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</script><h1>François-René Gebauer</h1><div class="hd"><a href="http://en.instr.scorser.com/C/All/Fran%c3%a7ois-Ren%c3%a9+Gebauer/All/Alphabeticly.html">All Compositions</a></div><div class="clear10"></div><h2>Compositions for: Physharmonica</h2><div class="clear10"></div><div class="clear10"></div><script async src="https://pagead2.googlesyndication.com/pagead/js/adsbygoogle.js?client=ca-pub-7958472158675518"
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</script><div class="clear10"></div><div class="clear10"></div><a href="https://en.wikipedia.org/wiki/François-René_Gebauer">Wikipedia</a><div class="p">François-René Gebauer (15 March 1773, Versailles, France – 28 July 1845, Paris) was a French composer, professor, and bassoonist and the son of a German military musician. He had four brothers, <a href="http://en.instr.scorser.com/C/Physharmonica/Michel-Joseph+Gebauer/All/Popularity.html">Michel-Joseph Gebauer</a> (1763–1812), Pierre-Paul Gebauer, Jean-Luc Gebauer, and <a href="http://en.instr.scorser.com/C/Physharmonica/%c3%89tienne-Fran%c3%a7ois+Gebauer/All/Popularity.html">Étienne-François Gebauer</a>, all of whom were also musicians and composers. The brothers played together in a quintet that was modeled on woodwind quintet instrumentation but modified by removing the flute parts to include their brother Jean-Luc, who was a percussionist. The quintet received favorable reviews from critics, who found the music to be "unusually lively for a wind quintet" and "full of earthly elegance".</div><div class="p">He took music lessons first with his brother Michel-Joseph Gebauer, which ended soon due to artistic differences between the two. He then took lessons with <a href="http://en.instr.scorser.com/C/Physharmonica/Fran%c3%a7ois+Devienne/All/Popularity.html">François Devienne</a>, which proved to be more successful. In 1788 he joined the Swiss Guard in Versailles as a bassoonist. In 1790 he joined the orchestra of the Musique de la garde nationale de Paris. From 1801 to 1826 he was a bassoonist in the orchestra of the Paris Opera. In 1795 he was appointed professor of bassoon at the Conservatoire de Paris, a post he held until 1802 and then from 1824 to 1838.</div><div class="p">His most famous work was Duos Concertants, Op. 48, for horn and bassoon, which featured repetitive rhythmic motifs in phase shifting patterns and strikingly modern asymmetrical melodies. The most memorable effect he achieved with this piece was the portrayal of schadenfreude through jarring note patterns in the bassoon line.</div></body></html>