Othmar Schoeck's music avoids
simple categorization. Despite his flirtation with modernism, he eventually
rejected it in favor of the romanticism of the 19th century. Born in Zurich, Schoeck began study with Max
Reger at the Leipzig Conservatory in 1907, but returned to Zurich the following
year.
The
Sonate was originally conceived for
bass clarinet and piano, although for its first performance Schoeck was
concerned that the complex piano part would over-balance the solo line and
allowed a bassoon to be substituted.
Each of the work's three movements uniquely deals with the modernist
trends present during Schoeck's time.
The first movement is perhaps the most Romantic in style in its use of
long melody and sonata form. The second
movement is a rigorous fugue in which Schoeck demonstrates the contrapuntal
mastery he learned from Reger in Leipzig.
The third movement is an experiment in ragtime, perhaps inspired by
Stravinsky or Antheil; the whole work evaporates with an ironic wink. Peter Kolkay
Classical Music | Music for Bassoon
Othmar Schoeck
Sonate, Op. 41 Play
Recorded on 09/07/2004, uploaded on 01/19/2009
Musician's or Publisher's Notes
Sonate, Op. 41 Othmar Schoeck
Gemesse; Bewegt
Othmar Schoeck's music avoids simple categorization. Despite his flirtation with modernism, he eventually rejected it in favor of the romanticism of the 19th century. Born in Zurich, Schoeck began study with Max Reger at the Leipzig Conservatory in 1907, but returned to Zurich the following year.
The Sonate was originally conceived for bass clarinet and piano, although for its first performance Schoeck was concerned that the complex piano part would over-balance the solo line and allowed a bassoon to be substituted. Each of the work's three movements uniquely deals with the modernist trends present during Schoeck's time. The first movement is perhaps the most Romantic in style in its use of long melody and sonata form. The second movement is a rigorous fugue in which Schoeck demonstrates the contrapuntal mastery he learned from Reger in Leipzig. The third movement is an experiment in ragtime, perhaps inspired by Stravinsky or Antheil; the whole work evaporates with an ironic wink. Peter Kolkay
Performances by same musician(s)
Concertpiece, Op. 2
Romance, Op. 62
Solo de concert for bassoon and Piano, Op. 35
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