Playing and teaching woodwinds

The woodwind instruments in wide use in Canada during the 19th and 20th centuries were flute, oboe, clarinet, bassoon, saxophone, and recorder; and, in the orchestra, piccolo, english horn, bass clarinet, and contrabassoon.

The woodwind instruments in wide use in Canada during the 19th and 20th centuries were flute, oboe, clarinet, bassoon, saxophone, and recorder; and, in the orchestra, piccolo, english horn, bass clarinet, and contrabassoon. In 1980, with the exception of flutes made by Jack P. Goosman of Toronto, orchestral woodwinds still were not made in Canada. Flutes were imported from the USA, oboes, clarinets, and saxophones from France (and some clarinets from Japan), and bassoons from Germany, France, Great Britain and, more recently, from the USA.

See also Instruments: medieval, renaissance, baroque; Instrument collections; Period instrument movement.

History in Canada

The first European woodwind instrument to be played in Canada probably was the 'German [transverse] flute which proved to be out of tune when they came to the Church,' at Quebec on Christmas Day 1645 (Jesuit Relations, vol 27, p 113). The fife was used in the regimental music of the French military in Canada after 1650. Merchants and soldiers possessed German (or transverse) flutes, recorders, flûtets (galoubets) and flageolets. Other woodwinds were introduced in the 18th century by members of British military bands, some of whom remained in Canada and taught music. The announcement in the Montreal Gazette (12 Sep 1796) of a concert performance, by George E. Saliment, of two flute concertos (unidentified) is one of the earliest references to a public solo performance of woodwind music. Among the items offered for sale in the Montreal Gazette of 1791 by the Quebec music dealer Glackemeyer were flutes, apparently the only woodwinds he stocked. Glackemeyer's son Louis-Édouard later became an accomplished amateur flutist.

With the growth of towns during the 19th century, municipal bands were formed, creating thereby a demand for instruments and instruction. The Musique Canadienne of the 1840s included clarinet, piccolo, and bassoon. An early teacher of clarinet, flute, and other band instruments in Bytown (Ottawa) in the 1840s was James Balbirnie. Adam J. Schott and John Bayley, bandmasters, were fine clarinetists and teachers. In the late 1880s Ernest Lavigne recruited a number of well-trained Belgian and French musicians for his Sohmer Park band and newly formed orchestra, and many remained in Montreal as teachers and players. In 1877 the Belleville (Ont) Band imported a quartet of saxophones from France. The TCM (RCMT) from its inception offered instruction in flute, oboe, clarinet, bassoon, and saxophone. Thus, the standards of woodwind playing in Canada had risen considerably by the turn of the century, when Sousa's band was so widely popular. Canadian woodwind players generally looked to England and France for standards and traditions in those years, but by the 1940s the US influence had become dominant and most of the leading teachers in Canada were trained in the eclectic US style. Some of the players who emerged in the 1960s were entirely products of Canadian instruction, and in the 1970s Canadian orchestras became more inclined than before to audition Canadian trained players for principal positions.

20th Century: Concert Music

Notable woodwind players and teachers before World War II included Hervé Baillargeon, flute (Montreal); Frank E. Dennis, bassoon (Toronto); Joseph Gagnier, clarinet, and his sons Armand, clarinet, Lucien, flute, and Réal, oboe, and his grandson Roland, bassoon, all active in Montreal; Alexandre Laurendeau, clarinet and oboe (Montreal); Montreal's Masella family, including Frank (clarinet) and his sons Rafael (clarinet), Pietro (oboe), and Rodolfo (bassoon); John McNamee, bassoon (Toronto); Herbert Pye and Robert (clarinetist) Rogers, clarinet (Toronto); Arthur Semple, flute, who founded the Toronto Flute Club in 1944; and Oliver E. Woods, oboe and french horn, who had played in Sousa's band, and his daughter Maxine Woods Shimer, bassoon, the first woman member of the TSO woodwind section. Both the last-named were members of the Canadian Double Reed Sextet (fl 1933 in Toronto).

