Composed in:
bassoon & piano
3 min
Doblinger Music Publishers, Vienna; cat.# 05 564
Commissioned by:
Premiere performance:
CD recording:
Gernot Wolfgang, PASSING THROUGH, Albany Records CD TROY 1624



More information about the CD recording of Flurry


“In featuring a jazz dimension and vivid contrasts between its three sections, the three-minute overture “Flurry” serves as both an effective template and microcosm for the album. During the introductory unison part, Nic Gerpe’s piano playing exudes an Ellington-like swing, while the central section opts for a meditative bassoon-centered episode before the coda resurrects the animated spirit of the intro.”


“Flurry, originally written for flute and piano, is a short but musically compact piece that proves to be highly effective on the bassoon in the very adept hands of [bassoonist] Judith Farmer. The piece starts with a fast swirling unison theme that is quickly replaced by a calm lyrical middle section before returning to a fast tempo in a groove-based energetic coda.”

Marc Vallon, The Double Reed

“The first work on the CD, Flurry (for bassoon and piano) suggests where the term groove fits in: Right off the bat, the listener is confronted with some rather jazzy licks of the sort not usually associated with the mostly staid bassoon.”

David DeBoor Canfield, Fanfare

“The album opens with a brief work for bassoon and piano, Flurry; originally written for flute.  It opens with jazz harmonies in piano.  A swirling idea floats out between both piano and bassoon, but this gives way to a more intense central section.  Reflective ideas feature some lyrical writing which is quite gorgeous, while the harmonies become a bit closer and more dissonant.  The solo line explores the range of the bassoon well here with beautiful expressive lines.  We are then returned a bit to the opening idea.  It makes for a fine introduction to this somewhat jazz-like style, but would make for a fine encore.”

Steven A. Kennedy, Cinemusical

“The opening work, Flurry, is a concise and lively work for bassoon and piano, and establishes the composer’s voice. Wolfgang writes idiomatically for winds, finding a lively, but also mellow character for the bassoon …”

Peter Burwasser, Fanfare

“Originally for flute and piano and heard here in a version for bassoon and piano, Flurry refers to the jazz influences primarily in its final section for piano; there is also a significant and very fine bassoon cadenza (fine in terms of both conception and execution).”

Colin Clarke, Fanfare

“Jazzy opening … cadenza-like … flexible tonality … unpredictable  progressions … surprising changes of tempo … abrupt ending … Judith Farmer, bassoonist extraordinaire (!)”

Rafael de Acha, rafaelmusicnotes.com