Three pieces for bassoon and piano by Graham Sheen. There are three contrasting types of expression for the bassoonist here. The opening phrase is staccato which is followed (at bar 11) by a sustained counter melody. Finally (at bar 19) both these effects are combined in a second melody which needs very clear dynamic playing.
Sustaining the sound while re-articulating the notes is important in this piece. In other words, the opening should be played almost slurred. Be aware of the changing harmonies underneath the held notes in the bassoon part.
Long but separate notes contrast with real legato. The main theme is marked tenuto, so full value for each note, especially ending notes. Even the quavers aren't very short at this speed. Try to make the richest sound you can, like, for example, a fine Russian baritone.