The Double Reed, Vol. 28 • No. 4 - International Double Reed Society

Transcription

Vol. 28 • No. 4
Eric Barr of the
Dallas Symphony
IDRS OFFICERS
President
Terry Ewell
Chair-Department of Music
Towson University
8000 York Road
Towson, MD 21252
Bus: (410) 704-2143
FAX: (410) 704-2841
E-Mail: [email protected]
1st Vice President
Nancy Ambrose King
3019 School of Music
University of Michigan
Ann Arbor, MI 48109
Bus: (734) 764-2522
E-mail: [email protected]
2nd Vice President
Stéphane Lévesque
McGill University
Faculty of Music
555 Sherbrooke Street West
Montreal, Quebec H3A 1E3
CANADA
Fax: 514-525-4462
Email: [email protected]
Secretary
Martin Schuring
Arizona State University
School of Music-0405
Tempe, AZ 85287-0405
Bus: 480-965-3439
Fax: 480-965-2659
Past President
Marc Fink
School of Music
University of Wisconsin-Madison
455 North Park Street
Madison, WI 53706-1483
Bus: (608) 263-1900
FAX: (608) 262-8876
At Large Members
Alan Goodman
PO Box 4374
Bedford, WY 83112-4374
Bus: (805) 297-7311
[email protected]
Carolyn Hove
1193 East Menlo Drive
Altadena CA 91001-1730
Bus: 626-797-3925
Executive Secretary/Treasurer
Exhibit Coordinator
Norma R. Hooks
2423 Lawndale Road
Finksburg, MD 21048-1401
Office: (410) 871-0658
FAX: (410) 871-0659
Music Industry Liaison
Larry Festa
Fox Products Corporation
PO Box 347
South Whitley, IN 46787
Bus: (260) 723-4888
Fax: (260) 723-6188
Bassoon Editor
Ronald James Klimko
657 Douglas Drive
P.O. Box 986
McCall, ID 83638-0986
Bus: (208) 634-4743
Oboe Editor
Daniel J. Stolper
7 Hermosillo Lane
Palm Desert, CA 92260-1605
Bus: (760) 837-9797
Fax: (760) 837-9790
IDRS OnLine Publications Editor
Yoshiyuki (Yoshi) Ishikawa
University of Colorado at Boulder
College of Music
301 UBC
Boulder, CO 80309-0301
Bus: (303) 492-7297
http://www.idrs.org
Archivist
Michael J. Burns
School of Music
P.O. Box 26120
University of NC at Greensboro
Greensboro, NC 27402-6120
Bus: (336) 334-5970
FAX: (336) 334-5497
Fernand Gillet-Hugo Fox Competition
Bassoon Chair
Douglas E. Spaniol
Jordan College of Fine Arts
Butler University
4600 Sunset Avenue
Indianapolis, IN 46208-3485
Bus: (317) 940-8368
Fax: (317) 940-9658
Oboe Chair
Nancy Ambrose King
3019 School of Music
University of Michigan
Ann Arbor, MI 48109
Bus: (734) 764-2522
Fax: (603)843-7597
Legal Counsel
Jacob Schlosser
4937 West Broad Street
Columbus, OH 43228-1668
Bus: (614) 878-7251
FAX: (614) 878-6948
THE
DOUBLE REED
Quarterly Journal
of the
INTERNATIONAL
DOUBLE REED
SOCIETY
VOL. 28 • NO. 4
Ronald Klimko and
Daniel Stolper, Editors
© 2005 International Double Reed Society
www.idrs.org
ISSN 0741-7659
Designed by Edward Craig
Baltimore, MD 21212 U.S.A.
Printed by The J.W. Boarman Company
Baltimore, MD 21230 U.S.A.
2
TABLE OF CONTENTS
ON THE COVER: Eric Barr of the Dallas
Symphony. See feature article on page 47
of this issue.
Table of Contents
Honorary Members List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
4
35th Annual Double Reed Conference, Ball State University,
Muncie, Indiana, July 25-29, 2006. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
5
Message from the President . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Terry Ewell
9
Report of the Executive Secretary/Treasurer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Norma Hooks
10
The 2006 Fernand Gillet-Hugo Fox Bassoon Competition Application . . . . . . . . . . . . . . . . . . .
11
IDRS Sponsor-a-Member Program. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Nancy Ambrose King
16
IDRS Associate Members . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
16
Fernand Gillet-Hugo Fox Competition Bylaws . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
17
IDRS WWW. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
22
CURRENT EVENTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
23
Obituaries. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
24
Oboists in the News . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Daniel Stolper
31
Bassoonists’ News of Interest . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Ronald Klimko
35
Second Annual Double Reed Day at Mississippi State University . . . . . . . . . . . . . . . . . . . . . . . .
Elaine Peterson
39
Carolyn Hove English Horn Master Class . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Virginia Stitt
41
Bassoons in Concert in Cordoba, Argentina . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Alejandro Aizenberg
43
The Third Annual Bassoon Day @ McGill . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Stéphane Lévesque
45
ARTICLES. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
46
Reflections and Advice for Young Oboists: A Conversation with Eric Barr. . . . . . . . . . . . . . . . .
Frances Estes
47
A Study of the Concerto for Bassoon and String Orchestra by Armando Blanquer Ponsada . . .
James Hough
53
Friedrich Eugene Thurner 1785-1827: The Triumphs and Tragedies of a Master Oboist . . . . . .
James Brown
63
Beveling: The Magic of Insignificant Splinters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
L. Hugh Cooper
77
THE DOUBLE REED
3
The Experts’ Expert - Oboists/Double Reed Masters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
85
Birthday Tune for a Big Bassoon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Mike Curtis
88
Benjamin Britten’s Temporal Variations: A Study of Analysis and Interpretation. . . . . . . . . . . .
Amari Pepper Barash
89
IDRS Membership Application Form. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
94
To Heckel or Not To Heckel, That is the Question . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Robert M. Stein
95
Richard Killmer: A Life Heavily Seasoned with “Variety”:
A Conversation With Cees Verheijen at the IDRS Convention in Banff, 2002. . . . . . . . . . . . . . .
Richard Killmer
97
Know Pain? – Retrain. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102
Stephen Caplan
A Bassoon Lite, Please….News at Ten . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105
Alan Goodman
A Bassoon Lite, Please….The Historical Imperative . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107
Alan Goodman
A Bassoon Lite, Please….Eyeballing Mehta . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
Alan Goodman
The ‘Flow’ State of Musical Performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
Eve Newsome
Order Out of Chaos: A Tale of Perestroika, Part 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
Tony Rothman
Administrators Who Play Bassoon, Oboe, and/or English Horn . . . . . . . . . . . . . . . . . . . . . . . . . 124
Terry Ewell
REVIEWS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128
Bassoon Recording Reviews. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129
Ronald Klimko
Bassoon Music Reviews . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135
Ronald Klimko
Oboe Recording Reviews . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145
Roger Wiesmeyer
Oboe Music Reviews . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147
Robert Krause, Jennifer Porcas, Leslie Odom
Drastic Measures: New Oboe Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150
Libby Van Cleve
Product Review: Pianist by Proxy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152
Ronald Klimko
Contributors. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154
Advertising Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157
4
HONORARY MEMBERS
H onorary M embers
Günter Angerhöfer
(1926)
Norman H. Herzberg
(1916)
Louis Rosenblatt
(1928)
Lady Evelyn Barbirolli
(1911)
John Mack
(1927)
Matthew Ruggiero
(1932)
Lewis Hugh Cooper
(1920)
John Minsker
(1912)
Ray Still
(1920)
Gerald Corey
Ivan Pushechnikov
(1918)
Laila Storch
(1921)
Mordechai Rechtman
(1926)
K. David van Hoesen
(1926)
Lowry Riggins
(1930)
William Waterhouse
(1931)
Bernard Garfield
(1924)
Alfred Genovese
Ralph Gomberg
(1921)
George F. Goslee
(1916)
Roland Rigoutat
(1930)
President’s Award: Peter Klatt (Industry Liason), Jim Prodan (Archivist),
Noah Knepper (Founding Member)
D eceased H onorary M embers
Maurice Allard
(1923-2004)
Harold Goltzer
(1915-2004)
Frederick Moritz
(1897-1993)
Philip Bate
(1909-1999)
Leon Goossens, CBE
(1897-1988)
Karl Öhlberger
(1912-2001)
Robert Bloom
(1908-1994)
E. Earnest Harrison
(1918-2005)
Fernand Oubradous
(1903-1986)
Gwydion Brooke
(1912-2005)
Cecil James
(1913-1999)
Wayne Rapier
(1930-2005)
Victor Bruns
(1903-1996)
Benjamin Kohon
(1890-1984)
Frank Ruggieri
(1906-2003)
Donald Christlieb
(1912-2001)
Simon Kovar
(1890-1970)
Sol Schoenbach
(1915-1999)
John de Lancie
(1921-2002)
Dr. Paul Henry Lang
(1901-1991)
Leonard Sharrow
(1915-2004)
Robert De Gourdon
(1912-1993)
Lyndesay Langwill
(1897-1983)
Jerry Sirucek
(1922-1996)
Ferdinand Del Negro
(1896-1986)
Alfred Laubin
(1906 - 1976)
Louis Skinner
(1918-1993)
Willard S. Elliot
(1926-2000)
Stephen Maxym
(1915-2002)
Robert Sprenkle
(1914-1988)
Bert Gassman
(1911-2004)
Robert M. Mayer
(1910-1994)
Fernand Gillet
(1882-1980)
W. Hans Moennig
(1903-1988)
THE DOUBLE REED
The 35th Annual
International Double Reed
Society Conference
July 25–29, 2006
BALL STATE UNIVERSITY • MUNCIE, INDIANA • USA
Ball State University School of Music
Keith Sweger and Timothy Clinch, Hosts
IDRS 2006
Come celebrate with us as Ball State University hosts the 35th Annual International
Double Reed Society Conference. IDRS 2006 promises to be an extraordinary five days
of concerts, lectures, master classes, and workshops.
In addition to the extensive exhibits of instruments, accessories, music, and recordings,
the conference will feature many of the world’s leading performers and teachers of double
reed instruments as well as the Fernand Gillet–Hugo Fox International Competition.
The use of technology in performance and teaching will be a feature of the conference,
as well as double reed chamber music and activities for the amateur musician.
