#Baroque Bassoon

[brevemusicstudios]

5 Best Free Orchestral VST Plugins You Must Try in 2023

Here are 5 of the best free Orchestral VSTs available on the market.

Introduction to Free Orchestral VSTsSpitfire Audio LABSA Treasure Trove of Unique Orchestral SoundsUser-Friendly InterfaceValue for MoneyA Few Areas for ImprovementA Tool for the FutureVSCO2 RomplerRich and Diverse Sound PaletteUser-Friendly InterfaceHigh-Quality SoundsCompatibility with Major DAWsProjectSAM Free OrchestraCommunity EndorsementsDSK OvertureClassic Orchestra InstrumentsSound…

[gasparodasalo]

Antonio Vivaldi (1678-1741) - Chamber Concerto for Flute, Violin, Bassoon and Continuo in F-Major, RV 100, III. Allegro. Performed by Adrian Chandler/La Serenissima on period instruments.

[musicollage]

Vivaldi + Thunemann; I Musici —  7 Bassoon Concertos. 1995 : Philips.

[natandacat]

Armand would love a little clarinet

[supercantaloupe]

a peek into my reed case for @nablah. i would rather die than tie with solid color thread lol

i'm in sitz again til 10pm keep me company ask me stuff tell me abt ur day or smth. let's chat

[thalialunacy]

[a wee character sketch interlude for the @calaisreno May Prompt Party]

(1) (2) (3) (4) (5) (6) (7) (8) (9) (10) (11) (12) (13) (14) (15) (16) (17) (18) (19) (20) (21) (22) (23) (24) (25) 26: manipulate (27) (28) (29) (30) (31)

-440-

Orchestras always tune to ‘A’ on the oboe, because every string instrument has an ‘A’ string. Oboes can play sharp or flat, just like any other instrument, but modernly every oboist uses a little electronic meter to ensure that their ‘A’ is exactly right.

As a child, his violin instructor had made him start every lesson by vocalising A4 out of thin air. Or, at least, attempting to do so; Sherlock has always had excellent intonation, but perfect pitch -- the ability to name the frequency of sounds one hears and vice versa -- is not on his resume.

So the exercise always felt fruitless, and aggravatingly so, because of course he never actually got the correct pitch. Close, and closer with time, but never close enough.

Years later, watching a tiny human named Rosamund drag herself to her feet just to fall back down time and time again, it finally occurs to him: That was the point.

-415-

Baroque: relating to or denoting a style of European architecture, music, and art of the 17th and 18th centuries that is characterised by ornate detail.

He finds himself in a tiny overcrowded music hall watching a small early music ensemble (3 violins, 1 viola, 1 cello, 1 contrabass, 1 recorder, 2 bassoons, 1 trumpet, 1 harpsichord, and 1 very murderous theorbo player) and it takes him far too long to realise why he's uncomfortable. Why there is a little twitch below his left eye.

They are actually using a historically accurate tuning.

Sherlock blinks, feeling around his jaw to see if it could be something else, but no, a part of his overly-trained brain rebels against all the sounds being pitched slightly lower than modern sensibilities. It's like a phantom toothache.

It's like before, when Sherlock would glance up from his microscope and observe John feeling poorly. In those days, Sherlock had nothing to offer, really, so he'd just had to let John's unhappiness bury itself under his skin as something else to ignore.

Now, though. Now he can do something about it.

-432-

Some theorists and musicians claim that the 432 Hz tuning has better effects on the human body, but there are no scientific studies that support the hypothesis.

He brings an exhausted John a late night (and therefor unattractively decaf) cup of tea. 'What happened?' he asks quietly, settling in across from him.

John shakes his head vaguely. 'I couldn't… I couldn't convince a mother to respect her child's pronouns.' He coughs. 'I am an old man who is shit at not stumbling over such things, but… She wouldn't even try.'

He meets Sherlock's eyes over the rim of his mug. 'Please remind me of this when Rosie is a teenager and I want to throttle her for reinventing herself every two days.'

Sherlock pauses, then sets his tea down and leans in until he can palm the soft pyjama fabric covering John's knee. It's a small gesture, but it works-- the creases in John's brow lose a little of their severity. 'I have no doubt she'll try our patience and sanity severely. But, John… You are already a far better parent than yours were.'

