Bladmuziek
Componist(en):
Uitgever('s):
Uitgavenummer:
E723
Instrument(en):
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Kristian Oma Ronnes (b.1991) began playing the bassoon (on a ‘fagottino’) at the age of 5 and had his first lessons with his father, Robert Ronnes. At the age of 16 he entered the Norwegian Academy of Music’s “Talent Program” in Oslo, and the same year he also became the first guest student at the University as bassoonist. Kristian began his Bachelor studies at the Norwegian Academy of Music with Prof. Dag Jensen and was then accepted to study his Masters at the Staatliche Hochschule fur Musik und Darstellende Kunst in Mannheim, Germany with Prof. Ole Kristian Dahl. Whilst studying for his Masters, he also travelled to Escuela Superior de Musica Reina Sofía in Madrid to study with Prof. Klaus Thunemann. Kristian has also had lessons with bassoonists such as Sergio Azzolini, Martin Kuuskmann, Gustavo Nunez, Audun Halvorsen and several wind players from the Berlin Philharmonic Orchestra. As well as his bassoon studies, Kristian is also productive as a composer and his compositions, arrangements and restored works have been published by National Library of Norway (Norway), Emerson Edition Ltd (England), Trubcher Publishing (England), Music House Publishing A/S (Norway), TrevCo Music Publishing (USA) and Cantando Musikkforlag AS (Norway). Kristian’s most notable work as a composer so far is his 12 Bassoon Studies, Op.33 (published by Musikk Husets Forlag A/S). Here, he has expanded the bassoon’s register and added his own exclusive fingering chart for the new rare high notes. These Bassoon Studies are already in use as educational material in several different universities across Europe. He has also worked closely with the bassoon manufacturer Bernd Moosmann for further developing the technique of the bassoon, which has resulted in an instrument with a lot of new possibilities. This Fanfare for 6 horns, 2 trombones, bass trombone and tuba was composed in Oslo, Norway in 2011. It is composed with a rather proud and majestic interpretation in mind. In the last bar for 1st & 2nd horn, the 2nd horn should play the upper voice if the 1st horn does so. If the 1st horn decides to play the 2nd voice (ossia), then the 2nd horn should do so as well. If parts are being doubled, then it would be preferred if both ossia parts are played.
Componist(en):
Uitgever('s):
Uitgavenummer:
E723
Instrument(en):
ISBN:
9790570409013
Volgnummer:
912436
Thema('s):