About Muncie
A state-assisted doctoral university of more
than 18,000 students, Ball State is located in
Muncie, Indiana, a city of 70,000 residents
in the heart of the Midwest. Muncie is within
driving distance from Indianapolis, Detroit,
Chicago, St. Louis, and Cincinnati, making
Muncie and Indiana truly the “Crossroads of
America.”
Known for its Ball glass heritage, Muncie
offers a vibrant downtown, cultural sites, and
recreational amenities such as the Cardinal
Greenway hiking/biking trail, White River
Walkway, Muncie Children’s Museum,
Minnetrista Cultural Center, and Oakhurst
Gardens. Muncie also is home to the
internationally known cartoon cat Garfield
and Paws Inc. Many educational, cultural, and
recreational offerings are available on campus,
including the Ball State University Museum
of Art and the Shafer Carillon Tower.
For more information about Muncie
and the surrounding area, visit the following
Web sites:
• Muncie Visitors Bureau: www.munciecvb.org
• Indianapolis Convention and Visitors
Association: www.indy.org
• Fort Wayne Convention and Visitors
Bureau: www.visitfortwayne.com
• Indiana Tourism: www.visitindiana.net
2006 .org
www.idrs
Travel/Hotel Accommodations
Located 50 miles northeast of Indianapolis off Interstate
69, Muncie is easily accessible by car. Air travelers can fly
into the Indianapolis International Airport on numerous
major airlines. Conference shuttle service is available to
and from the airport.
Muncie-area hotels have reserved rooms at IDRS
2006 conference rates. For a complete listing of hotels,
rates, and driving directions, please see our Web site:
www.idrs2006.org.
For travel assistance, please contact Marsha Cooper
at Travel Dimensions: (800) 742-4144 or
[email protected].
On-Campus Accommodations
On-campus housing will be available at the L. A.
Pittenger Student Center Hotel and the Noyer and
Studebaker West Residence Hall Complexes. All
on-campus sites are within an easy walk to the
conference venues.
• Pittenger Student Center Hotel rates and information
can be found online at www.idrs2006.org.
• Noyer Complex consists of two-room, air-conditioned
suites sharing a semiprivate bathroom.
• Studebaker West Complex rooms have two single
beds, a public bathroom, and air conditioning.
Rates for the residence halls are $22.50/person
per night for double occupancy and $27 for single
occupancy. IDRS 2006 is offering a meal plan and
on-campus parking to all conference participants. Please
see our Web site for details and costs. Bus service will be
available between most off-campus housing and the
conference venues.
5
6
35TH ANNUAL DOUBLE REED CONFERENCE, BALL STATE UNIVERSITY, MUNCIE, INDIANA, JULY 25-29, 2006
Artists and Attractions
July 25–29, 2006
Now is the time to make your plans
for the 2006 IDRS Conference! Visit
our Web site at www.idrs2006.org for
the most recent information on artists,
presentations, travel, accommodations,
special events, and attractions.
Artists
A number of international talents
have agreed to perform or give
special presentations at the
conference, including:
Oboists and English Hornists
Sandro Caldini (Italy)
Elaine Douvas (USA)
Gordon Hunt (UK)
Alex Klein (Brazil)
François Leleux (France)
John Mack (USA)
Patrick McFarland (USA)
Emily Pailthorpe (UK)
Linda Strommen (USA)
Bassoonists and Contrabassoonists
Michel Bettez (Canada)
William Buchman (USA)
Stefano Canuti (Italy)
Gerald Corey (Canada)
Sue Heineman (USA)
Benjamin Kamins (USA)
Kiyoshi Koyama (Japan)
James Laslie (USA)
Stéphane Levesque (Canada)
Lewis Lipnick (USA)
Frank Morelli (USA)
Magnus Nilsson (Sweden)
Paul Nordby (USA)
Stephen Paulson (USA)
Barrick Stees (USA)
Takashi Yamashita (Japan)
Performers subject to change
2006 .org
www.idrs
Sursa Performance Hall
Attractions
Varied attractions in and around Muncie include:
• National Aviation Museum
• Wheeler Orchid Collection
• Wilbur Wright Birthplace Interpretive Center
• James Dean Gallery and Museum
• Mounds State Park
• Ghyslain Chocolatier
• Indiana Basketball Hall of Fame
• Amish Handcrafters
Our close neighbors, Indianapolis and Fort Wayne, both have an
abundance of cultural, historical, and entertainment possibilities.
Visit our Web site for more attractions.
Day Trips
Take advantage of the optional day trips to the Auburn-CordDusenberg Museum, Foellinger-Freimann Botanical Conservatory,
and Lincoln Museum in Fort Wayne, or to Nashville, Indiana,
home of the art colony established in the 19th century.
Victorian Picnic
A conference MUST is the Thursday evening Victorian Picnic.
Step out of Sursa Hall, cross the street to the beautiful West Quad,
and experience the nostalgia of an early 1900s outdoor community
gathering, complete with Dixieland and Barbershop music and
carnival games!
Contact Information
Hosts: Keith Sweger, Timothy Clinch
Phone: (765) 285-5511 or
(765) 285-5549
Fax: (765) 285-5578
Mail: IDRS 2006
Music Instruction Building
Ball State University
Muncie, IN 47306-0410
USA
The information presented here, correct at the time of publication, is subject to change.
Ball State University practices equal opportunity in education and employment and is
strongly and actively committed to diversity within its community.
2951-05 uc
THE DOUBLE REED
7
Conference Registration Form
July 25–29, 2006
Please type or print. Payment must accompany registration form.
Use one form per person (photocopy if necessary).
Name (Mr./Mrs./Ms./Miss/Dr.) ______________________________________________________________
Record Number (on IDRS membership card) ___________________________________________________
Street Address ____________________________________________ City____________________________
State/Province ____________________ZIP/Postal Code _______________Country ____________________
Phone __________________________________________ Fax ____________________________________
E-mail Address ___________________________________________________________________________
Check all that apply: Primary instrument: ___________________________________________________
Professional affiliation: _________________________________________________
Exhibitor—company name: _____________________________________________
Conference Registration
Daily Registration
Includes entrance to all conference activities and events except
the Victorian Picnic.
Before March 1
After March 1
IDRS Member
$200
$250
Student Member
$100
$150
Nonmember
$300
$350
Family Member
$75
$100
Pre-College Student
$75
$85
Please indicate the day(s) for which
you would like to register. Day passes
also will be available for purchase
on location.
To become an IDRS member, please register
online at www.idrs.org or contact Norman Hooks
at (410) 871-0658; fax: (410) 871-0659;
e-mail: [email protected]
On-Campus Accommodations
Please indicate the nights you request accommodations.
No refund will be given for reserved accommodations
without formal cancellation (see next page). Rates include
full linen service with daily towel exchange. Deadline for
reservations is July 1, 2006.
Single Occupancy ($27/night)
Double Occupancy ($22.50/person/night)
Tuesday, July 25
Wednesday, July 26
Thursday, July 27
Friday, July 28
Saturday, July 29
Daily Registration
$75
Student Daily Registration $40
Tuesday, July 25
Wednesday, July 26
Thursday, July 27
Friday, July 28
Saturday, July 29
Off-Campus Accommodations
I will be staying off-campus. (Please refer
to the conference Web site for hotel
accommodations: www.idrs2006.org)
On-Campus Parking
$35 for length of conference
Name of person sharing room _______________________________________
8
35TH ANNUAL DOUBLE REED CONFERENCE, BALL STATE UNIVERSITY, MUNCIE, INDIANA, JULY 25-29, 2006
Meals Package
A meal plan is available for all attendees. Deadline for
reservations is July 1, 2006. Individual meals may also be
purchased on-site.
$110*
* Rate includes 14 meals: dinner on Tuesday, July 25; three meals
daily Wednesday through Saturday, July 26–29; and breakfast on
Sunday, July 30. Meals will be available at multiple sites on campus.
Victorian Picnic
A good ol’ summertime picnic on the
beautiful grounds of Ball State University!
Deadline for reservations is July 1, 2006.
Please visit the conference Web site for
details: www.idrs2006.org
$30 for picnic
Please check for vegetarian option
Airport Shuttle Service
Shuttle service will be available from the Indianapolis
International Airport on Tuesday, July 25, and to the
Indianapolis International Airport on Sunday, July 30.
The cost for round-trip service between the airport and
the Ball State campus is $50; the cost for one-way service is
$30. Deadline for reserving shuttle service is June 1, 2006.
$50 round-trip service
$30 one-way service
Total Payment
$ _______ Registration
$ _______ Airport Shuttle Service
$ _______ On-Campus Accommodations
and Linen Service
Conference T-Shirt
Order will be available at registration.
Deadline for orders is June 1, 2006.
$15 per shirt (indicate number)
___ S
___ M
___ L
___ XL
Payment
To receive the early discount, your registration form and full
payment must be received prior to March 1, 2006. Payment
must be made by international money order/bank draft,
certified check, or credit card (provide information below).
We do not accept Eurocheque. Upon receipt of payment,
we will send you a confirmation letter and receipt.
$ _______ Conference T-Shirt
Check or money order in U.S. dollars enclosed,
payable to Ball State University, or
$ _______ Meals Package
Please charge to: Visa MasterCard
$ _______ Victorian Picnic
$ _______ Parking
$ _______ Total
Cancellation Policy
Cancellations received prior to May 1,
2006, will qualify for a full refund minus
a $30 handling fee. Only written requests
will be considered. On or after May 1,
2006, only 50 percent of the registration
fee will be refunded. We will refund the
full accommodation, meal, and parking
fees. No refunds will be considered after
July 1, 2006. All approved returns will
be processed after August 1, 2006.
2006 .org
www.idrs
_______________________________________________________
Print name as it appears on card
_______________________________________________________
Credit card number
_______________________________________________________
Expiration date
Three-digit security code
_______________________________________________________
Signature of cardholder
I affirm that all of the above information is complete and
accurate, and I acknowledge that this information may be used
for IDRS purposes.
_______________________________________________________
Signature
Date
Completed registrations can be mailed, e-mailed as an
attachment, or faxed. Please submit registrations with payment
or questions to:
Keith Sweger/Timothy Clinch
IDRS 2006
School of Music
Phone: (765) 285-5511
or (765) 285-5549
Fax: (765) 285-5578
THE DOUBLE REED
9
Message from the President
Terry B. Ewell
Towson, Maryland
I
am pleased to report that the status of the
International Double Reed Society has never
been better. In my four years serving as your
President, the Society has enriched an already
distinguished legacy. Let me detail a few of our
achievements and recognize those who have contributed so selflessly to the IDRS.