John stares at him and breathes out heavily. 'Fuck.' His free hand comes down on top of Sherlock's, absently palpating his knuckles one by one. 'But you can't-- There's not exactly scientific evidence, is there, to support that.' 

Sherlock clears his throat. 'Yes, well. I'm confident there will be.' 

John's lips twitch. 'Sherlock Holmes, are you saying you have faith in something?' 

Sherlock tuts, then decides he doesn't care about propriety in this moment. He moves until he's kneeling before John, holding his face in his hands and focusing on the tiny freckle under John's left eyebrow, knowing John will understand.

'Yes,' he says simply. 'Just one thing.' And then he leans in. 

[❤️]

[music to which this was written: Britten's Violin Concerto, Op 15, which I'm certain Sherlock would hate, but he's wrong]

[autistic-autumn]

I know there's more instruments than this but I'm not adding them. French horn is here as honorary wind instrument given it functions as that half the time. I'm sure at least one of you out there is picky about your baroque hautboy or how much better the E♭ clarinet is over both B♭ and A. You all get to be bald.

[kdo-three]

Sonny & Cher - I Got You Babe

Sonny & Cher - I Got You Babe (1965) Sonny Bono from: "I've Got You Babe" / "It's Gonna Rain" (Single) "Look at Us" (LP)

Pop | Baroque Pop

♪♪♪ ♪♪♪ ♪♪♪

Stereo: JukeHostUK (left click = play) (320kbps)

♪♪♪ ♪♪♪ ♪♪♪

Mono: JukeHostUK (left click = play) (320kbps)

♪♪♪ ♪♪♪ ♪♪♪

Personnel: Sonny and Cher: Vocals Studio Musicians: The Wrecking Crew Steve Mann: Guitar Don Peake: Guitar Barney Kessel: Guitar Irv Coleman: Guitar Warren Webb: Oboe Morris Crawford: Bassoon Don Randi: Keyboards Michel Rubini: Harpsichord Julius Wechter: Bells Lyle Ritz: Bass Frank Capp: Drums Hal Blaine: Drums (Overdubs)

Arrangement by Harold Battiste Produced by Sonny Bono

Recorded: @ The Gold Star Studios in Hollywood, California USA on June 7, 1965

Single Released: on June 26, 1965

Album Released: August 2, 1965

ATCO Records

♪♪♪ ♪♪♪ ♪♪♪

Happy Groundhog Day 2024

[odk-2]

Happy Groundhog Day

Sonny and Cher - I've Got You Babe (1965) Sonny Bono from: "Look at Us" (LP)

Pop | Baroque Pop

Tumblr (left click = play | right click = "save as") (320kbps)

Personnel: Cher: Co-Lead Vocals Sonny Bono: Co-Lead Vocals

Produced by Sonny Bono Arrangement by Harold Battiste

Studio Musicians: The Wrecking Crew Steve Mann: Guitar Don Peake: Guitar Barney Kessel: Guitar Irv Coleman: Guitar Warren Webb: Oboe Morris Crawford: Bassoon Don Randi: Keyboards Michel Rubini: Harpsichord Julius Wechter: Bells Lyle Ritz: Bass Frank Capp: Drums Hal Blaine: Drums (Overdubs)

Recorded: @ The Gold Star Studios in Hollywood, California USA on June 7, 1965

♪ Groundhog Day Bonus Track ♪

UB40 with Chrissie Hynde - I Got You Babe (1985) Sonny Bono from: "Baggariddims" (LP)

Reggae | Reggae-Pop

Tumblr (left click = play | right click = "save as") (192kbps)

Personnel: Chrissie Hynde: Co-Lead Vocals Ali Campbell: Co-Lead Vocals / Guitar Robin Campbell Guitarist / Backing Vocals Astro: Trumpet / Backing Vocals Brian Travers: Saxophone / Lyricon Michael Virtue: Keyboards Norman Lamont Hassan: Trombone / Percussion / Backing Vocals Earl Falconer: Bass Jim Brown: Drums / Syncussion

Produced by Ray Pablo Falconer / UB40

Recorded: @ The Abattoir Studio Birmingham, England UK in 1985

Released: on September 2, 1985

DEP International Records

[tfblovesmusic]

How the 24 Italian Songs and Arias and the Suzuki Violin School are Similar, Pt. 5

Now that we ironed out the inherent problems with the 24 Italian Songs and Arias and the Suzuki Violin School regarding historical practices, let's hear it from respectively vocal and violin pedagogy experts (as well as Poe).

