I can't think of a better title for a bassoon concerto.
(//http://i46.photobucket.com/albums/f105/ajgr8/frostbassoon.jpg)
WORD!
Yea I think I would buy that. ;)
btw, Chandos is a really great label - lots of great work promoting English symphonic music, but also early music, baroque stuff, choral, etc. One of the best independent classical companies, no question.
Don't know this "Frost" album though!
Cheers
David
:lol: :lol:
WORD!
:lol:
Or, like everyone else says, WORD! 8-)
Never mind that, did you know that the bassoon is a member of the oon family, which includes the higher pitched tenor oon and many other oons.
During the Renaissance, instruments were made in every size available from sopranos, sopraninos, and garkleins; down to bass, great bass, and contrabass. The bassoon (or more properly in this era, the dulcian or curtal) was to be found in at least six sizes. While the larger sizes, the bass and the great bass, were more popular, the smaller sizes had quite some use being found in several of Schütz's motets and seemed to have been quite popular in Spain where they were known as "bajoncillos". Throughout the later Baroque and Classical eras smaller bassoons have appeared although their exact use is somewhat clouded. It is true that virtually no literature exists for the smaller bassoons. A notable exception a partita by Johann Kaspar Frost (not Trost, as sometimes listed) which is scored for two octave bassoons, two tenor bassoons, two bassoons, and two horns. It seems that this was exactly the situation during the nineteenth century. Such notable names as Karl Almenräder advocated the use of the smaller bassoons for teaching purposes and it is said that Jancourt would often perform solos on one during recitals. Hector Berlioz lamented its non-use in his "Treatise on Instrumentation" and even specified that his perfect orchestra would contain five tenor bassoons. Curiously, he himself never used the instrument once. By the late nineteenth century several improved models of tenor bassoon were unveiled in Paris, but were not very well received, as the real need at the time was a working contrabassoon (and not the sarrusophone that was currently in use). But the tenor bassoon was eventually used, despite some obscurity. After an absence of about one hundred years the tenor bassoon made its comeback in 1989 when Guntram Wolf of Kronach made the first modern, Heckel system tenor bassoon. Since that reintroduction the tenor bassoon has flourished, being used as a children's instrument in Germany (and in locales all over the world) and is being looked at by professionals as a serious instrument worthy of use.
You left out Bass's parents, Plat and Mons Oon of Toronto, Oontario.