In the last four years we continue the tradition of outstanding conferences with locations in
Banff, Greensboro, Melbourne, and most recently Austin. Our thanks go to the hosts and their
staff who made these wonderful events possible.
Appointed members of the Executive Committee have made wonderful contributions in the
past years. Our strong fiscal health is due in no
small part to the conscientious work of our Secretary-Treasurer Norma Hooks. She comprises
the sum total of our professional staff. My heart
warms every time I call the IDRS office and hear
her cheerful voice say, “International Double
Reed Society.” When I hear her voice I know that
all is well with the Society. Our printed journals
build upon their excellent tradition of outstanding articles, reviews, and other contributions. We
are so fortunate to have two dedicated editors
- Ron Klimko and Dan Stolper - who, through
their tireless service, bring us journals that are
the envy of any professional music society. Our
archivist Michael Burns has overseen the production of our CDs of historic IDRS performances.
The CDs have been made available to patrons of
the IDRS and in future years will be added to
our web site. Our representative to the music industry, Larry Festa, has fostered strong ties and
amicable relationships with those who sell commercial products to members of our Society. This
relationship is very important not only to the fiscal health of our Society but also as a mean of
advancing our craft.
Perhaps the most significant achievement during my term as President has been our receipt of
a National Endowment for the Arts grant to improve our web site with additional MP3 and video
fi les and upgrade our web servers. Yoshi Ishikawa
and his assistants have made our web site second
to none among professional music societies.
I want to thank elected members of the Executive Committee. Nancy Ambrose King has
done a wonderful job increasing membership in
our “Sponsor-A-Member” outreach to those foreign students and professionals who cannot afford the membership fee. Martin Schuring has
been a wonderful Secretary with comprehensive
attention to detail in our minutes. I know that
both will continue to serve the Society well. Other members will be stepping off the committee.
Carolyn Hove has been an advocate for many innovations including the NEA grant. The humor
and wit of Alan Goodman have always enlivened
our Executive Committee meetings. Stéphane
Lévesque has not only served for the four years as
2nd Vice President, but was also co-artistic host
for the Banff conference. Finally we are most
grateful for the many and outstanding contributions of Marc Fink. He has served as President of
the IDRS for four years, Past President for four
years, host of the Madison conference, co-artistic host of the Banff conference, and mentor
to all of us on the IDRS Executive Committee.
Without the generosity and commitment of these
and others our Society would not enjoy today’s
successes.
Most of all I want to thank all of you of the
IDRS for a wonderful four years as your President. It has been a tremendous honor to serve
you. We have a wonderful Society with its best
years still ahead! ◆
10
REPORT OF THE EXECUTIVE SECRETARY/TREASURER
Report of the Executive Secretary/Treasurer
Norma R. Hooks
Finksburg, Maryland
CONGRATULATIONS NOAH KNEPPER
Our Society has grown so much over our 35 year
history that many of our current members aren’t
familiar with the name, Noah Knepper. If you
have been a member since our beginning, or near
to that, you will remember Noah, his camera,
and his hard work on behalf of the International
Double Reed Society. Noah served as 1st Vice
President in 1982 and 1983 when Sol Schoenbach
was president and then moved into the President’s
chair in 1983. At that time elections were held at
our conferences and officers took over mid-year.
If you were there, you remember that those were
very difficult years and Noah and several others
worked very hard to keep the Society on track
and solvent.
Noah also contributed to our publications
and our archives with his many wonderful pictures. One of the things I remember most is how
good he was to identify each of the people in his
photographs. He never seemed to forget anyone.
I am so pleased to acknowledge and congratulate Noah on his receiving the President’s Award.
This is a very special award given to persons who
have given outstanding service in the development of the International Double Reed Society.
WAYNE RAPIER - HONORARY MEMBER
In the middle of October we received word that
Wayne Rapier died after a very short, virulent
bout with cancer. Many of us had seen him at the
conference in Austin and had enjoyed spending
time with him.
One of my fondest memories of him was when
he was awarded Honorary Membership. He was
so pleased and proud to be a part of such a prestigious group. He was such a gracious gentleman.
In addition to his playing career, Wayne was
the founder and president of Boston Records, a
record label that has done much to promote and
preserve double reed performances.
We will miss his quiet manner and warm
smile, as well as his vigorous pursuit of musical
excellence.
BACK TO BUSINESS
Every now and then I receive complaints from
people who have received a brochure or advertisement from a double reed vendor that they didn’t
request. Yes, we do allow our business people
to buy our mailing lists. If you don’t want your
name to appear on these lists, here is how to get
off purchased label lists.
Most importantly, you have to correspond
with me in some way. Let me know you don’t
wish to be included on these lists. My computer
program has a code that tells it not to put you in
the list. You don’t have to depend upon my memory, it’s automatic. You will still receive official
correspondence from the Society.
If you ever decide that you would like to receive these mailings, just ask me to reverse the
process.
CONGRATULATIONS TO OUR NEW OFFICERS
My sincere congratulations go to our new officers
who will begin their tenure at our January meeting. They are:
Nancy Ambrose King - President
Martin Schuring - 1st Vice President
Sandro Caldini - 2nd Vice President
Keith Sweger - Secretary
Barbara Orland - At Large Member
Phillip Kolker - At Large Member
I look forward to working with all of our executive committee. I’m sure they will be an outstanding group who will work hard to further
promote our Society.
Wishing all of you a very H appy N ew Year!
All the Best,
N orma
THE DOUBLE REED
11
FERNAND GILLET-HUGO FOX
2006 BASSOON COMPETITION
July 25-29, 2006 - Muncie, Indiana, USA
www.gilletfox.org
The International Double Reed Society is pleased to announce the 26th annual performance competition for young artists.
The competition is dedicated to the memory of the late master oboist and honorary member of the IDRS, Fernand Gillet,
and to the memory of master bassoonist Hugo Fox, principal bassoonist of the Chicago Symphony Orchestra from 19221949.
First prize for the 2006 competition is an $8,000 US cash award. The second prize is a $3,000 US cash award. Other
finalists will receive a $1000 US cash award.
1. ELIGIBILITY. Bassoonists who have not reached their 31st birthday before the date of the final audition (July 28, 2006)
are eligible to enter, but no previous first prize winner of the Fernand Gillet-Hugo Fox Competition is eligible to participate. All entrants must be current members of the IDRS. For membership information, contact:
Norma Hooks, Executive Secretary/Treasurer
International Double Reed Society
2423 Lawndale Rd.
Telephone: (410) 871-0658
Fax: (410) 871-0659
www.idrs.org
2. LEVELS OF COMPETITION. There are two levels of competition.
A. Preliminary Stage - All entrants must send a completed application form; an application fee of $75 US payable by
check drawn against a US bank or by credit card; and a cassette tape, CD, or mini-disc containing the entire repertoire
list, performed in the order listed, to the competition chairman. The recording should include:
O. Nussio
Variations on an Air by Pergolesi (Universal Edition UE 12182) with repeats.
J.S. Bach
Cello Suite No. 2 in D minor (any edition); Prelude, Allemande & Courante only, with repeats.
A. Tansman
Sonatine (Max Eschig ME6657) without repeats.
W.A. Mozart
Sonata, K292 (Required edition: Bärenreiter BA 6974). To be performed with bassoon and
piano. Without repeats in 1st and 2nd movements, with repeats in 3rd movement. Note that
Bärenreiter lists this as being for violoncello and piano.
To be considered, all application materials must be received on or before April 1, 2006. Entries should be mailed to:
Douglas E. Spaniol, Chair, IDRS Gillet-Fox Competition for Bassoon
Butler University, Jordan College of Fine Arts
Telephone: 317-940-8368
4600 Sunset Avenue
Fax: 317-940-9658
Indianapolis, IN 46208-3485 USA
B. Final Stage - Up to five finalists will be selected by the competition committee, with the results announced by May
22, 2006. If selected for the finals, all applicants must agree to appear and perform in the finals. The final round will
be heard by a distinguished panel of judges in an open concert at the International Double Reed Society meeting in
Muncie, Indiana, USA, July 25-29, 2006. Repertoire for the final round will be the same as that for the preliminary
round tape, with the judges selecting portions for use in the competition. A professional accompanist will be provided
for the contestants, however, contestants may elect to use an accompanist of their own choosing at their own expense.
The decision of the judges is final. The judges may elect to award fewer prizes than outlined above or no prizes. IDRS
will provide meals and lodging for each of the finalists for the duration of the Conference. The winner of the competition will agree to perform on a concert during the 2006 IDRS Conference.
12
THE 2006 FERNAND GILLET-HUGO FOX BASSOON COMPETITION APPLICATION
CONCOURS DE BASSON
FERNAND GILLET-HUGO FOX 2006
du 25 au 29 juillet 2006 - Muncie, Indiana, USA
www.gilletfox.org
L'International Double Reed Society (IDRS) a le plaisir de vous annoncer le 26e Concours des Jeunes Artistes. Le concours
est dédié à la mémoire de Fernand Gillet, hautboiste et Membre d'honneur de l'Association, et à la memoire de Hugo Fox,
bassoniste, Principal de la Chicago Symphony 1922-1949.
Pour le concours de 2006 le Premier Prix est doté d'une somme de US $8000, le Second Prix d'une somme de US $3000.
Les autres finalistes recevront US $1000.
1. CONDITIONS D'INSCRIPTION. Ouvert à chaque bassoniste qui m'a pas atteint l'âge de trente-et-un ans le jour de
l'épreuve finale (28 juillet 2006) et qui n'est pas déjà titulaire d'un Premier Prix du Concours Gillet-Fox. Tous les
candidats doivent étre membres courants de l'IDRS. Pour des renseignements s'adresser à:
2423 Lawndale Rd.
Telephone: (410) 871-0658
Fax: (410) 871-0659
www.idrs.org
2. DEROULEMENT DU CONCOURS. Le concours comportera deux épreuves.
A. Epreuve Eliminatoire - Les candidats doivent présenter au Président du Concours un dossier comprenant le formulaire
d'inscription complété; accompagné des droits d'inscription d'un montant de US $75 issus d'une banque américaine,
ou par carte de crédit; et un enregistrement sur cassette du programme imposé, dans l'ordre indiqué ci-dessous:
O. Nussio
Les Variations sur un Arietta par Pergolesi (Universal Editions UE 12182) avec répétition.