"(Those chordal edits of late Renaissance and Baroque music) was common in 19th century editions because (Alessandro Parisotti and G. Schirmer's editors) had very little exposure to and experience with Renaissance and Baroque music, since only then-recently-composed music was in fashion," harpsichordist and musicologist Alice M. Chuaqui Baldwin explained.

"The editors were just making guesses about what the music was supposed to sound like, and those guesses were based on Romantic music."

Plus, one of the pieces in the 24 Italian Songs and Arias was composed by Parisotti. He ascribed his aria, "Se tu m'ami," to Giovanni Battista Pergolesi. A good comparison is the Henry Lane Wilson English-language air, "Shepherd! Thy demeanour vary." He ascribed it to Early Classical composer, Thomas Brown Jr. He included it in his publication, Old English Melodies, in 1899.

Will Crutchfield of opera organization Teatro Nuvo, described the practice of not only editing Baroque and classical music pieces to suit Romantic Era mores, but also compose in the style of them, as Pseudo-Baroque for School and Parlor.

"It flourished in the later 19th century, when quite a few composers felt the urge to write gavottes, minuets, and little da capo arias - more or less in 18th-century styles, but always with telltale traces of the present day intermixed," he explained, "This went hand-in-hand with adaptations of actual Baroque music."

It's any wonder why Shinichi Suzuki based the edits and piano-violin arrangements of Baroque pieces off those published in the 19th century and the turn of the 20th century when developing the Suzuki Method.

"The question of authenticity in a composition is a valid question," A. Brown remarked on MaestroNet. "The words 'edited by' indicate that you are seeing a version and not necessarily an original. Depending on the editor, many versions can be totally unfaithful to the original. Some can be very useful and good."

"For the music of many composers, there are urtext publications that profess to present a printed text of the composer's intention. This could be taken from the earliest example or a manuscript in the composer's hand. Often there may be several versions, maybe all in the composer's handwriting."

"Editions of some of the more standard repertoires such as (the JS Bach concertos and GF Handel sonatas) are very old-fashioned, likely to be old German editions from the turn of the 20th century," Toscha added, "Suzuki allegedly studied with Karl Klingler (a student of Joachim) of Berlin during the 1930s, and seems to have had an almost blind faith in old German editions."

"But the fact was, (the Romantic-era German school of violin playing) was already out-of-date in the 1930s (Russian and Franco-Belgian school were very much in vogue already). And today, I don't think any serious professional violinists will likely to use those fingerings and bowings found in the Suzuki books."

Neither would pianists very likely play the figured basses of, say, Solfege No. 128 composed by Francesco Durante fresh off the 1772 transcript of Solfèges d'Italie as opposed to from the piano part written on 24 Italian Songs and Arias whenever a vocal student would perform "Vergin, tutt'amor" at a college vocal recital or state solo and ensemble MPA any time soon. The former keyboard part would work historically best on an organ alongside a monophonic bass instrument like a cello or bassoon.

Poe explained why:

Infusion of Romantic stylistic elements might overshadow Baroque and Classical sensibilities, leading to interpretations that felt more modern and less true to the original contexts. The aggressive use of dynamic contrasts in the piano scored could overshadow subtle nuances, potentially masking the delicate interplay that defined the original works. Excessive variations in dynamics might lead to a lack of clarity in conveying the specific moods (aka "affects") the composers aimed for, disrupting the emotional flow of the pieces. Allowing for significant rubato and personal expression might result in performances that diverged too far from the composers’ original pacing, creating interpretations that felt disjointed or overly interpretative. Performers might prioritize individual expression over fostering the intended narrative of the song, leading to varied interpretations that could confuse the piece’s emotional essence. In some arrangements, the dense piano textures could obscure the vocal line, making the lyrics less discernible and diluting their emotional significance. Alterations in accompaniment could lead to mismatches between musical phrasing and lyrical content, disrupting the emotional connection between text and music. By reinterpreting pieces for contemporary performance contexts, the historical and cultural significance of the original works may be diminished, leading to a detachment from the composers’ intents.

