and contrasting sections combine in charming balance to make a memorable concert feature. 2 scores included. (8) Grade V.
Discourse sound samples: Excerpt 1.mp3; Excerpt 2.mp3; Excerpt 3.mp3
FABLES FROM AESOP violin & bassoon by Howard J. Buss in 5 entertaining movements: The Dog Who Chased a Lion, The Astronomer, The Camel Who Wanted Horns, The Crow and the Pitcher, and The Rabbits and the Frogs. Each movement begins with a performer reciting the corresponding fable. The colorful and engaging music is idiomatic and sophisticated, yet it is accessible because of its strong programmatic nature. This piece is a hit with all types of audiences, including those comprised of children! It makes a great concert feature and also is highly effective on out-reach concerts in the schools. (13) Grade V.
Fables from Aesop score samples:
Excerpt, Movement 1.pdf (2 pages); (all will open with Acrobat Reader)
Excerpt, Movement 2.pdf (2 pages);
Excerpt, Movement 3.pdf (2 pages);
Excerpt, Movement 4.pdf (2 pages);
Excerpt, Movement 5.pdf (2 pages)
FOUR MINIATURES (2010) for two bassoons by Howard J. Buss is a vibrant and colorful sonatina dedicated to Arnold Irchai and Tama Kott. This picturesque composition is divided into four movements: Aggressive, Contemplative, Buoyant, and Energetic. The playful, yet sophisticated character of the music makes this an entertaining, audience-friendly work. Four Miniatures was premiered on March 9, 2010 by Arnold Irchai and Tama Kott at Southwest Missouri State University in Cape Girardeau. (9’20”) Grade V. Recorded on the Soundview Multimedia CD Duettino. It is performed by Arnold Irchai and Tama Kott.
Four Miniatures sound samples: Excerpt, Movement 1.mp3; Excerpt, Movement 2.mp3;
Excerpt, Movement 3.mp3; Excerpt, Movement 4.mp3
HATSHEPSUT'S CHANT & DANCE (2008) for bassoon & piano by Robert Frank. Queen Hatshepsut was one of the most enigmatic and interesting figures in ancient Egyptian history. She was the only woman to ever rule as "pharaoh" at a time when only males were allowed to hold that position. For this reason she is often depicted in carvings and drawings of the period wearing a beard or a man's clothing. She also had a secret love affair with an architect named Senmut, who designed many beautiful buildings in her day, including the dramatic Deir El-Bahari temple carved out of a jagged cliff in Thebes. Since no music of that period survives, this work is an imagining of a secret chant and private dance Hatshepsut may have performed for Senmut. The work begins with strange and beguiling chants in the bassoon, including exotic "multiphonics." (Bassoon fingerings for the mutiphonics are included with the score and part.) These are accompanied in the piano with musical gestures reflecting the closing of large, stone,tomb doors, marches of the temple priests, and amagical sprinkling of ancient chords. The dance that follows is in the spirit of the infamous "Dance of the Seven Veils," in which, during each section the female dancer sheds another layer of covering and increases the pace. beginning slowly, each of the seven sections build in peed and motion leader both the dancer and her audience into a furious, wild, spinning finale. (8') Grade V.
Hatshepsut's Chant & Dance sound samples: Excerpt 1.mp3; Excerpt 2.mp3
IDYLLIC SUITE for oboe & bassoon by Roger Vogel is in four movements and follows the format of a Baroque suite: Overture, Siciliana, Slow Tune and Gigue. It was written in 1976 for John Corina and James Burton and then revised and renotated in 2002. The title refers to the pastoral nature of the music. (1120) Grade IV-V.
Idyllic Suite Sound Samples:
Excerpt, Movement 1.mp3; Excerpt, Movement 2.mp3
Excerpt, Movement 3.mp3; Excerpt, Movement 4.mp3
LUMINOUS HORIZONS for bassoon and harp by Howard J. Buss was inspired by the spectacular photos of Pluto taken by the New Horizons probe. The title refers to one image in particular, the stunning backlit photo showing the illuminated blue sky of Pluto. The austere, yet beautiful surface of the planet reveals rugged mountains, craters, and ice plains. All of these observations are incorporated into the musical fabric of this work one way or another. Written for Richard Meek and the 2016 IDRS Conference. (9’) Grade V. B456 $20.00 - Score Sample.pdf
THREE DANCES for clarinet & bassoon by Thomas Zugger in 3 movements : Jazz Waltz, Slow Dance and Irish Jig. In this charming and entertaining work the composer envisions two people dancing with one another. The "lead" in each dance is shared in alternation between the two instrumentalists. The first movement, Jazz Waltz, is in ABA form with the middle section being a waltz in 4/4. The melody is introduced by the bassoon and is passed back and forth throughout. In the enchanting second movement, Slow Dance, the musical material undergoes continuous development with the equality of the parts being paramount. The energetic final movement, Irish Jig, opens with an intriguing mixed meter section which leads to the rousing jig. It concludes with an exciting and frenzied accelerando and fugue. This work is fun to perform and has a great audience appeal! (1130) Grade IV.