J.S. Bach
Suite de Violoncelle No. 2 dans Ré mineur (Edition au choix) Prèlude, Allemande et Courante
seulement, avec répétitions.
A. Tansman
Sonatine (Max Eschig ME6657) sans répétition.
W.A. Mozart
Sonata, K292 (Edition demandée: Bärenreiter BA 6974). Sans répétition dans les premiers et
deuxièmes mouvements. Avec répétition dans le troisième mouvement. A ètre exécuté avec
basson et piano. Chez Bärenereiter l'instrumentation est pour violoncello et piano.
Ce dossier, paiement, et enregistrement doivent parvenir à l'adresse suivante avant le 1 avril 2006:
Telephone: 317-940-8368
4600 Sunset Avenue
Fax: 317-940-9658
B. Epreuve Finale - Le Jury annoncera le 22 mai 2006 au plus tard les noms des cinq candidats sélectionnés pour le
concours final. Les finalistes s'engagent alors à participer au concours final qui aura lieu, en présence d'un Jury, lors
d'un concert public pendant le Congrès de l'IDRS à Muncie, Indiana, USA au 25 au 29 juillet 2006. Le programme
imposé pour le concours final est identique au programme présenté à l'épreuve éliminatoire. Le Jury choisira des extraits
de ces oeuvres. Un accompaniste est à la disposition des candidats; toutefois s'ils le souhaitent, les candidats peuvent
amener à leurs frais leur accompaniste habituel. La décision du Jury est sans appel. Le Jury se réserve le droit de ne pas
remettre tous les prix décrits ci-dessus. L'IDRS payera les frais de séjour de chaque finaliste qui assiste au Congrès. La
personne qui gagne le premier prix du concours s'engage à donner un récital pendant le Congrès de l'IDRS de 2006.
THE DOUBLE REED
13
FERNAND GILLET-HUGO FOX
WETTBEWERB FÜR FAGOTT 2006
25-29. Juli 2006 - Muncie, Indiana, USA
www.gilletfox.org
Die International Double Reed Society freut sich, den 26. Wettbewerb für junge Künstler bekanntzugeben. Der Wettbewerb wird in Erinnerung an das Ehrenmitglied der IDRS, den verstorbenen Oboisten Fernand Gillet, und den verstorbenen
Fagottisten Hugo Fox, veranstaltet.
Der erste Preis für diesen Wettbewerb beträgt US $8000. Der zweite Preis ist mit $3000 ausgeschrieben. Alle anderen
Teilnehmer der Endrunde werden $1000 erhalten.
1. TEILNAHMEBEDINGUNGEN: Fagottisten, die ihr 31. Lebensjahr am Tag der Finalrunde (28. Juli 2006) noch nicht
vollendet haben, sind zur Teilnahme berechtigt, sofern sie nicht schon einen ersten Preis im Fernand Gillet - Hugo
Fox Wettbewerb gewonnen haben. Alle Teilnehmer Müssen Mitglieder der IDRS sein. Für Mitgliedsinformation
kontaktieren Sie Frau Norma Hooks:
Frau Norma Hooks, Executive Secretary/Treasurer
2423 Lawndale Rd.
Telephone: (410) 871-0658
Fax: (410) 871-0659
www.idrs.org
2. WETTBEWERBSABLAUF: Es gibt zwei Wettbewerbsrunden.
A. Vorrunde: Alle Teilnehmer müssen ein ausgefülltes Anmeldeformular, eine Teilnahmegebühr von US $75 in amerikanischer Währung mit Scheck oder Kreditkarte zahlen, und eine Tonbandkassette, CD, oder Mini-Disc mit dem
ganzen geforderten Repertoire, in der angegebenen Reihenfolge, einreichen. Die Tonbandaufnahme soll die folgende
Werke enthalten:
O. Nussio
Variations on an Air by Pergolesi (Universal Edition UE 12182) mit Wiederholungen.
J.S. Bach
Cello Suite No. 2 in D moll (Ausgabe nach freier Wahl des Solisten) mit Wiederholungen.
Nur die Prelude, Allemande und Courante.
A. Tansman
Sonatine (Max Eschig ME6657) ohne Wiederholungen.
W.A. Mozart
Sonata, K292 (Ausgabe Erforderlich: Bärenreiter BA 6974). Ohne Wiederholungen in den
ersten und zweiten Bewegungen, mit Wiederholungen in der dritten Bewegung. Muß mit Fagott
und Klavier ausgeführt werden. Bemerken Sie, dass Bärenreiter dieses Stück für Violoncello und
Klavier anführt.
Um in Betracht gezogen zu werden, müssen alle Unterlagen bis spätestens den 1. April 2006 eingegangen sein. Die Unterlagen sind an folgende Adresse zu senden:
Telephone: 317-940-8368
4600 Sunset Avenue
Fax: 317-940-9658
B. Endrunde: Die Jury wird bis zum 22. Mai 2006 nicht mehr als fünf Fagottisten zur Teilnahme an der Endrunde
auswählen und bekanntgeben. Die ausgewählten Bewerber erklären sich damit einverstanden, an der Endrunde teilzunehmen. Die Endausscheidung wird vor renommierten Juroren in einem öffentlichen Konzert des International
Double Reed Society Kongress in Muncie, Indiana, USA, 25-29. Juli 2006 ausgetragen. Das Repertoire der Endrunde
ist dasselbe wie das der Vorrunde; die Juroren werden für den Wettbewerb einen Teil dieser Stücke auswählen. Ein
Begleiter steht zur Verfügung, jedoch können die Teilnehmer auch einen Begleiter ihrer Auswahl auf eigene Kosten
mitbringen. Die Entscheidung der Juroren ist endgültig. Die Jury kann auch beschliessen, weniger oder keine Preise
zu verleihen. Die IDRS wird die Kosten für Mahlzeiten und Übernachtungen für jeden der Finalisten während des
Kongresses tragen. Der Gewinner des Wettbewerbs erklärt sich mit der Aufführung eines Konzertes während des
2006 IDRS Kongresses einverstanden.
14
THE 2006 FERNAND GILLET-HUGO FOX BASSOON COMPETITION APPLICATION
CONCURSO DE FAGOT
FERNAND GILLET-HUGO FOX 2006
del 25 al 29 del julio 2006 - Muncie, Indiana, Estados Unidos
www.gilletfox.org
La International Double Reed Society (IDRS) se complace en anunciar el vigésimo sexto concurso anual para artistas jóvenes.
El concurso está dedicado a la memoria del difunto maestro oboísta y miembro honorario del IDRS, Fernand Gillet, y a la
memoria del maestro fagotista Hugo Fox.
El primer premio del concurso consta de la suma de US $8000 en efectivo. El segundo premio es de US $3000 en efectivo.
Otros finalistas recibirán US $1000 en efectivo.
1. ELIGIBILIDAD. Fagotistas que no han cumplido treinta y un años de edad antes de la fecha de la audición final (28
de julio de 2006) pueden participar. Previos ganadores del primer premio del concurso Fernand Gillet-Hugo Fox no
serán aceptados. Todos los participantes deben ser miembros activos del IDRS. Para información sobre membresia,
contactarse con:
2423 Lawndale Rd.
Telephone: (410) 871-0658
Fax: (410) 871-0659
www.idrs.org
2. RONDAS DEL CONCURSO. Hay dos rondas del concurso.
A. Etapa Preliminar - Todos los participantes deben enviar un formulario de postulación (completo); costo de entrada
en un cheque de US $75 emitido por un banco de los Estados Unidos, o tarjeta de crédito; y una grabación en cassette, CD, o mini-disc conteniendo todas y cada una de las piezas incluidas en la lista, en el orden en que han sido
enumeradas, al Presidente del Consurso. La grabación debe incluir:
O. Nussio
Variaciones sobre un air de Pergolesi (Universal Edition UE 12182) con repiticiones.
J.S. Bach
Suite para violoncello No. 2 en re menor (Edición a elección); Preludio, Allemande y Courante
solamente, con repeticiones.
A. Tansman
Sonatina (Max Eschig ME6657) sin repitición.
W.A. Mozart
Sonata, K292 (Edición exigida: Bärenreiter BA 6974). Sin repetición en los primeros dos
movimientos. Con repetición en el tercer movimiento. Para ser ejecutada por fagot y piano.
Cabe notar que de acuerdo a Bärenreiter, la instrumentación de esta pieza es violonchelo y piano.
Mantenga presente que todos los materiales y postulaciones deben ser recibidos por el Presidente del Concurso antes del
1 de abril del 2006. Por favor dirigir las postulaciones a:
Telephone: 317-940-8368
4600 Sunset Avenue
Fax: 317-940-9658
B. Etapa Final - Un máximo de cinco finalistas serán seleccionados por el comité del concurso. Los resultados serán
anunciados antes del 22 de mayo del 2006. Los participantes seleccionados para la última ronda deben comprometerse
a tomar parte de la misma. La última ronda será juzgada por un jurado distinguido en un concierto abierto al público
en la reunión de la IDRS en Muncie, Indiana, Estados Unidos del 25 al 29 del julio 2006. El repertorio para la ronda
final constará de las mismas piezas incluidas en la primera ronda. El jurado seleccionará secciones apropiadas para
el concurso. Se ofrecerá un acompañante profesional para los participantes. Los concursantes pueden elegir traer
su propio acompañante, bajo su propia responsabilidad financiera. La decisión del jurado es final. El jurado puede
declarar uno o más puestos desiertos. Durante su estadía en la Conferencia, IDRS proveerá alojamiento y comida a
todos los finalistas. El ganador del concurso se compromete a dar un concierto como parte de la reunión del IDRS
en el 2006.
THE DOUBLE REED
15
FERNAND GILLET-HUGO FOX COMPETITION APPLICATION FORM
JULY 25-29, 2006 - MUNCIE, INDIANA, USA
www.gilletfox.org
All application materials must be received on or before April 1, 2006 or the application will not be considered. Allow
ample time for your materials to arrive. Include recording and $75 US application fee payable by check drawn against
a US bank and made payable to IDRS, or supply VISA or Mastercard information including 3 digit number on signature
space (V code).