As Howard Goodall explained in the documentary Big Bangs, this was all because by the time Parisotti published Arie Antiche in 1885 - the piano already bore 88 notes. "It gained an iron frame, tougher wire strings, and a bigger range to fill big concert halls with sound, like an orchestra of one," he remarked.

"So, whenever a student of mine reaches around Book 4," Toscha recommended, "I'd start encouraging them to get more modern or urtext editions. For the pieces that don't have alternative modern editions, I'd try to 'update' fingerings and bowings for my students."

For those who already accomplished all airs of the 24 Italian Songs and Arias and are aspiring to be classical vocalists (with more and more of them collaborating with period instrumentalists), Poe suggests:

Performers should study the historical and cultural context of the pieces, including the composer’s life, style, and the music's original performance practices. This knowledge will inform their interpretations and help maintain authenticity. Working directly from original manuscripts or historically informed editions can help performers understand the nuances intended by the composer. While honoring traditional practices, performers can incorporate subtle contemporary elements—such as slight dynamic adjustments or varied tempos—that enhance emotional expression without straying too far from the original intent. Exploring new interpretation styles can engage audiences. However, these should be rooted in a clear understanding of the piece's essence to avoid diluting its authenticity. Whenever possible, use period instruments or replicas to achieve a more authentic sound. For example, using a fortepiano (or at least a digital piano hooked up to a PC with the fortepiano patch from a VST like Pianoteq) instead of a modern piano can enhance the period feel of Classical music (e. g. "O del mio dolce ardor" from Christoph Willibald Gluck's 1770 opera Paride ed Elena). Incorporating historical performance techniques, such as ornamentation specific to the era or appropriate articulation styles, can bring a fresh yet authentic character to the music. Providing audience members with insights into the piece’s background, including its emotional and historical significance, can enhance their appreciation and connection to the music. Collaborating with musicians who specialize in historically informed performance can enrich interpretations and ensure that the performance remains authentic while exploring new expressive possibilities. Seeking input from musicologists, educators, and other performers can provide valuable perspectives and help refine interpretations.

And vocalists shouldn't forget to listen to period instrument versions of the works represented in the 24 Italian Songs and Arias (and subsequent versions) wherever and whenever possible.

The same questions that pianist and composer Mark Polesky imagined arising whenever Suzuki Method students would listen to the pieces they are working in their original forms (especially those involving historically-informed performance, or HIP, ensembles) would apply similarly to vocal students.

Similarly, they'll likely ask, "Why is the soloist singing something different from what’s in the score? Can I add embellishments too? When and how? Why is everything tuned flat? Where is the harpsichordist getting all those notes from? Why are there so few dynamics, articulations, etc. in the original score? Do I have to play it the way it’s written in my score?"

And here's another thoughtful question they are likely going to ask: "Why is the male soloist singing in an alto (read: countertenor) or soprano (read: sopranist) voice in the recording?"

*I insert rightly a TW for countertenor haters, as this is the rendition of "Delizie, contenti," an aria from the 1649 opera Giasone featured in Parisotti's Arie Antiche, as Francesco Cavalli intended. Accompaniment by Rene Jacobs's Concerto Vocale Gent? You bet. The delightful alto voice of Michael Chance making it authentic? Check and double-check.*

"(An advantage) of listening to the (original versions of pieces in the 24 Italian Songs and Arias and the Suzuki Violin School) is the exposure to baroque performance practice," Polesky remarked, "And students who see the original manuscripts and early editions can learn to read the modern interpretive editions with a more critical eye (and to listen to the originals with a more critical ear)."

With the early music realm ever-expanding, maybe someday an HIP performance involving said countertenors of the megillah of the entirety of Antonio Caldara's 1710 opera La costanza in amor vince l'inganno would someday come to fruition. Audiences will soon enough be treated to hear a rendition of "Sebben, crudele" - either sung by a female soprano or sopranist - that is true to his intent.

Some early music lovers and historically-minded musicians only can dream...

[quinncesar69]

Jack Zevo - Areulder (Eryri Yn Rhwym)

Areulder (Eryri Yn Rhwym) - Serenity (Snowdonia Bound)

I don't know how to describe this track.

Baroque country tinged electro funk perhaps?