It was after the war however, with the growth of full-time orchestras and chamber groups, that Canada could point to a list of resident players, foreign- and Canadian-born, able to contribute significantly as soloists, chamber musicians, orchestra players, and teachers. To name a few active in the period 1945-90: the flutists Robert Aitken, Jeanne Baxtresser, Kathryn Cernauskas, Robert Cram, Harriet Crossland, Lise Daoust, Gordon Day, André-Gilles Duchemin, Mario Duschenes, Nicholas Fiore, Kenneth Helm, Albert Horch, Timothy Hutchins, Wolfgang Kander, Dirk Keetbaas, Robert Langevin, Jean C. Morin, Marina Piccinini, Kathleen Rudolph, Nora Shulman, Suzanne Shulman, and Douglas Stewart; the oboists Ted Baskin, Perry Bauman, Melvin Berman, Roger Cole, Richard Dorsey, Rowland Floyd, Harry Freedman (and english horn), Donald Hyder, Pierre Rolland, Harry Sargous, Jacques Simard, Warren Stannard, and Stanley Wood (and english horn); the clarinetists James Campbell, Lori Freedman, Avrahm Galper, Arthur Hart, Emilio Iacurto (b 19 May 1936, d 21 January 1998), Ronald de Kant, David Kaplan, Jean Laurendeau, Leslie Mann, Stanley McCartney, James Morton, John Rapson, Ezra Schabas, and Joaquin Valdepeñas; the bassoonists René Bernard, Gerald Corey, William Douglas, Richard Hoenich, Nicholas Kilburn, Christine Mather, James McKay, Michael Sweeney, Norman Tobias, Elver Wahlberg, Christopher Weait, and George Zukerman.

Canadian woodwind ensembles have been heard on the CBC and in recital and have made recordings. Among the leading groups have been the Aeolian Winds; the Ayorama Wind Quintet; the Bel Canto Wind Quintet; the Canadian Wind Quintet (Kingston Symphony members Dale and Donelda Hunter, oboe and flute, Gordon Craig, clarinet, Norman Sherman, bassoon, and Stephen Seiffert, french horn); the Edmonton Wind Ensemble; the Dirk Keetbaas Players; the Lorien Woodwind Quintet (Hamilton Philharmonic members Vivian Minden, flute, Sandra Watts, oboe, Wes Foster, clarinet, John Courtney, bassoon, and Robert Hanson, french horn); the Ottawa Saxophone Quartet (Russell Thomas, soprano, Wally Munro, alto, Bruce Tetu, tenor, and Johnny Hinchey, baritone); the Ottawa Winds; the Pacific Wind Quintet (University of Victoria faculty members Lanny Pollet, flute, William Benjamin, oboe, Ethan Sloane, clarinet, Jesse Read, bassoon, and Richard Ely, french horn); Pentaèdre; the Quebec Symphony Orchestra Woodwind Quintet; the Quebec Woodwind Quintet; the Sentiri Wind Quintet (Hamilton Philharmonic members Paula Elliott, flute, Jon Peterson, oboe, Wes Foster, clarinet, Thomas (bassoonist) Elliott, bassoon, and Gregory Hustis, french horn); the Toronto Chamber Winds (an octet); the Toronto Woodwind Quintet (Toronto Winds); the Vancouver Woodwind Quintet; and the York Winds. (See also Chamber music, Woodwind quintet.) Several smaller groups featuring woodwinds have concertized and been heard on CBC and Radio-Canada networks, including the Baroque Trio of Montreal, and from the late 1980s, the Linos [Flute] Quartet (Marie-Andrée Benny, Danièle Bourget, Heather Howes, Virginia Spicer), Triptych (Fiona Wilkinson, flute, James McKay, bassoon, and Jane Hayes, piano) and the Aulos Trio (Nancy Larson Maloney, flute, Timothy Maloney, clarinet, and Sonja Deunsch, piano).

