Four 3-Part Canons (parts only) - 3BSN
Composer: Buel, Charles
Publisher: Raymond Ojeda/TMP
Edition: 5019 - 35611
$8.00
Four 3-Part Canons
for three bassoons
by Charles Buel (b. 1943) - American composer
These canons were written at the suggestions of Robert Flexer, founder of the Palo Alto Telemann Society, who saw the canon as a space-saving method of printing multi-part music in the Society's journal. Although canonic writing is to be found in some of the composer's other works, creating a set of exact canons at the unison was a new and delightful experience.
Canon #1 was inspired by various 14th-century French canons. It has a somewhat pastoral feeling. Canon #2 is rather early 20th-century German and martial in spirit, except for the ending, which is evocative of Ravel. Canon #3 is a lilting intermezzo. Certain areas of Canon #4 owe something to Bartok and Balkan folk music. Other areas are dense sonic jungles where the lines collide and tangle in thorny clusters and writhing sound garlands; from which the canon emerges into the clarity and comparative nudity of the Dorian ending.
for three bassoons
by Charles Buel (b. 1943) - American composer
I. Canon #1 - Moderato
II. Canon #2 - Moderato
III. Canon #3 - Andantino
IV. Canon #4 - Lento, ma ben ritmico
This edition is parts only, there is no score.These canons were written at the suggestions of Robert Flexer, founder of the Palo Alto Telemann Society, who saw the canon as a space-saving method of printing multi-part music in the Society's journal. Although canonic writing is to be found in some of the composer's other works, creating a set of exact canons at the unison was a new and delightful experience.
Canon #1 was inspired by various 14th-century French canons. It has a somewhat pastoral feeling. Canon #2 is rather early 20th-century German and martial in spirit, except for the ending, which is evocative of Ravel. Canon #3 is a lilting intermezzo. Certain areas of Canon #4 owe something to Bartok and Balkan folk music. Other areas are dense sonic jungles where the lines collide and tangle in thorny clusters and writhing sound garlands; from which the canon emerges into the clarity and comparative nudity of the Dorian ending.
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