Credit Card Number:
Expiration Date:
/
MONTH
Name on Card:
V code:
YEAR
3 DIGITS
Signature:
SEND TO:
4600 Sunset Avenue
TYPE or PRINT THE FOLLOWING INFORMATION
Name/Nom/Nombre:
Address/Adresse/Dirección:
Telephone/Téléphone/Telephon/Teléfono:
Fax:
E-mail:
Date of Birth/Date de naissance/Geburtsdatum/Fecha de nacimiento:
Education/Etudes/Ausbildung/Educación:
Bassoon Teachers/Professeurs de Basson/Fagottlehrer/Maestros de Fagot:
Professional Experience/Experience professionnelle/Professionelle Erfahrung/Experiencia profesional:
I certify that the enclosed tape contains my own, unedited, performance. If selected, I agree to perform in the final round
competition. I also certify that I am a current member of the IDRS.
Je certifie que la cassette ci-inclue contient mon propre enregistrement non édité. Si je deviens finaliste, je m'engage à jouer
aux épreuves finales du concours. Je certifie l'adhésion dans IDRS.
Ich bestätige hiermit, dass das beigefügte Tonband meine eigene unveränderte Aufführung enthält. Ich erkläre mich bereit, an
der Endrunde des Wettbewerbs teilzunehmen, wenn ich ausgesucht werden sollte. Ich bescheinige Mitgliedschaft in IDRS.
Cerifico que grabación encerrada contiene mi propria ejecución sin ediciones. Si yo fuera elegido(a), estoy de acuerdo en
ejectutar en la ronda final de la competencia. Certifico socios en IDRS.
Signed/Signé/Unterschrift/Firma:
16
IDRS SPONSOR-A-MEMBER PROGRAM / IDRS ASSOCIATE MEMBERS
IDRS Sponsor-a-Member Program
Nancy Ambrose King
Ann Arbor, Michigan
T
he IDRS established a Sponsor-a-Member
program in 1995 for the purpose of enabling double reed players from around the
world to participate and enjoy the opportunities
of membership in our organization through the
sponsorship of current members. The primary
purpose of the Sponsor-a-Member program is to
attract to our society double reed players who
because of economic circumstances would not
otherwise be able to join the IDRS. This is an
important outreach mission of our society. Since
the program’s inception, sponsored members
from the Peoples’ Republic of China, Vietnam,
Lithuania, Ecuador, El Salvador, Romania, Poland, the Czech Republic, Egypt, Ukraine, Tartartstan, Russia, and South Africa have become
IDRS members through the generosity of sponsors. An additional aspect of the program has
been the exchange of letters and communications
between sponsors and new members.
In coordination with Norma Hooks, Execu-
tive Secretary, I will be pairing sponsors with potential adopted members. IDRS will honor sponsors’ requests for specific adopted members as
well. Anyone may become a sponsor by requesting an adopted member and paying one year’s
dues for that individual. Sponsors may elect to
pay an additional fee for first-class postage so
that publications arrive more promptly.
IDRS is thankful to all sponsors who have
participated in this worthwhile project in the
past, and looks forward to new sponsors becoming active in the program. If you are interested
in sponsoring a member, or know of a potential
member who needs assistance, please contact me
for more information at:
Nancy Ambrose King
University of Michigan School of Music
1100 Baits Dr.
Ann Arbor, MI 48109
[email protected]
– SPONSORS –
Sheryl Babcock - Romania
James Brody - Poland
Bill Chinworth - Kazakhstan
Heidi DeWally - Argentina
Susan Eischeid - Russia
Terry Ewell - Poland
Marc Fink - Russia
Fox Products - Romania, Ukraine
Glen Harman - Argentina
Norma Hooks - China
Yoshi Ishikawa - China
Eugene Izotov & Tom Stacy - Russia
Carlberg Jones - Mexico
Richard Killmer - Russia
Nancy Ambrose King - Argentina
Ronald Klimko - Czech Republic
Edward Knob - Argentina
Laurel Kuxhaus - Argentina
Stéphane Lévesque - Ukraine
Susan Lundberg - Argentina
Rebecca Nagel - Argentina
Susan Nigro - Italy
Isabelle Plaster - Russia
Shirley Robertson - Argentina
Donna Ronco - Russia
David Ross - Argentina
Michel Rossart - Argentina
Kevin Shackell - Brazil
Larry Singer - Russia
David Sogg - Argentina
Dan Stolper - England
Ellen Sudia-Courdron - Russia
John Towle - Argentina
Chris Weait - Lithuania
David Wheeler - Czech Republic
Kristina Wright-Peterson - Argentina
– ASSOCIATE MEMBERS –
Australasian Double Reed Society (ADRS)
Mägyar Fàgottos tarsasag (MAFAT) of Hungary
British Double Reed Society(BDRS)
Viennese Oboe Society
(Gesellschaft der Freunde der Wiener Oboe)
Chinese Association of Bassoon (CAB)
Finnish Double Reed Society(FDRS)
IDRS-Deutschlanda
L’Association Francaise du Hautbois
(French Oboe Society)
Netherlands Double Reed Society (NDRG)
L’Association “bassons”
(French Bassoon Society)
Japan Bassoon Society
FagotClub Nederland
Japan Oboe Association
THE DOUBLE REED
17
Fernand Gillet-Hugo Fox Competition
BYLAWS
Revised June 16, 2005
1. COMPETITION CHAIRPERSONS
AND ADVISORY COMMITTEE
The Competition Chairs are chosen by the
President and Executive Committee of IDRS. An
Advisory Committee consisting of two members
of the IDRS Executive Committee is appointed
by the President, in consultation with the GilletFox Chair. This advisory committee must approve all repertoire and judges, as well as serve
as consultants on competition decisions.
It is imperative that the Competition Chair
work in close association with the Conference
Host. As early as possible in the planning stages,
the Chair must ensure that the Conference Host
has set aside a three-hour block of time in an
appropriate auditorium or recital hall for the final round of the Competition. The fi nals usually
take place on the morning of the second-to-last
day of the conference. The Conference Host also
schedules a performance of the Competition
Winner on the fi nal day of the conference, either
in recital or concerto performance.
2. REPERTOIRE AND INITIAL
ANNOUNCEMENT
The Chair, in conjunction with the Advisory
Committee, will choose repertoire for the competition at least one year prior to the competition fi nals. Repertoire should be approximately
45 minutes of music, no longer than 60 minutes
to ensure submission and duplication on a single
recording. Works should represent a variety of
stylistic genres and musical periods, and include
at least one major concerto as well as a contemporary work. Pieces of repertoire do not need
to be represented in their entirety; on the contrary, isolating individual movements as necessary to ensure a variety of repertoire is encouraged. Generally four works or portions thereof
are recommended. It is advisable to check the
repertoire lists of previous years’ competitions
to avoid the repetition of repertoire used in the
past ten years of competitions. Repertoire should
be highly challenging and available worldwide.
The repertoire must be legible, preferably computer-generated musical notation. Before making
the announcement of repertoire, the Chair should
contact music suppliers to see if the music is in
print and ensure that orchestral parts are available for the concerto. Music suppliers will be
cautioned to keep the repertoire list confidential
until it is officially announced. The repertoire list
will fi rst be announced at the General Meeting of
the International Double Reed Society in the Annual Conference. As soon as possible (preferably
the day of the General Meeting) the repertoire list
will be posted on the IDRS List and the IDRS
web site. In the event of an August Conference,
the IDRS Executive Committee may elect to announce the repertoire in print or electronically
prior to the General Meeting.
Chairs are not allowed to provide music directly to competitors. Chairs are advised to send
all competitors who request music the contact information for the publisher(s). If known, contact
information for appropriate sheet music retailers
may also be provided.
3. PRINTED COMPETITION
ANNOUNCEMENT
The announcement should appear in the Fall
issue of The Double Reed, and therefore must be
completed and sent to the publications editors by
August 15. Announcement should be printed in
English, German, French, and Spanish. In addition to the Application deadline, date of Finalist
Announcement, and the Repertoire List, it should
include the following information to be completed by each entrant:
a) Name, Address, Phone, Fax, Email,
and Date of Birth of Entrant. The
competition is open to anyone who
has not reached their 31st birthday
18
FERNAND GILLET-HUGO FOX COMPETITION BYLAWS REVISED JUNE 16, 2005
b)
c)
d)
e)
by the date of the Final round of the
Competition.
Certification of IDRS membership
and inclusion of Executive Secretary/
Treasurer’s address for those wishing
to join IDRS.
Statement certifying an unedited
performance.
Agreement to perform, if selected, at
the fi nal round of competition at the
IDRS Conference (dates), as well as in
a possible solo appearance on the day
following the fi nal round if chosen as
winner of the competition.
Payment options (credit card, check or
money order) for entry fee of $75 US,
drawn on a US Bank.
4. MAILING LIST
An international mailing list is compiled
by the Executive Secretary, including all IDRS
Members of the current competition’s instrument
(oboe or bassoon).
All international announcements must be
placed in an envelope of the appropriate size for
mailing; announcements sent to domestic addresses can be affi xed with label and sent bulk mail
by either the Chair or the printer used by IDRS.
The return address printed on the announcement
and envelope should be that of the Competition
Chair so that the mailing lists can continue to be
updated when return mail is received.
5. SELECTION OF PRELIMINARY
ROUND JUDGES
Five preliminary round judges are chosen
by the Chair, with the approval of the Advisory
Committee. An effort should be made to include
at least two judges from outside the U.S. It is also
advisable to maintain a balance of male/female
judges. Judges must be IDRS members at the time
of the competition. Preliminary Round judges
should be confi rmed 6-7 months before the competition fi nals (three months before the entrance
deadline date). An announcement of preliminary
round judges should be sent to the IDRS web site
and IDRS OnLine for publication.
Preliminary round judges should be aware of
the following:
a) They are not paid for their time, although the Chair and IDRS President
take every available opportunity to
publicly thank them for their considerable effort.
b) They will receive published copies of
the music purchased by IDRS and recordings which they may keep.
c) They are expected to be available during the weeks between the recording
deadline and the fi nalist announcement date.
d) They will have three weeks to listen
and rank the recordings.
e) They must supply an address, phone
and email or fax # where they can be
reached during the weeks set aside for
recording deliberation.
f) They will receive a list of entrants’
names following the deliberations,
should they wish to know the identity
of the competitors.
