Born in 1947 into a musical family, Tony Osborne studied at the Royal Academy of Music (London) with John Walton (double bass) and Richard Stoker (composition), and divided a busy career between composing, teaching, and performing.
A prolific composer and arranger, Tony’s original compositions include works in almost every genre, notably Chaconne Syncopations and Wainwright’s Ways for brass quintet, Celebration Fanfare for brass ensemble, the musical A Fine Time for Wine, a beautiful and dramatic Requiem, and many works for string orchestra.
Tony’s music for young bassists is very much at the heart of the teaching repertoire, particularly his jazzy and enjoyable bass trios and quartets, and he had the rare ability to create wonderful music which is always player and audience-friendly.
In 2001 Tony Osborne was elected an ARAM (Associate of the Royal Academy of Music) for his pioneering and important work for double bass and was a featured composer at Bass-Fest for over ten years.
He was a very successful BIBF Composer-in-residence in 2002-3, was a judge for the British Composer Awards and a judge for the BIBF Composition Competition from 1999 until 2015.
Tony Osborne died on 30 March 2019 at the age of 71.
Atmospheric and musically rewarding, Aeolian Air, composed in 1980, would be ideal for the intermediate bassist who is just venturing into low thumb position. Suitable…
Atmospheric and musically rewarding, Aeolian Air, composed in 1980, would be ideal for the intermediate bassist who is just venturing into low thumb position. Suitable for legato and cantabile playing, with a few technical challenges thrown in for good measure, this offers much to the intermediate bassist.
Written in the Aeolian mode – the white keys on the piano – this is a quality work from one of the leading composers writing for the double bass today.
Tony Osborne has the rare ability to write interesting effective and idiomatic music for any level of bassist and this is successful as both a teaching piece and in recital. Despite being written throughout in a 5/4 measure, there is no syncopated feel to it, just a smooth, lilting flow
“…You’ll know in the first couple of bars whether you have a bow change to be proud of. If you haven’t then learning or teaching this piece can only help. It’s also very pleasing to listen to.” (Double Bassist)
