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Izvornik
Dual Identity. Gernot Wolfgang. Bassoon Solo sheet music.
Prijevod
Dvostruki identitet. Gernot Wolfgang. Fagot Solo note.
Izvornik
Dual Identity composed by Gernot Wolfgang. For bassoon. Woodwind music. Composed 2005. 8 pages. Published by Doblinger Music Publishers. DB.05-00514. ISBN M-012-19659-4. clever, finely-crafted, interesting modern work for the bassoon. Wolfgang's style is fundamentally atonal, but highly developmental, utilizing very interesting melodic and rhythmic motives to bind the music together. The influences of jazz and rock are clearly audible, and the entire structure has a wonderful sense of finesse and completion. If you are looking for a tough-but-fun composition for your next performance, this neat work will fill the bill very well. I recommend it strongly to all you brave bassoonists out there looking for a nifty challenge. Double Reed, Vol. 31. No. 2. This little sketch for bassoon, which highlights both its energetic and its lyrical capabilities, is quite delightful. Even multiphonics are used imaginatively and to musically sensible effect, rather than displaying their more common function as exercises in ugliness. Walter Simmons, Fanfare Magazine, August 2008.
Prijevod
Dvostruki identitet skladao Wolfgang Gernot. Za fagot. Puhački glazba. Sastavljen 2005. 8 stranica. Objavio Doblinger Music izdavače. DB.05-00514. ISBN M-012-19659-4. pametan, fino crafted, zanimljiva moderna posao za fagot. Wolfgang stil je bitno atonalna, ali vrlo razvojna, koristeći vrlo zanimljive melodijskom i ritmičkom motive vezati glazbu zajedno. Utjecaji jazza i rocka jasno čuti, a cijela struktura ima prekrasan osjećaj profinjenosti i završetka. Ako ste u potrazi za tešku-a-zabava sastav za svoj sljedeći nastup, to uredan rad će ispuniti zakon vrlo dobro. Preporučujem ga snažno za sve vas hrabrih bassoonists vani u potrazi za divan izazov. Dvostruko Reed, Vol. 31. Broj 2. Ova mala skica za fagot, koji ističe kako njegova energična i njegove lirske sposobnosti, sasvim je divan. Čak multiphonics koriste maštovito i glazbeno razuman učinak, a ne prikazujući svoje više zajedničkih funkcija kao vježbe u ružnoće. Walter Simmons, Fanfare Magazine, kolovoz 2008.
