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I have a student playing the Mozart Bassoon Concerto, K 191 (Ostrander) arrangement. When reading through and actual Bassoon accompaniment part. I realized how much was changed/left out of the Ostrander arrangement. Is there a more authentic arrangement for Euphonium and piano out there?

The portion left out may be where Mozart lets the solo bassoon take part in the tutti bass line. Without knowing the Ostrander arrangement (played from the original bassoon part myself) it could be a valid decision by Ostrander to omit the tutti sections from the euphonium solo part. Partially for stamina reasons, partially because a euphonium reinforcement of the bassline would skew the balance in the tutti sections as represented in a piano reduction.

Klaus

There is WAY more left out of that arrangement. I would go here:

http://imslp.org/wiki/Bassoon_Concerto_ ... g_Amadeus)

Select "Arrangements and Transcriptions" and try this one:

For Bassoon and Piano (Schletterer)
It only has the solo part.

Ya I would just play the bassoon part and cut out the middle man with their euphonium arrangement.
C bas clef; it doesn't get any easier.
And if it's too difficult then your student has the choice of either;
-not playing it
or
-making changes what the student feels is best for the music performance.
Good luck.

Thanks all!

Thanks David for the link. I actually found the bassoon w/piano accompaniment through IMSLP. Your right, that bassoon/euphonium part is much better.

dwerden wrote:There is WAY more left out of that arrangement. I would go here:

http://imslp.org/wiki/Bassoon_Concerto_ ... g_Amadeus)

Select "Arrangements and Transcriptions" and try this one:

For Bassoon and Piano (Schletterer)
It only has the solo part.

Dave, the Schletterer edition isn’t without problems either.

In the first solo entry it correctly writes out the grace notes in the 16th-passages, whereas the grace note is left on the first quarter note in the fifth bar of that entry, which is an inconsequent approach, as the Vienna classic style calls for the grace note to be played as an appoggiatura right on the beat. Either write all grace notes in modern notation or keep the original notation with a preface explaining the period performance practice.

In the 4th bar of the second solo entry Schletterer changes the very prominent low C on the second beat to an E natural, thereby skewing Mozarts very large leaps.

And this is just from looking at the first page.

I would recommend H. Kling’s bassoon part, accessible from the link Dave gave, only a little higher on the page. It calls for the knowledge of period performance practices, but then its notation is consistent.

I found the edition’s partial demo page of Ostrander’s solo part, which obviously more is directed towards trombonistst than towards euphonium players. From what I could see his writing out in modern notation is consistent, and I didn’t see cuts. If somebody has the whole Ostrander part, I would like a pdf-copy for a comparison with Kling only. Those are versions staying consistent from what I have seen, albeit in period and modern notation respectively.

Klaus


Please contact me via the mail button to the right of here.

Kendall,
If your student is playing this for solo festival, just be sure that you are permitted, by Texas UIL, to use other publications (editions). In NY, I was the chairperson for the NY tuba contest list (NYSSMA) for 12 years. Now, I teach some lessons in Texas. So, I have experience in this area. Check the contest list to see which editions are allowed.

Bill Troiano wrote:Kendall,
If your student is playing this for solo festival, just be sure that you are permitted, by Texas UIL, to use other publications (editions). In NY, I was the chairperson for the NY tuba contest list (NYSSMA) for 12 years. Now, I teach some lessons in Texas. So, I have experience in this area. Check the contest list to see which editions are allowed.

Thanks Bill. I should have qualified that He's a college student so I have a bit more freedom. I teach a Blinn College, but we are considering him using the concerto for our annual Community College Concerto Competition. IF I can find (or create) a suitable band arrangement of the accompaniment, I would want him playing a more authentic version of the piece than what Ostrander's arrangement provides.

Thanks again!