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Nouvelle Édition de la Méthode de Basson - OZI, Étienne - 1803. 
Paris: V. Dufaut, . Folio. Vellum-backed marbled boards. 1f. (title), 1-14 pp. text ("Principes Elementaires de la Musique," "Méthode de Basson"), pp. 15-146 printed music, 147-149 text, [i] (blank). Engraved throughout. With one folding plate ("Tablature du Basson") including two illustrations of the bassoon and additional illustrations accompanying textual commentary at conclusion. Engraved throughout. Small oval handstamp to foot of title.Binding quite worn, rubbed and bumped; lacking front pastedown endpaper; front free endpaper torn. Slightly worn, foxed and soiled; inner margin of title dampstained; small edge tears to title; short tear to blank margin of folding plate repaired; stab holes to blank inner margins of first signatures; some creasing; other minor defects. Quite a good, wide-margined copy in original state. Very rare. Not in OCLC. "Ozi's influence as a performer, teacher, and composer of bassoon literature was international in scope. His music and Méthodes (written for a six- and seven-keyed bassoon) are the most comprehensive and informative source of instructions on bassoon performance of the late 18th century. As late as 1838 Schilling observed that his 1803 Méthode 'was not only the first complete manual for learning to play the bassoon in France, but in most other countries as well'. The 20 pages devoted to embellishment and extempore variation have been cited as an important source dealing with late 18th-century improvisatory practices. His musical examples were used by Almenraeder as points of departure for improving the key mechanism of the bassoon. At least three of his concertos were published in Germany as well as France and editions of the Méthodes, sonatas and caprices continued to be published in Germany, France and Italy throughout the 19th century. Although his concertos and symphonies concertantes were intended for his own performance, they contain passages of virtuosic brilliance that contributed much to the development of the bassoon as a solo instrument during this time. As a soloist Ozi expanded the expressive as well as the technical capacity of the bassoon. It was observed that the bassoon took on 'in his hands, a life, a soul, and an expressive character' that was previously unattainable on the instrument. According to contemporaries, he was 'le meilleur basson de son temps'." Harold E. Griswold in Grove online.
[Bookseller: J & J LUBRANO MUSIC ANTIQUARIANS]
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