Micah.5

This set of variations was written for oboist and friend Lindsey Lyrenmann. They were designed to be a launching point for improvisation during the communion portion of the December 21, 2014 services at

For Bassoon and Piano by Alberto Orefici.

Orefici was a student of Jancourt at the Paris Conservatory. He followed his teachers example by composing the well-known Melodic Studies and

For Bassoon and Piano by W. A. Mozart. The Bassoonists Revenge! Tired of hearing clarinetists play K. 191? This is the beautiful second movement of Mozart's final wind concerto, popularized by Meryl Streep

Aeon: A Miniature Suite for Bassoon and Piano was written at the request of my very good friend, Carl Rath, who wanted a piece based on the very evocative wildlife photographs of Montana artist,

Several years ago, my sister told me that she was playing for several church services and was seeking some new pieces for these services. Being one that would almost always take a challenge from my sister,

The Ballade for Bassoon and Piano, Op. 34, was composed for the bassoon studio examinations in 1912. The work is of moderate difficulty, only utilizing the upper range of the instrument to the

Cantilene Op. 59 for bassoon and piano by Eugene Jancourt (1815-1901). Jancourt's Cantilene is considered by some to be one of his loveliest works, offering the soloist ample opportunities

Capriccio is an exciting rock influenced (framing a section of my signature lyricism) snapshot for Contrabassoon and piano written as a gift for my friend Lewis Lipnick. Upon hearing that Lew was

The piccolo clarinet in D is the clarinet for which Richard Strauss wrote the main motive of his famous tone poem Till Eulenspiegel, and it also notably appears in the symphonies of Mahler and

Johann Melchior Molter achieved particular notoriety for his writing for unusual instruments, such as the chalumeau, the flauto d' amore, the flauto cornetto, and the harp. The clarinet was at the time a

John Corina composed this four-movement work in 2000 at the request of Bruce Gbur. The contrabassoon part lies within a two-and-a-half octave range and should be within the technical abilities of an

The Fantaisie Op. 1, begins with the solo piano which leads to an introduction reminiscent of a bel canto aria, allowing for a great deal of expressive rubato. A brief cadenza leads to a theme and

Verdi is undoubtedly one of the most outstanding opera composers of all time, a very high percentage of his catalog being regarded as "standard repertoire" in opera houses all over the world. One of his

A lively and fresh new accompanied solo for French horn suitable as a competition or recital piece. The text before each movement is an optional distraction from the soloist emptying the spit from their

When I first started thinking about In Malaysia (sometime in April 2015), I immediately heard a bassoon melody playing in my mind that grew into a larger piece of music that painted my memories

For Contrabassoon and Piano. The contrabassoon is truly the king of bass instruments. It plays the part of a powerful, jolly, and sometimes inebriated ruler in this regally off-beat piece featuring the

These five compositions can be performed individually or as a set of five. From a technical standpoint, the pieces run the gamut from a difficulty level of intermediate to advanced. The musician is expected

Antonio Pasculli was one of the most important oboists during the 19th century; he lived in Palermo, Italy, and gave many concerts in Europe showing his incredible virtuosity; in fact he was also known as

In 2013, I had the pleasure of meeting Will Peebles, a terrific bassoonist with a passion for the small tenorbassoon known as the tenoroon. As one of my passions is writing beautiful works for instruments

Nocturne (Il Campanello di Notte) was designed for advanced students and professionals alike. The performer should drive the composition relentlessly forward in an agitated manner, all the while

Dr. Hartley composed the Nocturne for Bass Clarinet and Piano in 1998. The work explores the lyric aspects of this unjustly neglected instrument. He has made the piece performable on all bass

Plum Green is three movements of clashing and blending two distinct colors. The piece was begun in December 2010 as a commission from Benjamin Opp to be premiered at his 2011 Faculty Recital.

For Bassoon and Piano, by Bruno Labate. A charming piece by the Principal Oboist of the New York Philharmonic. Labate is well known among oboists for his pedagogical/recital pieces. This work for bassoon