Please be sure to read Bret's comment regarding my last post as he had some excellent suggestions regarding improving this movement that I have incorporated into this revision. I have posted his comment and this blog as an illustration of how a composer and performer can collaborate to make a stronger composition. If you are a composer, I encourage you to take lessons on all the instruments as it really helps to learn to write for them. I had the good fortune to have both my B.S. and M.S. in Music Education so have studied all the instruments in either a class situation or privately. But even then, I cannot have the knowledge that a skilled performer has, so I relish the opportunity to learn from them.
I have reposted the audio files of the Valse with the revisions. Here is a summary of the changes:
I was very careful to avoid the crossed lines between the left hand of the piano and the bassoon. When Sibelius played the piece back, I did not hear any problems with crossed lines as the timbres were so different, but I can imagine that in live performance, there would be more reverb and therefore blurring of the lines. Most of the time, I took sections of the left hand of the piano down an octave. Sometimes I took it up an octave and put it in treble clef. Another time, I took the bassoon up an octave (measures 60-76) which helped with the lines and also explored the higher register of the bassoon. I choose this spot as it was a recapitulation of the opening material and the new timbre gave it variety.
I made the last note optional 8va basso as inserting a tube into the bassoon can make this note possible.
To see and hear what I have discussed, go to http://www.cooppress.net/divertissement_mixed_woodwinds_blog.html. You will be viewing a transposed score.
As always, your comments are appreciated.