The emergence in Canada of the saxophone as a solo concert instrument has been attributed largely to the efforts of Paul Brodie, founder and director of the Brodie School of Music and Modern Dance and the Brodie Saxophone Quartet and co-founder of the World Saxophone Congress. Other concert saxophonists include Jean-Guy Brault and Lawrence Sereda (Brodie pupils) and Pierre Bourque. Brodie and Arthur Romano (Montreal) have been Canada's leading saxophone teachers; others include Gerald Danovitch (Montreal) and Dave Quarin (Vancouver). Among noteworthy saxophone ensembles have been the Canadian Saxophone Quartet (John Salistian, Marino Galluzzo, Stuart Elliott, John Price), the Canadian Saxophone Quintet (Edward Steer, Paul Bendzsa, James Pybus, David Bourque, Richard Hornsby), the Gerald Danovitch Saxophone Quartet, and the Pierre Bourque Saxophone Quartet.

Instruction in woodwind instruments is offered in many public and high schools, and tuition is available privately and at conservatories throughout Canada. The leading players often teach advanced students at universities which offer performance courses. The woodwind instruments are a popular choice for study, particularly the flute and clarinet, followed in favour by the saxophone. The cost of oboes and bassoons, and the relative difficulty the neophyte has in playing them and learning to overcome the vicissitudes of reed-making, tend to limit the number selecting these instruments. Paul Brodie, James Campbell, Avrahm Galper and Christopher Weait are among those who have written instruction books.

The University of Toronto has been the location of three international woodwind meetings: that of the the World Saxophone Congress in 1972, the International Double-Reed Society in 1976, and the International Clarinet Congress (ICS) in 1978. The ICS returned to Canada to hold its 1991 meeting at Laval University.

20th Century: Jazz And Pop

The saxophone has been used most extensively in popular music and jazz. As early as 1910 the Six Brown Brothers (originally from Lindsay, Ont) were performing as a saxophone sextet in vaudeville and were among the pioneers of the instrument in popular music. By the late 1920s a saxophone section was an integral component of the dance band; by the 1940s it numbered from four to six players, among them one or more capable of improvised (jazz) solos.

Different traditions have developed in jazz according to each of the saxophone's four main registers - soprano, alto, tenor, and baritone. Thus it is necessary to identify which type a jazz musician plays, even though, for the sake of versatility and ensemble work in dance and studio orchestras, many saxophonists have become fluent in some or all of the others, as well as in clarinet and flute (eg, Eugene Amaro, Nick Ayoub, Joe Christie Jr, John Christie, Vern Dorge, Jean Frechette, John Johnson, Moe Koffman, Pat LaBarbera, René Lavoie, Jean LeBrun, and Fraser MacPherson). By register, important jazz saxophonists in Canada have included: on soprano, Jane Bunnett, Jim Galloway, and Simon Stone; on alto, Koffman, Don Palmer, P.J. Perry, Bernie Piltch, Dave Turner, and several others in the bebop style (see Jazz/3); on tenor, Amaro, Ayoub, MacPherson, Art Ellefson, Richard Parris, Roy Reynolds, Pete Thompson, and Rick Wilkins in mainstream styles and LaBarbera, Brian Barley, Alex Dean, Ralph Bowen, Mike Murley, and several others in contemporary jazz (see Jazz/6); and on baritone, Frechette, Galloway, Colin Biggin, Daniel Kane, Gary Morgan, Freddie Nichols, and Charles Papasoff. Ayoub, LaBarbera and Palmer also have been influential saxophone teachers in the jazz tradition. The Canadian-born saxophonists Georgie Auld and Bob Burns have had major careers elsewhere (see Jazz/9).