Letters of thanks and confi rmation should
be sent to the judges when they agree to serve in
this capacity. The Chair should also make contact with them a few weeks before the recording
deadline to review the procedure.
6. ARRIVAL OF APPLICATION MATERIALS
Upon arrival of materials, Chair must:
a) Ensure that each packet contains an
application, recording, and entry fee.
Checks from non-US countries must
be drawn against a US bank. If an International Postal Order receipt is enclosed, the entrant has purchased the
order but the funds will arrive separately in approximately three weeks.
This is an acceptable form of payment and such applications should be
accepted
b) Assign a number to each application
and recording. Be sure that the original recording is also labeled with contestant’s name.
c) Send checks and names of entrants to
the Executive Secretary/Treasurer as
they arrive, for verification of IDRS
membership and payment information.
THE DOUBLE REED
d) Keep a list of each entrant and their
corresponding recording number.
7. RECORDING DUPLICATION
Five copies of each recording must be made
in real time to ensure best possible sound quality.
These recordings must be labeled with a number
only, corresponding to the number of the application. Recording personnel sends invoice to IDRS
Executive Secretary/Treasurer following recording duplication.
8. MAILING OF RECORDINGS TO JUDGES
The following should be included with each
shipment:
a) recordings, labeled with numbers only
b) score sheet and instructions on how to
rank the contestants
c) music
9. SCORING OF RECORDINGS BY
PRELIMINARY ROUND JUDGES
- Judges will select their top 15 recordings and
rank these from 1 (one) to 15 with 1 (one) being the best recording. Ties are not allowed.
They will also assign each of these 15 recordings a percentage score, 1-100, with 100 being the most preferred.
- For each judge, their top recording will receive
15 points, the next best 14, etc., down to the
15th which will receive one (1) point. All recordings not selected for the top 15 will receive a score of 0 (zero) from that judge, and a
0 (zero) percentage score.
- The sum of the above points will be totaled.
The 5 entrants receiving the most points will
be named fi nalists; the entrant receiving the
6th most points will be named the alternate.
- Ties which affect the naming of fi nalists and/
or alternate will be broken by calculating the
sum of the percentage scores.
Judges must fax, email, or phone their results to the Chair by the day before the fi nalist
announcement date specified on the Competition
brochure. Hard copies should be mailed to the
Chair if results were phoned in.
19
10. ANNOUNCEMENT OF FINALISTS
Once tabulation is complete, the following notifications are made by the Competition Chair:
a) A personal contact is made to congratulate the five fi nalists on the date of
the fi nalist announcement.
b) A formal letter of congratulation sent
to the five fi nalists, requesting the following information :
- their fax or email contact information during the months prior to the
competition fi nals.
- whether they will be using the accompanist provided by the IDRS
for the competition, or if they will
be bringing their own pianist.
- their pitch standard preference for
piano tuning: A=440 or A=443.
- whether they will be traveling alone
or with a spouse or companion.
- their arrival and departure dates.
c) The Preliminary Round judges are
notified of their cumulative results
immediately.
d) The Conference Host is notified of the
fi nalists’ names and addresses.
e) The fi nalists’ names are posted on
the IDRS web site and announced on
IDRS OnLine.
f) A letter of thanks is sent to all other
entrants who are not fi nalists .
g) The Finalists are sent an audio/visual
release form to sign, most usually by
the conference host.
11. SELECTING FINAL ROUND JUDGES
After the five fi nalists are selected, fi nal round
judges are chosen in conjunction with the Conference Host. To secure impartiality, no current
instructor of a fi nalist may serve as a fi nal round
judge.
The Conference Host should supply the Competition Chair with names of distinguished oboists/bassoonists scheduled to perform, present,
or attend the conference. Since judges are not reimbursed for travel or housing, it is advisable to
select judges who will already be in attendance at
the conference.
20
FERNAND GILLET-HUGO FOX COMPETITION BYLAWS REVISED JUNE 16, 2005
Five judges are selected, once again with at
least two from non-US countries, and with a balance of male/female panelists.
12. MAKING ARRANGEMENTS FOR THE
COMPETITION FINALS
After the five fi nalists have responded to the
requested information in their congratulatory letter, arrangements need to be made with the Conference Host.
a) The Conference Host must schedule
rehearsal time for the Winner’s fi nal
performance, normally either with the
orchestra on the morning of the last
day of the conference or in the hall
with the accompanist.
b) The Chair must schedule rehearsal times with the Competition
accompanist(s) in conjunction with the
conference host. Each fi nalist should
receive 30 minutes in the hall if possible, in addition to a 1-hour rehearsal
with the accompanist at another time.
c) The Conference Host makes room and
board arrangements for the fi nalists
after receiving their names, addresses
and arrival dates from the competition chair. If a fi nalist brings his/her
own accompanist, it is the responsibility of the fi nalist to pay for the
accompanist’s room and board; however the Conference Host should make
the room reservation. If the fi nalist is
traveling with a spouse or companion,
the Conference Host pays only for the
double-occupancy room; meals for
the traveling companion are paid for
by the fi nalist. Notification of registration and housing arrangements are
sent to the fi nalists by the Conference
Coordinator, along with the customary packet of travel information sent
to conference registrants.
d) The Competition Chair must contact all fi nalists prior to the conference with rehearsal schedule and arrangements for selecting performance
order.
e) The Competition Chair should contact all fi nal round judges before the
conference and arrange to meet with
them 30 minutes prior to the start of
the fi nal competition, to review policy
and procedure of the competition.
f) The Competition Chair contacts the
IDRS Executive Secretary/Treasurer
to ensure that money orders in the appropriate denominations are brought
to the conference.
13. COMPETITION FINALS
At the Judge’s meeting, 30 minutes before the
start of the competition, the judges make arrangements for 25 minutes of music to be selected from
the repertoire list. It is advisable for the Competition Chair to supply some possible 25-minute
programs from which the judges may select.
The Competition Chair supplies the judges
with coffee, paper, and pencils for the competition fi nals, as well as monitoring their comfort
during the three hour time period
The Competition Chair informs the audience
of the performance order of fi nalists, as well as
repertoire selections, and recognizes the judges
for both preliminary and fi nal rounds.
The fi nalists are notified of the repertoire selections and order to be performed, with specific
starting and stopping points. Each fi nalist plays
for 25-30 minutes. The fi nal 30 minutes of the
competition is reserved for judge’s deliberations.
Normally the competition fi nals will be audio
and video recorded. These recordings will be the
property of the International Double Reed Society and by agreeing to perform in the competition
the participants give to the International Double
Reed Society the rights and permission for future
distribution of the audio and video recordings.
14. FINAL ROUND SCORING AND
JUDGE’S DELIBERATIONS
Final Round Judges will rank the fi nalists
from one (best) to five (lowest). They will also
assign each fi nalist’s performance a percentage
score which may be used for tie-breaking purposes, 1-100%, with 100% being the most preferred.
Scores will be tabulated using the Single-Transferable Ballot system. Where needed, the sum of the
percentage scores will be used as a tie-breaker.
Discussion among judges while ranking the fi nalists is discouraged. Discussion among the judges
THE DOUBLE REED
21
may occur if a tie is still evident after the percentage scores have been tallied.
the competition fi nals, as well as a certificate of
award produced by the Competition Chair.
15. ANNOUNCEMENT OF WINNER
17. PERSONAL COSTS AND REIMBURSEMENT
The Winner of the Competition is announced
at the evening concert on the night of the competition. Checks are distributed on stage to the
fi nalists and all judges, including preliminary and
fi nal round, are thanked, as well as the pianist(s)
used for the competition. The Winner’s solo
performance the following day is announced,
whether at the fi nal concerto concert or in a solo
recital.
The Competition Chair must save receipts
of all expenses incurred in the administration of
the competition, such as postage, phone, and fax
charges. These receipts are sent to the IDRS Executive Secretary/Treasurer for reimbursement.
16. LETTERS AND CERTIFICATES
FOR FINALISTS
A letter of congratulations is sent immediately to the fi nalists, indicating their placement in
18. COMPETITION SUMMARY
A summary of the competition is written by
the Competition Chair immediately following the
conference, for publication in The Double Reed.
This should be completed as soon as possible, to
ensure meeting the deadline for the Fall publication, and sent to the publications editors. ◆
22
IDRS WWW
IDRS WWW
The IDRS Forum
http://idrs2.colorado.edu/forum/forum.html
THE DOUBLE REED
Current Events
23
OBITUARIES
CURRENT EVENTS
24
WAYNE RAPIER
THE DOUBLE REED
25
OBITUARIES
Wayne Rapier (October 12, 1930 - October 14, 2005)
Jerome Roth (June 15, 1918 - October 12, 2005)
A. Clyde Roller (October 15, 1914 - October 18, 2005)
CURRENT EVENTS
Marcel Tabuteau and Wayne Rapier
WAYNE RAPIER
(OCTOBER 12, 1930 - OCTOBER 14, 2005)
W
ayne Rapier, the distinguished Boston
Symphony oboist and Honorary Member
of the International Double Reed Society, died on October 14, 2005 at the Dana-Farber Cancer Institute in Boston after a battle with
cancer. He was 75. Members of the IDRS mourn
his passing.
Wayne Rapier was born in Tyler, Texas. He
studied at the Eastman School of Music with
Robert Sprenkle, and privately in Philadelphia
with the legendary principal oboist of the
Philadelphia Orchestra, Marcel Tabuteau. At
the age of 19 he became principal oboist of the
Indianapolis Symphony Orchestra. He later played
in the orchestras of Kansas City, Baltimore and
the Santa Fe Opera. Prior to joining the Boston
Symphony in 1970 he was assistant principal
oboist of the Philadelphia Orchestra. He also
served on the faculty of the Oberlin Conservatory,
as well as the New England Conservatory and
most recently, the Longy School of Music. He
was also a commercial pilot and a certified fl ight
instrument instructor.
After his retirement from the Boston
Symphony, Mr. Rapier concentrated his energies
on the record company he had founded, Boston
Records, which he ran out of his home in
Duxbury. Its catalogue includes more than 80
compact discs. Oboists are especially grateful
to him for his compilation of orchestral excerpts
played by Marcel Tabuteau in the Philadelphia
Orchestra under Leopold Stokowski, which
includes the legendary performance of Mozart’s
Sinfonia Concertante. His CD called “Lessons
with Tabuteau” provides a unique insight into
the teaching philosophies of this great artist.