Three Dances sound samples (clarinet and trombone version): Excerpt, Movement 1.mp3;
Excerpt, Movement 2.mp3: Movement 3.mp3
TIME CAPSULE (1996) for oboe & bassoon by Howard Buss is a sonatina in four movements: Daybreak, Chorale, Rendezvous, and Homeward Bound and is both fun to play and listen to. The first movement has a frolicking and optimistic character. Chorale breaks with the traditional structure of the chorale in that each phrase gets a measure longer. The harmonies of the second movement contain some spicy dissonances as well. Rendezvous, is in a lilting 6/8 and really "works up a lather" as it progresses to an exciting climax. The final movement, Homeward Bound, begins with a fanfare-like passage that gives way to a spirited dance characterized by an intriguing interplay between the instruments. (7) Grade IV-V.
Score Samples: Movement_1.pdf; Movement_2.pdf; Movement_3.pdf; Movement_4.pdf
Bassoon trios, quartets, and ensembles (Top of Page)
AQUARIUS (2013) for three bassoons by Howard J. Buss showcases both the agility and the beautiful, sonorous tone of instruments. (A contra bassoon part has been included as an alternative to the third bassoon.) It was written during the spring of 2013 and is the second in a series of works by the composer inspired by aspects of the signs of the Zodiac. The two movements are At the Glow of Dawn (3’5”) and Ocean Blue (3’50”). Aquarius explores a variety of sonic atmospheres and moods. The sophisticated musical language coupled with soaring melodies and intriguing rhythms makes this composition an accessible concert work as well as an impressive contest piece. (7’) Grade V. B440B $16.50
AVE VERUM CORPUS for four bassoons (or ensemble) by Wolfgang Amadeus Mozart, transcribed by Howard J. Buss. This sensitive rendition of one of Mozarts most sublime works makes an outstanding feature number for a recital as well as a wonderful musical offering in church. Multiple players may be used on each part to expand the ensemble.
(330) Grade II-III.
CANZONAfor 4 bassoons (or ensemble) by Florentio Maschera (1540-1584) transcribed by Howard J. Buss. This late Renaissance work is written in a stirring imitative style. It makes an outstanding feature number for a recital as well as a wonderful musical offering in church.Multiple players may be used on each part to expand the ensemble. (230) Grade III.
2-page score sample.pdf
RICERCARE ON C for 4 bassoons (or ensemble) by Andrea Gabrieli (1510-1586) transcribed by Howard J. Buss. 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. Multiple players may be used on each part to expand the ensemble. (230) Grade III. 2-page score sample.pdf
DESERT ODYSSEY (1997) for clarinet, bassoon & piano by Howard J. Buss. Although there is no specific program involved in this music, it does nevertheless have a strong narrative quality. Because the continuous development of material takes the form of a chain of episodes, the music exhibits some of the attributes one might associate with a journey through the spectacular and awe-inspiring landscapes of the desert Southwest. Beautiful, lyrical sections contrast with intense and dramatic passages in this colorful work. Desert Odyssey was commissioned by The International Clarinet Association and was premiered at the organizations ClarinetFest 1997 hosted by Texas Tech University. The performers were Marguerite Baker, clarinet; Richard Meek, bassoon; and Jennifer Garrett, piano. (11 ) Grade V. Hear in its entirety on YouTube.