The clarinet and the flute usually are secondary instruments for saxophonists; their use in the dance- or big-band context is generally for orchestral effect, and fewer musicians have made reputations as clarinet or flute soloists. The clarinet is heard as a solo instrument most often in swing and dixieland bands. Some of its leading Canadian players in these styles have been Al Baculis, Bob DeAngelis, Lance Harrison, Al Lawrie, Cliff McKay, Phil Nimmons, Bert Niosi, and Brian Ogilvie. The Vancouver-born Wally Fawkes has been prominent in British traditional jazz bands. Brian Barley, François Houle, Mathieu Bélanger, Robert M. Lepage, and Bill Smith have played the clarinet and/or bass clarinet in contemporary and free jazz. Noted jazz flutists include Sayyd Abdul Al-Khabyyr, Eugene Amaro, Jane Bunnett, Jean Derome, Paul Horn, Moe Koffman, Bill McBirnie, Kathryn Moses, François Richard, and Alexander Zonjic. In the early 1980s Ron Allen and John Johnson in Toronto were among the first Canadians to use wind-driven synthesizers; Allen also has played the Japanese shakuhachi for film and dance scores and in electroacoustic and jazz settings.

Woodwind Music For Teaching

There is a fairly large body of Canadian music available and useful for instruction purposes by woodwind teachers with pupils at the pre-professional level. This material can be used to expand and supplement traditional woodwind teaching music. Until the 1970s a primary difficulty in this area has been lack of knowledge of such works. However the promotional and informational services of the Canadian Music Centre, the CMEA, and the Contemporary Showcase have helped to improve the situation. The primary purpose of such works should be to introduce both the notation and the techniques of innovations in woodwind playing in compositions worthy of public performance without a disproportionate amount of explanation by the teacher. The ideal, for teachers and students, might be a body of graded material, published and printed in a well-edited format with concise instructions for the required new techniques in the printed part, and with separately available recordings by acknowledged performers. The most effective development of instructional material for an instrument tends to occur through the direct involvement of an acknowledged teacher/performer on that instrument. In the accompanying list, for example, there are 107 works for flute, many of which were produced through the exemplary efforts of the flutist Robert Aitken.

The composer in this genre must be sensitive to the existing capabilities of young players so that he or she may expand and develop technique logically. The composer should seek the advantages of publication, as the great majority of teachers do not have the time to seek unpublished music or the inclination to clarify inconsistencies in manuscripts. Indeed, the publisher of such music has an attractive world-wide market for a product which is in continual demand.

The appended list is a selection of published and unpublished works by Canadian composers for flute, oboe, clarinet, and bassoon with and without accompaniment. The CMCentre chamber music catalogues are a further source of suitable music by Canadian composers for duos, trios, etc. The Contemporary Showcase syllabus and the CMCentre's Canadian Music: A Selective Guidelist for Teachers provide timings, and annotations rating the works according to difficulty. For publication and recording information regrading these works, see the individual entries for the composers.

Discography

New for Now, vol 2: 9 works for clarinet. Galper, McCartney, Fetherston, Temoin cls, Barkin piano. 1971. Dom S-69004

New for Now, vol 3: 12 works for fl, an illustrated talk by Robert Aitken. Aitken fl, Ross piano, string orch. 1972. 2-Dom S-69006

Films

The Oboe Reed (University of Toronto Media Centre 1972)

The Oboe (University of Toronto Media centre 1981)

For Flute

Adaskin Vocalise. 1990. Fl

Aitken Icicle. 1977. Fl - Plainsong. 1977. Fl

Applebaum Essay. 1971. Fl

Archer Statements. 1982. Fl - Signatures. 1984. Fl

ArseneaultBonheur. 1980. Fl

Baker, Michael C. Sonata. 1963. Fl, piano - Capriccio 1986. Fl, piano - Elegy. 1972. Fl, organ - Perspective No. 1. 1981. Fl, organ - Collage. 1984. Fl, piano

BarnesSonata. 1965. Fl, piano - Music for Solo Flute. 1979 - Ballroom Scene. 1981. Fl, harpsichord

BauerThree Haiku on Simple Times. 1971. Fl, chimes, voice (one perfomer)

BeecroftTre Pezzi Brevi. 1961. Fl, harp (guitar, piano)

