The Cycle-Concert of Nikos Skalkottas, September 25, 2006

This is the concert program of the The Cycle-Concert of Nikos Skalkottas performance on Monday, September 25, 2006 at 8:00 p.m., at the Tsai Performance Center, 685 Commonwealth Avenue, Boston, Massachusetts. Works performed were Quartet No. 1 for Oboe, Trumpet, Bassoon and Piano, Concertino for Oboe and Piano, Sonata Concertante for Bassoon and Piano, Concertino for Trumpet and Piano, and Quartet No. 2 for Oboe, Trumpet, Bassoon and Piano by Nikos Skalkottas. Digitization for Boston University Concert Programs was supported by the Boston University Center for the Humanities Library Endowed Fund

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The purpose of this paper is to present an analysis of bassoon literature. Special emphasis is given to the use of the bassoon in orchestral literature, from the seventeenth century when the bassoon merely doubled the bass part to its increased importance in the eighteenth, nineteenth, and twentieth centuries, when the bassoon was used as added color in the woodwind choir and orchestra and as a solo instrument. Before beginning the analysis of the bassoon part within orchestral literature, a brief historical account of the development of the bassoon is presented. The invention and improvements of the bassoon have a direct bearing on the bassoon\u27s playing potentials, and, thus, a composer\u27s limitation when scoring for it

An Analysis of the Bassoon and Its Literature

The purpose of this paper is to present an analysis of bassoon literature. Special emphasis is given to the use of the bassoon in orchestral literature, from the seventeenth century when the bassoon merely doubled the bass part to its increased importance in the eighteenth, nineteenth, and twentieth centuries, when the bassoon was used as added color in the woodwind choir and orchestra and as a solo instrument. Before beginning the analysis of the bassoon part within orchestral literature, a brief historical account of the development of the bassoon is presented. The invention and improvements of the bassoon have a direct bearing on the bassoon\u27s playing potentials, and, thus, a composer\u27s limitation when scoring for it

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