Sound Samples: Excerpt 1.mp3; Excerpt 2.mp3; Excerpt 3.mp3; Excerpt 4 (the ending).mp3
Score samples (score in C): Excerpt 1.pdf (3 pages); Excerpt 2.pdf (3 pages); Excerpt 3.pdf (2 pages)
THE DEVILS SONGBOOK Eight Irreverent Songs (1993) for medium or high voice, bassoon (or cello or contrabass) and piano by Roger C. Vogel is based upon humorous texts which explore the nature of various aspects of human nature. The songs are entitled Of Politicians (lyrics by William Shakespeare and Hilaire Belloc), Of Businessmen (lyrics by Mark Twain), Of Critics and Music (lyrics by Robert F. Murray, Charles Lamb and the composer), Of Vanity (lyrics by James Thomson), Of Attorneys (lyrics derived from an anonymous quote on the Headstone of Mr. Jonathan Gill, Esq. who died February 6, 1751), Of the Media (lyrics by Humbert Wolfe), Of Vanity (anonymous lyrics), and Of Celebration (lyrics by Dorothy Parker). (2015) Grade V.
The Devilís Song Book Sound Samples: Of Politicians, Excerpt 1.mp3; Of Attorneys, Excerpt 2 .mp3;
Of Businessmen, Excerpt 3.mp3;Of the Media, Excerpt 4.mp3; Of Critics and Music, Excerpt 5.mp3;
Of Virtue, Excerpt 6.mp3; Of Vanity, Excerpt 7.mp3; Of Celebration, Excerpt 8.mp3
EMANATIONS for two bassoons and drum set by Howard J. Buss was written for Arnold Irchai, Tama Kott, Greg Frye, and the 2016 IDRS Conference. It is in three movements: Variegated Anticipation, Serenity, and Faceted Radiance. The percussionist uses a standard drum set. (17’) Grade V. B454 $36.00
Score Samples: Percussion set-up & Info.pdf; Movement_1(excerpt).pdf; Movement_2(excerpt).pdf;
FUGUE AND POSTLUDE (1987,1995) for flute, bassoon & piano by Haskell Small combines a fugue, an older, more serious form of Baroque origin, with a thoroughly modern piece written in a free-wheeling, urban style of jazz. Regarding the contrasting characters of the two movements, the composer states, The postlude includes a reference to the fugues subject, but cannot sustain a properly serious attitude, quickly dissolving back into jazz. The world premiere of Fugue & Postlude was performed on October 3, 1995 in Tokyo, Japan by flutist Yoshiko Ohta, Bassoonist Shigeru Ohta, and the composer on the piano. Haskell Small has been hailed by the Washington Post for his "rich imagination and assured mastery." Recorded on the 4Tay Records CD Twisted Pine Branch (8) Grade V. B605 $18.50
Fugue & Postlude Sound Samples:
Excerpt, movement 1.mp3; Excerpt, movement 2.mp3
bassoon in chamber music: quartets: (Top of Page)
DRY BONES, the well-known African American spiritual (the foot bone's connected to the leg bone, the leg bone's connected to the...), arranged for woodwind quartet (flute, clarinet, oboe, and bassoon) by Howard Buss, makes a wonderful concert feature as well as a rousing musical offering in church. Multiple players may be used on each part to expand the ensemble. This arrangement is hugely influenced by jazz. The composer wrote an extended two-part introduction which begins hymn-like, and then breaks out in a jubilant jazzy section. This is followed by a more traditional rendering of the spiritual; however, as the music reaches its climax, the jazz "licks" from the introduction are brought back as counterpoint against the main melody of the spiritual. The result is exhilarating, and for a bit of humor, just as the work ends, there is a "tongue-in-cheek" plagal cadence. (230) Grade IV. B1018 $8.95
Sound Sample: Excerpt.mp3; Score_Sample.pdf
THE ENCHANTED GARDEN for bassoon, violin, viola, and cello by Howard
J. Buss was composed for Keith Sweger and the 2016 IDRS Conference. The character of the music is meditative and reflective, Buss states, “While presenting the instruments in an interesting and flattering way, the primary goal of the music is to transport the listeners to a sonic world analogous to that of a lavish garden shimmering in the beautiful ambiance created by the late afternoon sun.” (10’05”) Grade V. B453 $28.00
FANTASY QUARTET (2003) for flute, clarinet, bassoon & marimba (plays also temple blocks) by Scott Jordan in 3 entertaining movements: Pixie Dance, Magic Forest, and Sprites. The first movement is a spirited, playful forest scene which employs contrasting metric feels simultaneously The Second evokes a mysterious nocturnal ambience with an overlapping of ethereal long tones and echoes. The third is quick and dance-like. Utilizing a 4-note scale, its colorful, rhythmic melodies are juggled among the 4 instruments. (11) Grade V.