There are also three lovely recordings of Mr.
Rapier’s own playing. Other artists on his label
include former BSO colleagues oboist Alfred
Genovese and bassoonist Sherman Walt. Former
principal oboist of the BSO (and IDRS honorary
OBITUARIES
CURRENT EVENTS
26
Wayne sits with John deLancie, Earnie Harrison, Laila Storch, Marilyn Zupnik
and other oboist friends at one of his French audition festivals.
rial service for Wayne Rapier
member) Ralph Gomberg said:
at The Pilgrim Church of Dux“Wayne was very talented, a solid
bury, United Church of Christ
musician who worked very hard.
(Congregational).
He understood the difficulty of
I had not been to Duxbury,
maintaining a good sound on the
Massachussetts before, and
oboe, but he could do it, and he
found the town thoroughly deplayed with spirit and sensitivity.
lightful. From the church, atop a
He loved music, the Boston
slight rise in the land, one could
Symphony, and his many friends
see the Atlantic Ocean, only a
in the orchestra”.
few hundred yards across the
Mr. Rapier is survived by his
road. The day was slightly cool
wife Toni, a cellist in the Boston
and the air was not too clear.
Pops Esplanade Orchestra, and
The fall hardwood colors were
three children, Bonnie Rapier
everywhere. The rain in New
Harlow, Christopher Chandler
England this fall failed to bring
Rapier, David Wayne Rapier, and
out the reds, but the gold and
four grandchildren. A memorial
bronze colors were wonderful
service was held on Sunday,
Wayne at 19 already the printo see, especially for an Arizona
November 6th at the Pilgrim
cipal oboist of the Indianapolis
Symphony
boy, where the cacti do not even
Church in Duxbury. Oboist David
have leaves.
Weber traveled from Arizona to
I was happy to meet Mrs. Toni Rapier and
attend the event and shares some memories of it
daughter Bonnie Harlow receiving guests in the
here. Memorial donations in Wayne’s memory
church foyer. We spoke, I signed the register,
may be sent to the Dana Farber Cancer Institute
then climbed the stairs into the sanctuary, and
for Cancer Research, 44 Binney Street, Boston,
settled into the straight-back Puritan pews. No
Massachusetts 02115.
one would fall asleep during a sermon, sitting
up so straight and looking straight ahead! One
caught a defi nite whiff of our founding father’s
Dear Friends of Wayne Rapier,
spirit there.
On Nov. 6, 2006, I attended the memo-
THE DOUBLE REED
27
The memorial service for Wayne was uncomplicated and straightforward, just as Wayne was.
Rev. Kenneth C. Landall, Senior Pastor, guided
the assembled guests through the service with reassuring words of comfort.
Wayne’s oboe student, Erica Cice performed
Vivaldi’s famous solo for oboe and soprano
from Gloria, and later Franck’s Panis Angelicus.
Her phrasing was elegant and her musicianship
was tender. Her tone presented a demure statement, offering homage without broadcasting the
strength and depth of Wayne’s thorough training.
Erica performed with conviction and without waver. Douglas Kanner supported beautifully from
the piano. Bonnie Harlow vibrated the rafters
with her beautiful and elegant cello tone. Gale
Fuller Cice’s rich voice brought musical chills. All
performed with strength and discretion, respecting and honoring Wayne’s presence.
Family and friends stood to speak of their experiences and memories of father, colleague and
friend, Wayne Rapier. Sons Chris and David Rapier and daughter Bonnie Harlow spoke fi rst, followed by friends and colleagues from the musical
community and beyond. The thoughts expressed
were in turn somber and sincere, then humorous
and joyful, bringing laughs of shared delight. I’ll
not attempt to recount the personal memories expressed. Suffice it to say that from all who spoke,
again and again a common thread was expressed:
Wayne was a loving and caring husband and father, a trustworthy and supportive friend, and a
musician of suave elegance like few others from
today or before.
Gale Fuller Cice brought comfort and inspired
strength to the Rapier family and friends with a
moving performance of Amazing Grace.
Following the service, refreshments galore
were served in the church community room. New
friends were made, old friends got caught up with
each other’s lives, and all honored the memory of
Wayne Rapier.
The Rapier family offered us beautiful expressions of love for Wayne and for each other, and
sent us home with words of inspiration, bringing
comfort to all.
CONTINUED
ON NEXT PAGE
CURRENT EVENTS
Wayne on cane hunting expeditions
28
OBITUARIES
CURRENT EVENTS
JEROME ROTH
(JUNE 15, 1918 - OCTOBER 12, 2005)
Members of the IDRS mourn
the passing of Jerome Roth,
oboist in the New York Philharmonic for 31 years and
a member of the New York
Woodwind Quintet in the
1950s. He died in Ridgefield,
Connecticut on October 12
at the age of 87; he had been
suffering from Alzheimer’s disease. Jerome Roth attended the Juilliard
School just after World War II. The orchestra
there included Ray Still and John Mack among
other great American oboists who emerged at this
time. From 1961 until his retirement in 1992, Mr.
Roth was the second oboist of the Philharmonic,
where he played with the great Harold Gomberg,
who had been his teacher at Juilliard. In an article
in The Double Reed (Vol. 23, No. 3) he remarked
“I was primarily a fi rst oboist, but playing second
oboe with Harold Gomberg was an opportunity
I couldn’t refuse”. He also spent a decade as a
member of the New York Woodwind Quintet.
Oboist Brian Charles remembers studying
with Mr. Roth on Long Island, after his fi rst
teacher, Merrill Greenberg (the longtime English
horn player of the Israel Philharmonic) “passed
Jerome with wife Ruth.
him along” to Jerry. “Jerry in turn ‘passed me
along’ to Harold Gomberg, but I stayed in touch
with him through the years, most recently a few
years back regarding his wonderful transcriptions
of string chamber music for woodwind quintet.
Jerry was a warm, kind, responsive and inspiring teacher of oboe, music and life. He enhanced
the course of my life, and I have him to thank in
large part for the successes I’ve had in the world
of music. For those of you who met him, I know
you loved him – I certainly did. Jerry – we’ll miss
you - thank you.”
Jerome Roth is survived by his wife, Ruth
Roth, and his sons Robert, chief fi nancial officer
for the HBO cable network, and Richard, senior
United Nations correspondent for CNN. His fi rst
wife, Blanche Roth, died in 1985. He also had
three stepchildren and six grandchildren.
A. CLYDE ROLLER
(OCTOBER 15, 1914 - OCTOBER 18, 2005)
Jerome Roth (background) and Harold Gomberg
(foreground).
A. Clyde Roller, oboist, conductor
and educator, died at his home in
San Antonio, Texas on October 18,
2005, just three days after turning
91. Members of the IDRS mourn
his passing. He was born in Rogersville, Missouri, raised in Oklahoma, and attended the Eastman School of Music, graduating
in 1941. He studied the oboe there with Robert
Sprenkle. He began his career as principal oboist
of the Tulsa Philharmonic, later joining the Oklahoma City Symphony. He returned to Eastman
THE DOUBLE REED
29
CURRENT EVENTS
Dr. Roller on the beach with the National High School Orchestra’s oboe section in 1954, seventeen strong! Some of the students pictured here in the front row are: Don Jaeger, Alice Gordon Cooke, and Herman Keahey.
one. It was hard for a musician not
in 1963 to accept an appointment
to like Clyde Roller.”
as professor of ensemble, directing
Dr. Roller received many honthe Eastman Wind Ensemble from
ors, including the Amarillo “Man
1964 until 1966. He was conducof the Year” award, Texas Orchestor and music director of the Amatra Director of the Year (1979),
rillo Symphony and resident conSigma Alpha Iota’s National Artductor of the Houston Symphony
ist Affi liate Award (1979), and the
Orchestra. He also conducted at
Outstanding Educator of America
the University of Houston, the
Award. In the summer of 1998,
University of Texas at Austin, and
he was presented with the Edwin
at Southern Methodist University.
Franko Goldman Memorial CitaHe was guest conductor of orchesDr. Roller playing oboe in a
tion by the American Bandmastras across the country, including
Festival Orchestra concert.
ters Association, “In Recognition
the Boston Pops, and internationof Distinguished Contributions in the Interests
ally he conducted six tours with the New Zeaof Bands and Band Music in America.” This
land Symphony. Each summer from 1951 through
ceremony, appropriately enough, took place at
2004 he traveled to the Interlochen Arts Camp to
Interlochen.
teach the oboe and to conduct student bands and
Dr. Roller’s work at Interlochen was a very
orchestras. He was conductor and music director
special and cherished part of his career. He taught
of the Lansing Symphony Orchestra in Michigan
the oboe in the summer camp program in the ‘50s
from 1967 to 1978. Edgar Kirk, retired principal
(together with his brother, Roger Roller, who had
bassoonist of the Lansing Symphony, remarked
been principal oboe of the Wichita Symphony and
that “Clyde Roller had two great loves – he loved
the Buffalo Philharmonic), until he turned his enmusic and he loved people, and I don’t know
ergies to conducting bands and orchestras there,
which he loved more. He was a totally genuine
more or less full-time. As an oboe teacher, he had
person. He never got irritated with anyone. When
a real impact on the lives and careers of many stuhe was real mad with the musicians, he would say
dents (from the Amarillo area and at Interlochen)
“Oh, fish fuzz!” It never got worse than that. His
who went on to professional careers, including
whole approach to music making was a relaxed
CURRENT EVENTS
30
OBITUARIES
Gladys Crisler Eliot (formerly fi rst oboist of the
Dallas Symphony and the Chicago Lyric Opera),
Dayna Larason Fisher (oboe teacher in the Seattle
area), Alice Gordon Cooke (oboe teacher in Amarillo), James Byars (oboist of the New York City
Ballet Orchestra), and Don Jaeger (former oboist
in the orchestras of Oklahoma City and Dallas
and now a Michigan-based conductor), and many
others. We are grateful to Kathy Perez, archivist
of the Interlochen Center for the Arts, for providing some photos of Dr. Roller, and to Don Jaeger
for helping with captions.