BehrensFiona's Flute. 1982. Fl, piano - Oscillations. 1983. Fl, piano - Musefully Listening, Nursing a Thought. 1983. Fl, piano

BottenbergDialogue. 1972. Rec (fl), harpsichord (piano)

Burke Escher/Bach. 1985. Alto fl, harpsichord

Camilleri, Charles Danse lente. Fl, piano. Wat 1964 - Meditation. Ob (fl), piano. Wat 1964

Cardy... time presses and night begins to fall... 1982. Fl, organ

Chan Ecstasy. 2 piccolo, 4 fl, alto fl, bass fl - Joy in Tranquility. 1974. Fl, piano

ChatmanSlink. 1977. Alto fl (fl or bass fl) - Wild Cat. 1974. Fl

Clarke, F.R.C.Bagatelle for Flute Choir. 1987. Picc, 8 fl, alto fl, bass fl (alto fl) - 3 Fragments. 1987. Fl, piano

CoulthardLyric Sonatina. 1971. Fl, piano. Wat 1976 - Where the Trade Winds Blow. Fl, piano

CowanCharm Bracelet. Fl, piano

Daigneault, Robert. Pastorale No. 2. Fl, piano. Thistlehead 1990

DoolittleSongs and Dances. 1980. Fl, piano

Douglas, Paul Aegina. 1971. Fl - Yskola. 1976. Fl - Yong. 1990. Fl

Evans, Robert Thoronet pour flûte seule. 1971

Fleming, R. Almost Waltz. 1970. Fl, piano

Fisher Sweet for Flute. 1982. Fl

FodiSeven Fantasias. 1968. Fl - Down Endless Lanes Where Cherries Flower. 1984. Fl

FreedmanSoliloquy. 1970. Fl, piano

Frenette...est-ce masque.... 1984. Fl

GellmanDialogue II. 1979. Fl, piano - Transformation. 1980. Fl, piano

GengeNew Hockets. 1989. Fl, piano - Kasa: Halo of the Moon. 1978. Fl, piano

GlickPetite Suite pour Flüte. 1960 - Wedding Suite. 1984. Fl (oboe or clarinet or violin), piano - Sonata. 1983. Fl, piano

GougeonL'oiseau blessé. 1987. Fl

HambraeusCinque sudi canonici per due flauti. 1988. 2 fl - Monologo. 1984. Fl

HayesDialogues. 1975. Bar fl, organ - Spectre I. 1983. Fl, piano

Healey Three Pieces. 1978. Fl (fl, piano)

Hétu, J. Quatre Pièces. 1965. Fl, piano - Aria. 1977. Fl, piano

Holt Set of Two. 1987. Fl, piano

Joachim, O. Expansion. 1962. Fl, piano

Johnston Duo Concertante No. 3. 1983. Fl, piano

Jones, K. Rondo. Fl. 1963

KeninsConcertante. 1966. Fl, piano

KomorousThe Necklace of Clear Understanding. 1986. Bar fl

KoprowskiImages II. 1980. Fl

KuleshaSecrets. 1980. Fl, piano

LauberMollésiennes. 1978. Fl, piano - Mouvement pour flûte et piano. 1980

LevinDialogues. 1978. Fl

LorrainLe talon d'Achille. 1980. Fl

McCauleyFive Miniatures. 1958. Fl, string orch

McIntosh, DianaLuminaries. 1978. Fl, piano

McIntyre, David Sonata. 1986. Fl, piano

MorawetzSonata. 1980. Fl, piano

MorelNuvattuq. 1967. Alto fl. RCI 409 - Duolet 2 fl (fl)

Papineau-CoutureSuite. 1945. Fl, piano - Départ. 1974. Alto fl - Verségères. 1975. Bass fl - J'aime les tierces mineures. 1976. Fl

Parker, MichaelSHaconne. 1983. Fl, piano

PentlandSonatina. 1954. Fl

RaumConversations. 1982. Fl, piano

Rosen Meditation No. 5. 1981. Fl, piano

Saint-MarcouxSonata. 1964. Fl, piano

SchaferSonatina. 1958. Fl, harpsichord (piano) - Five Studies on Texts by Prudentius. 1962. Sop, 4 fl