Sound Samples: Excerpt, Movement 1.mp3, Excerpt movement 2.mp3, Excerpt, Movement 3.mp3
FUGA VII in Eb Major from Book II of The Well-Tempered Clavier by J. S. Bach (BWV 876), transcribed for double reed quartet (2 oboes, English horn & bassoon) or ensemble by Howard J. Buss was first published in 1744. Rather than intending to elicit a strong emotional response from listeners, this elegant music is designed to showcase the compositional craftsmanship and stimulate the intellect. This work makes a wonderful addition to a concert and is especially appropriate for performances in a church setting. An optional bassoon part is included to cover part 3 if an English hornist is not available. (2'30") Grade III. B1001A $8.95
Sound sample: Excerpt.mp3; Score_Sample.pdf
PRELUDE AND INTRADA for woodwind quartet (flute, oboe, clarinet & bassoon) by Howard J. Buss. This attractive quartet features lyrical writing, and spirited rhythmic drive. The Prelude combines fanfare and lyrical sections as well as tonal and polytonal harmonies. The festive Intrada is in an ABA-Coda format and features crisp, energetic rhythms and lyrical contrapuntal writing. This is a memorable feature number or an impressive contest piece. Multiple players may be used on each part.. (5’30”) Grade V.
Sound Samples: Excerpt 1.mp3; Excerpt 2.mp3 - Score Sample: excerpt.pdf
WINTER WINDS for woodwind quartet (flute, oboe, clarinet & bassoon) by Roger Vogel reflects the vivid contrasts of winter - from the soft winds that accompany falling snow, to the sharp winds that chill to the bone. Recorded on the CD Sunlight and Shadows by the University of Georgia Woodwind Quartet - ACA-CM20085. (1515) Grade V.
Sound Samples: Excerpt, Movement 1A.mp3; Excerpt, Movement 1B.mp3;
Excerpt, Movement 2A.mp3; Excerpt, Movement 2B.mp3
bassoon in chamber music: quintets and larger: (Top of Page)
THE HEAVENS AWAKEN (2008) for solo bassoon & string quartet by Howard J. Buss is dedicated to bassoonist Arnold Irchai. The structure of this exciting work is highly symbolic in that it was inspired by the details of the visions of the priest Ezekiel while living with the Jewish exiles in Babylon. Ezekiel saw a powerful, glowing, and complex entity appear in the sky out of a “great cloud.” He believed it to be an appearance of God: “Also out of the midst thereof came the likeness of four living creatures. And this was their appearance; they had the likeness of a man.” (Ezekiel 1:5 KJV) The formal scheme of The Heavens Awaken is programmatic in the sense that the sequence of events described in the vision is musically represented in a general way. The serene opening gradually becomes mysterious and gives way to a series of passages that serve as an ominous portent to the arrival of the airborne object. The 4 string instruments, each with 4 strings, 4 tuning pegs, and human-like body shape symbolize the 4 “creatures” of the vision. The bassoon represents the “voice” of what Ezekiel believes is God. It should be noted that many people also have interpreted his vision as a sighting of a UFO, described with the insights and vocabulary of the day. “This significant new addition to the bassoon and string quartet literature is a “must for the advanced bassoonist!” (12’30”) Grade V-VI.
Sound Samples: Excerpt 1.mp3; Excerpt 2.mp3; Exerpt 3.mp3 - Score Sample: excerpt.pdf
INTRODUCTION AND DANCE (1964) for wind quintet (flute, oboe, clarinet, bassoon & horn) by Edward Troupin (1925-2004). Ed Troupin enjoyed an international reputation as a composer of instrumental music. Throughout his long and illustrious career as a professor of music at Ithaca College and later the University of Florida, he inspired numerous young composers. Mr. Troupin received his bachelors degree from Harvard University with a major in mathematics. Later he earned his master of music degree from the University of Michigan, where he studied with Ross Lee Finney. Troupins sound-world is dramatic and full of vitality. His Introduction & Dance was composed in 1964. In this entertaining and delightful composition the colorful and contrasting sections combine in charming balance to make a memorable concert feature. Because of the character of the music Introduction & Dance also makes a rousing encore and an effective contest piece. (5) Grade IV.
Sound Sample: Excerpt.mp3
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