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Bassoon Steppes

Lola Descours (bassoon), Paloma Kouider (piano)

Bassoon Steppes
Best of all is their selection of six of Shostakovich’s piano preludes: these could have been written for bassoon, so perfectly does the instrument lend itself to the quickfire vamping and staccato...

Bassoon Steppes

Lola Descours (bassoon), Paloma Kouider (piano)

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Best of all is their selection of six of Shostakovich’s piano preludes: these could have been written for bassoon, so perfectly does the instrument lend itself to the quickfire vamping and staccato...

About

Bassoonist Lola Descours, prize-winner of the prestigious Tchaikovsky competition in 2019, performs an all-Russian programme of music transcribed for bassoon and piano. A passionate advocate for the bassoon and its often underestimated capacity for colour and expression, Lola Descours performs repertoire of great variety, including Glinka, considered to be the first great Russian composer, as well as lyrical Tchaikovsky, romantic Rachmaninov, powerful Scriabin and sardonic Shostakovich. The programme is brought up to date with a dream-like piece by contemporary Russian composer Lera Auerbach. Lola Descours is partnered in this recital by pianist Paloma Koulder, with whom she has made several of the arrangements heard on the album.

Contents and tracklist

No. 11 in B-Flat Minor (Arr. G. Piatigorsky for Bassoon & Piano)
Track length3:45
No. 6, Allegretto
Track length1:20
No. 13, Moderato
Track length1:07
No. 14, Adagio
Track length2:19
No. 15, Allegretto
Track length0:59
No. 16, Andantino
Track length1:25
No. 24, Allegretto
Track length1:34
No. 2, Eastern Song (The Nightingale Enslaved by the Rose) [Arr. L. Descours & P. Kouider for Bassoon & Piano]
Track length3:04
No. 4, Nocturne (Arr. I. Kostlan for Bassoon & Piano)
Track length4:19
I. Lento
Track length10:14
II. Allegro scherzando
Track length6:18
III. Andante
Track length5:49
IV. Allegro mosso
Track length10:22

Spotlight on this release

Awards and reviews

July 2022

Best of all is their selection of six of Shostakovich’s piano preludes: these could have been written for bassoon, so perfectly does the instrument lend itself to the quickfire vamping and staccato melodies, and so succinctly does Descours and Kouider’s playing capture the music’s mixture of pomposity and sincerity, or, in the funereal Prelude No. 14, its ferocity.
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