SchudelBagatelle. 1987. 2 fl - Chanson and Minuet. 1977. Fl, piano

Schneider, E. Duo. 1986. Fl, piano

SharmanConcerto. 1976. Fl, orch

SomersEtching - The Vollard Suite from The Picasso Suite. 1964. Fl

Tedman, Keith Angels. 1985. 3 fl

TelferOffertory. 1984. Fl, organ - Star-Gazing. 1985. Fl, piano - Love is a Sacred Feast. 1986. Fl (piccolo)

VivierPièce pour flûte et piano. 1975. Fl, piano

WeinzweigBirthday Notes. 1987. Fl, piano

WuenschCameos. 1969. Fl, piano - Three Pieces. 1971. Fl - Black and White. 1986. Fl, piano

ZuckertElegiac Improvisations. 1970. Fl, harpsichord (piano) - The Nightingale at My Window. 1968. Fl - Little Spanish Dance. 1970.

For Oboe

Archer Sonata. 1973. Ob, piano - Sonatina. 1977. Ob, piano

Beckwith Arctic Dances. 1984. Ob, piano

BerryTen Short Pieces. 1977. Ob, piano

Coulthard Sonata. 1948. Ob, piano - Shizen. 1979. Ob, piano

Fleming, R. Three Dialogues. 1964. Fl (oboe), piano (harpsichord)

FordForbidden Colours. 1983. Ob d'amore, organ

George Adagio. 1950. Ob, piano

Glick Sonata. 1987. Ob, piano

Hambraeus Sheng. 1983. Ob, organ

Hétu Incantations. 1976. Ob, piano

Holman Partita. 1982. Ob, organ

KeaneTango. 1986. Ob, piano

KleinÀ la Rossini. 1972. Ob (piano optional)

Mann Vocalise. 1974. Ob (clarinet), piano

Mather Vouvray. 1986. Ob, harp

McIntyre, David Polka; Pause; Presto. 1986. Ob, piano

Morawetz Sonata. 1980. Ob, piano

Schudel Nocturne and Dance. 1977. Ob, piano

Simeonov, Blago Scherzino. 1978. Ob, piano. FH 1978

Telfer Bird's-Eye View. 1985. Ob, piano

Turner, R. Sonatina. 1951. Ob, piano

Weinzweig Divertimento No. 2. 1948. Ob, orch (piano reduction H. Perry)

Wuensch Aria and Fugue. 1975. Ob, organ

For Clarinet

Adaskin, M. Daydreams. 1968. Cl, piano - Nocturne. 1978. Cl, piano

Archer Sonata. 1970. Cl, piano - Soliloquies 1982. Cl

Berry Fantasy in Five Statements. 1971. Cl, piano

Bottenberg Sonata modalle. 1979. Cl, piano

BradyTessituras. 1983. Cl

Burke Objet trouvé. 1979. Cl

Camilleri Three Visions for an Imaginary Dancer and Solo Clarinet. Fairfield 1968

Chan Three Movements. 1978. Cl, piano

Chatman Gossamer Leaves. 1981. Cl, piano

Clarke, F.R.C. Suite for Clarinet Choir. 1985. 11 clarinet

Coles, Graham Sonata. Cl, piano. Ber

Coulthard Lyric Sonatina. 1976. Cl, piano - Gardens. 1989. Cl, piano

DésiletsTrajeta. 1989. Cl, percussion

Douglas, Paul Lignon. 1989. Cl

Eckhardt-GramattéRuck-Ruck Sonata. 1947, rev 1962. Cl, piano

Evans, Robert Suite Bizarre. 1967. Cl

Fisher Four Movements for Unaccompanied Clarinet. 1978 - Visitation. 1976. B-flat clarinet, piano