It's got a dance beat but it also has a bassoon & an oboe playing on here... plus an acoustic finger picked guitar, a banjo & a pedal steel.

Welsh lyrics too - which is always a bonus I think

Play Loud.

[musicinsurancecompany]

The Enchanting World of Woodwind Instruments

Woodwind musical instruments are like the unsung heroes of the music world. They are available in different shapes and sizes. Most importantly, each possesses a unique sound and personality. From the age-old flutes that our ancestors used to the stylish saxophones that jazz musicians love, woodwind musical gears have been captivating us for ages. Do you want to look at these amazing instruments and discover why they're so special? Let's read on!

The Unique Characteristics and Contributions of the Flute

The flute is often called the angel of the instrument world owing to its pure and heavenly sound. It is delicate and beautiful. All credit goes to the way air vibrates when you blow across the mouthpiece. Whether it is the peaceful tunes of Mozart or the amazing solos of James Galway, the flute has always been a favorite for both classical and modern music.

The Versatile Clarinet: A Master of Many Musical Styles

The clarinet is like a chameleon in a good way. It changes its sound effortlessly from soft and sweet to bright and bold as and when needed. It is one of the most versatile woodwind instruments. Whether it is the elegant solos in Mozart's Clarinet Concerto or the soulful improvisations of Benny Goodman, the clarinet has always been a crowd-pleaser, captivating audiences with its diverse musical styles. No wonder! If you own such a gear, woodwinds insurance becomes your priority.

The Expressive Power of the Oboe

The oboe is like the voice of the orchestra. With its piercing double-reed sound that can cut through any musical ensemble, it is an amazing tool. Its unique timbre, a bit bright and nasal, gives it the power to express a wide range of emotions, from delicate and lyrical to bold and dramatic. You can hear the oboe's expressive power in famous orchestral works like Mozart's "Eine Kleine Nachtmusik" and Stravinsky's "The Rite of Spring."

The Rich Timbre and Range of the Bassoon

The bassoon is the gentle giant of the woodwind family. Its deep and complex sound adds richness to any orchestra or chamber ensemble. Its range, from deep bass notes to surprisingly high registers, makes it versatile for both melody and harmony. The bassoon's unique sound, often humorous, makes it a popular choice for soloists and ensemble players.

The Jazzy Sounds of the Saxophone

The saxophone is a relatively new instrument, invented in the 19th century, but it's already become a symbol of jazz music. Its unique sound, produced by a single reed and conical shape, is perfect for improvisation and bluesy expression. From the legendary solos of Charlie Parker and John Coltrane to the smooth sounds of modern jazz, the saxophone continues to be a major player in both jazz and popular music.

The Challenges and Rewards of Learning a Woodwind Instrument

Learning to play a woodwind instrument is like a journey that requires dedication, patience, and lots of practice. It could be physically demanding, especially getting the right embouchure and finger technique. But the rewards are amazing! Imagine being able to create beautiful music, express yourself artistically, and connect with others through the universal language of music. It all starts with that first note on your woodwind instrument. The first step towards protecting it is getting a comprehensive woodwinds Insurance plan from a reputed insurance company.

Famous Woodwind Soloists and Their Impact on Music History

Throughout history, many amazing woodwind players have amazed audiences with their incredible talent and creativity. From the Baroque era with composers like Johann Sebastian Bach and Antonio Vivaldi to the Romantic era with Mozart and Beethoven, woodwind instruments have been a major part of shaping classical music. In the 20th century, jazz legends like Charlie Parker, John Coltrane, and Stan Getz completely changed the music world with their amazing saxophone solos.

[gasparodasalo]

Georg Philipp Telemann (1681-1767) - Concerto for 2 Flutes, Bassoon, Strings and Basso continuo in e-minor, TWV 52:e2, II. Presto. Performed by Karl Kaiser, flute, Michael Schneider, flute & direction, Marita Schaar, bassoon, and La Stagione on period instruments.

[vladislavblog]

Woodwind Adagio!

This is an adagio with a more free-flowing form, inspired by Corelli and the Baroque period of music. I utilize the romanesca, the prinner, the fonte, and imitative counterpoint to try and bring out a more "solemn" feeling in this piece.

[michelecolombobassoon]

Žilvinas Smalys SUITE in baroque style Michele Colombo Bassoon