Dr. Roller is survived by his wife, pianist Moreland Kortkamp Roller, and his children Lynda
Verner and Jan Roller, both members of the San
Antonio Symphony Orchestra. A memorial tribute is planned for next summer at Interlochen. ◆
Dr. Roller in a quiet moment on an Interlochen
waterfront.
THE DOUBLE REED
31
Oboists in the News
Compiled by Dan Stolper
Palm Desert, California
Fiala, and Nehlybel quartets for oboe and strings
including two concerts at the Santa Barbara Museum of Art, for the Mill Valley, (California)
Friends of Music, Boise (Idaho) Chamber Music
Society, at the University of the Pacific for the
Stockton Friends of Music and at the Sunset Center in Carmel for Chamber Music Monterey. The
Peninsula Review said of the Carmel, California
performance “He demonstrated virtuosity on the
highest level. There isn’t anything he can’t do on
this instrument.”
Upcoming concerts include tours with the
Cuarteto Casals from Spain and with the Martinů Chamber Orchestra from Prague performing
concerti by J. S. Bach, Vivaldi, and Cimarosa.
AMY GOESER KOLB was recently appointed assistant
professor at the University
of Oregon, where she teaches
oboe and theory. She holds
degrees in performance from
the University of WisconsinMadison (B.M.), Staatliche
Hochschule for Music in Cologne, Germany (M.M.) and
SUNY Stony Brook in New
York (D.M.A.). Her teachers have included Basil Reeve, Marc Fink, Christian Schneider, and
Steve Taylor.
Prior to her appointment at Oregon, she was
a faculty member at Wichita State University, a
member of the Lieurance Woodwind Quintet,
principal oboe of the Wichita Symphony and
director of development for Chamber Music at
The Barn in Wichita, Kansas.
As an advocate for new music, she has
commissioned, premiered, and recorded more than
100 new works, collaborating with composers
from Germany, Japan, the Netherlands, Central
America, South America, and the United States.
She has been the recipient of commissioning
grants from The American Composers Forum,
CURRENT EVENTS
O
boist THOMAS GALLANT has returned to
performing after an almost 10 year absence
from the concert stage. Before withdrawing from performing Mr.
Gallant was a winner
of the Concert Artists
Guild International New
York Competition and
now performs exclusively as a solo and chamber
music artist. This past
summer he performed
Josef Fiala’s Quartet for
oboe and strings in F
Major with the Naumburg Award-winning Biava
String Quartet at Lincoln Center’s Mostly Mozart Festival. In October he performed a concert
of solo and chamber music works for the oboe at
the Library of Congress including Elliott Carter’s
Oboe Quartet and Elizabeth Sprague Coolidge’s
rarely heard Sonata for oboe and piano. He also
performed Echoes From a Play for oboe and
string quartet by Finnish composer Aulis Sallinen which was written for Mr. Gallant and the
Kronos Quartet and premiered by them at the
Ravinia Festival. He was joined on the concert
by the Corigliano Quartet and Bosnian pianist
Pedja Muzijevic. The Washington Post wrote of
the performance “Thomas Gallant’s oboe starred
in three of the four pieces heard at the Library of
Congress Friday. The oboist led three of the Corigliano players in an invigorating performance of
Elliott Carter’s Oboe Quartet, a beautifully astringent piece that displayed Gallant’s gymnastic
capabilities and the group’s sensitivity to textures
now meaty, now vaporized.”
In November oboist Thomas Gallant appeared at Dartmouth College’s Spalding Auditorium performing Charles Martin Loeffler’s Two
Rhapsodies and Robert Schumann’s Adagio and
Allegro for oboe and piano. In November he also
toured the West coast with the acclaimed Canadian ensemble the Adaskin String Trio. The tour
featured performances of the Mozart, Britten,
CURRENT EVENTS
32
OBOISTS IN THE NEWS
the Jerome Foundation, Meet The Composer, the
German Government, and private donors. She
spent nearly ten years in Germany premiering
new works written for her and the ensemble
Trio Akkobasso (oboe, accordion, double
bass). She is also a founding member of Trio
335 (oboe, accordion, bassoon). As a member
of the International Double Reed Society, she
has performed with Trio 335 at conferences in
Argentina and Canada.
Goeser Kolb has recorded for Deutsche
Gramophone, WDR (West German Radio),
Koch/Schwann/Aulos, Antes, and Equilibrium
Labels. While in Europe, she freelanced with
many orchestras and was a member of the
Freiburg Philharmonic Orchestra, the Southwest
Philharmonic, Ensemble Cologne, and Ensemble
Avance in Germany. In 1993 she traveled
extensively throughout Japan and Canada with
The Takagaki Koto Ensemble of Japan. She
has performed with the Heidelberg Festival
Ensemble, Stony Brook Contemporary Players,
Bach Aria Festival, and Oregon Bach Festival.
As a soloist, she recently performed the Mozart
Oboe Concerto with the Hutchinson Symphony
Orchestra and Wichita Symphony Orchestra in
Kansas.
ANDRÉA BANKE currently
serves as assistant professor of oboe at Wichita State
University, solo oboe with
the Lieurance Woodwind
Quintet, and principal oboe
with the Wichita Symphony
Orchestra. Prior to coming to
Kansas, Ms. Banke held the position of principal
oboe of the Rochester Philharmonic Orchestra in
New York. An active chamber musician, Andréa
frequently performs as guest principal oboe of the
Saint Paul Chamber Orchestra, an appointment
she has held since 2000. Ms. Banke has appeared
with the Bach Society of Minnesota, the Kansas
City Chamber Orchestra, the Heidelberg Opera
Festival in Germany, and been a recitalist with
members of the Los Angeles Mozart Orchestra.
From 1997-2001, Ms. Banke performed over
400 woodwind quintet recitals, educational concerts, and outreach classes as principal oboe of
the South Dakota Symphony and Dakota Wind
Quintet appearing in diverse venues from a Sioux
Indian pow wow to a high-security prison in
Nebraska.
Andréa’s playing has been featured on NPR’s
Performance Today, SDPR’s Showcase, and
WXXI’s Live From Hochstein as a soloist. Ms.
Banke received her Bachelor of Music, summa
cum laude, from the Eastman School of Music
under Richard Killmer, and her Master of
Music, summa cum laude, from the University
of Minnesota under Kathryn Greenbank. The
Democrat and Chronicle (Rochester, New York)
states Banke “[P]lays straight from the heart,”
while the Argus Leader (Sioux Falls) calls her
expressive tone “a thread of gold.”
JENNIFER GOOKIN, assistant
professor of oboe at Central
Michigan University, joined
the School of Music faculty
in August, 2005. She is the
newest member of the Powers
Quintet, frequently performs
solo and chamber music recitals throughout the United
States, and often gives classes
that focus on relaxation techniques and creative
practice tools for oboists.
Dr. Gookin is frequently involved in
commissioning new works for oboe, such as
Neil Flory’s Late June, which she performed at
the 2005 IDRS Conference in Austin, Texas.
Her teachers have included Rebecca Henderson,
James Brody, and Tad Margelli. Prior to her
appointment at Central Michigan University,
Dr. Gookin was assistant professor of oboe and
theory at Luther College in Decorah, Iowa.
FRANK ROSENWEIN joined The
Cleveland Orchestra as principal oboe at the beginning of
the 2005-06 season. From 2002
to 2005, he served as principal
oboe of the San Diego Symphony
and San Diego Opera. He also
has served as guest principal
oboe with the Chicago Symphony Orchestra. An
integral part of Mr. Rosenwein’s music making
is his love of chamber music. He has spent two
summers at Marlboro and has performed with
the Mainly Mozart Festival in San Diego and the
THE DOUBLE REED
CYNTHIA WATSON joined
the faculty at the University
of Akron in 2003. A member
of Solaris, woodwind quintet in residence at the University, she travels regularly,
most recently performing a
five concert series in Italy.
She is also principal oboist
of the Akron Symphony Orchestra (a new appointment)
and the Youngstown Symphony Orchestra. In the
summer, she teaches at the Masterworks Festival
in Winona Lake, Indiana.
Ms. Watson received a Bachelor of Music degree from the Eastman School of Music, where
she studied with Richard Killmer. She continued
her studies with Ronald Roseman at Yale, where
she earned a Master’s Degree.
Ms. Watson has also served as principal oboe
of the Albany Symphony, the Glimmerglass Opera Orchestra, and as second oboist of the Canton Symphony. From 1991-1993, she was a regular member of the Mainly Mozart Festival in San
Diego. In addition she has performed with the
Cleveland Orchestra, the Cleveland Opera, the
Rochester Philharmonic and the Virginia Opera
Orchestra.
Ms. Watson lives in Cleveland Heights with
her husband, Tom Sperl, a bassist with The Cleveland Orchestra, and their three children, Natalie,
Charlotte and Benjamin.
With a doctorate from the University of Illinois, MARLEN
VAVRIKOVA has performed in
Sarasota, Hot Springs, and
Banff festivals, and been soloist
in San Diego, with the University of Illinois New Music Ensemble, the BACH ensemble,
and the Janacek Chamber Orchestra. She has taught chamber
music and oboe at the AMEROPA international
festival in Prague and the Illinois Summer Youth
Music Festival. In spring 2005, she was a member
of the Sarasota Opera Orchestra. Currently, she
teaches at Grand Valley State University in Michigan. Her upcoming projects include directing and
performing in the Ostrava Oboe Festival in November and releasing a compact disc of contemporary Moravian oboe works. Richard Killmer, a
former teacher of hers, will be the festival’s main
guest. Her other primary teachers include Nancy
Ambrose King and Daniel Stolper.
ANNA HENDRICKSON recently joined the Crane
School of Music as assistant
professor of oboe. She holds
the Doctor of Musical Arts
and Master of Music degrees
from the Eastman School
of Music where she studied
with Richard Killmer, and
the Bachelor of Music degree from the University of Wisconsin-Madison,
as a student of Marc Fink. Dr. Hendrickson held
teaching positions at SUNY Geneseo, the Community Music School of the Eastman School of
Music, and the Hochstein Music School, where
she performed on the live radio broadcast recital
series and other faculty recital series. She has
been a member of the Thunder Bay Symphony
Orchestra (Ontario) and the Rochester Philharmonic Orchestra and is currently a member of the
summer Britt Festival Orchestra in Jacksonville,
Oregon. Spending a year in France as a Fulbright
scholar, