DUAL IDENTITY (2005)

Concert: CHAMBER MUSIC, SOLO INSTRUMENTS
Instumentation:

for solo bassoon

Publisher:

Doblinger Music Publishers (catalog # 05 514)

Premiere Performance:

2004 by Judith Farmer - bassoon

Duration: 4 minutes (1 movement)
CD Recording:

Gernot Wolfgang, COMMON GROUND, Albany Records TROY854

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DOWNLOAD PROGRAM NOTES (English)
DOWNLOAD PROGRAM NOTES (German)


(click on image of excerpt to enlarge)

Stream on Spotify
Stream on YouTube

Watch a video of a virtual performance by Judith Farmer

More information about the recording of Dual Identity on the album COMMON GROUND
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Purchase the sheet music for Dual Identity at:
Theodore Front Musical Literature, Inc.
Trevco Music
sheetmusicplus.com

Reviews:

“Wolfgang writes very well and sympathetically for the bassoon, as in Dual Identity for solo bassoon. Making some use of multiphonics, it is something of a demonstration piece for the soloist, but it is more than just that, having a genuine musical argument to offer.”

Glyn Pursglove, Musicweb-International.com

” … clever, finely crafted, interesting modern works for the bassoon. This latest work, Dual Identity, is another gem of the same order.”

Ronald Klimko, The Double Reed

“There is an infectious perpetual motion to the work, a crisp preciseness to every note and instruction on the page … thoroughly recommended for advanced students.”

Lawrence O’Rourke, Music Teacher

” … 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 … ”

Walter Simmons, Fanfare Magazine

” I thoroughly enjoyed reading this work … I would definitely recommend adding this piece to your repertoire.”

Daniel Lipori, The Double Reed

Dual Identity fuer Solo-Fagott zeigt melodischen Witz … “

Andreas Felber, JazzZeit (AUSTRIA)

” On the solo piece, Dual Identity, Ms. Farmer navigated the score’s bouncing, propulsive sense of rhythm, partly articulated through well-placed spaces between notes. Trace elements of the composer’s jazz and R&B pedigree emerge in the rhythmic design, but they blend in with a harmonic language grounded in contemporary classical writing.”

Josef Woodard, Santa Barbara News-Press