Fodi Rhapsody. 1985. B clarinet, piano

Freedman Lines. 1974. Cl - Little Girl Blue. 1988. B clarinet - Vignette. 1975. Cl, piano

Frenette Trois mélodies. 1977. Cl

GarantAsymétries No. 2. 1959. Cl, piano

GayferThe Lake in the Mountains. 1981. Cl, piano

Girón, Antonio Pianos II. 1976. Cl - Three Bagatelles. 1987. Cl. Southern 1987

Glick Suite Hébraïque. 1963. Cl, piano

HatchEurhythmy. 1985. 2 B-flat clarinet

Hawkins Dance. 1981. Cl, piano

Haworth, F. Shepherd's Purse Suite. 1958. Cl, piano

Hétu Nocturne. 1978. Cl, piano

Johnston Three Pieces. 1987. Cl, piano

Kenins Divertimento. 1960. Cl, piano

Kulesha Duo. 1977. B clarinet, piano - Attitudes. 1980. clarinet, piano - Political Implications. 1987. 4 clarinet

KymlickaTwo Dances. Cl, piano

Lauber Mouvement. 1980. Cl, piano

Lorrain Contra mortem. 1975. Cl

LuedekeFifteen Inventions. 1969. 2 clarinet

Mather Étude pour clarinette seule. 1962 - Sassicaia. 1981. Cl, piano

McIntyre, David Dialogue. 1987. Cl, piano

Miller, MichaelApproaching the Spring Place. 1980. Cl, piano

Morawetz Sonata. 1981. Cl, piano

NimmonsImages entre nous. 1987. Cl, piano - Duologue. 1984. Cl, accordion

Parker, Michael Lumina Obscurata. 1989. Cl, piano

Pentland Phases. 1977. Cl

RobinovitchThree Winter Songs. 1981. Cl, piano

Schafer Wizard Oil and Indian Sagwa. 1980. Spkr, clarinet.

Schryer, Claude Vestiges d'un practicum. 1979. B-flat clarinet, piano

Schudel Berceuse. 1980. B clarinet, piano

Shoujounian, Petros Horovele. 1979. Cl

Simeonov, Blago Monody. 1970. Cl (clarinet, piano). Wat - Poème. 1962. Cl. Wat 1974

TenneyMonody. 1959. Cl

Weinzweig Cadenza. 1986. B-flat clarinet

WeisgarberThirty-two Concert Etudes for Solo Clarinet. 1986 - Fantasia, Ecologue and Rondo. 1959. Cl in A, piano

Wilson, Eugene Sonata. 1984. B clarinet, piano

Wuensch In modo antico. 1971. Cl, piano - Variations. 1971. Cl, piano

Zuckert Doina: Roumanian Fantasy. 1970. Cl, piano - Sur le lac Baptiste. 1972. Cl, piano

For Bassoon

Archer Sonatina. 1978. Bn, piano - Sonata. 1980. Bn, piano

Barnes Anerca I. 1979. Bn

Coles, Graham Bassoon Piece. 1978. Bn

Coulthard Lyric Sonatina. 1969. Bn, piano

Douglas, Paul Jabora. 1981. Bn

Healey Sonata. 1981. Bn, piano

Hétu Elégie. 1979. Bn, piano

HiscottInfluence and Infusion. 1974. Bn, piano

Johnston, R. Suite. 1946. Bn, piano (orch) - Duo Concertante. 1980. Bn, piano

Koprowski Images III. 1980. Bn

LidovAlpha-bits. 1973. Bn, piano - Fantasy. 1972. Bn, piano

Luedeke Fancies and Interludes VII. 1989. Bn, piano

McIntyre, David Bapia. 1984. Bn, piano

Schudel Arlette and Scherzo. 1977. Bn, piano

Sexton, Brian Newfoundland Suite. 1981. Bn, piano

WeaitVariations. 1972. Bn

Wesigarber Thoughts on an Ancient Japanese Melody. 1979. Bn - Sonata. 1973. Bn, piano

Zuckert Suite. 1975. Bn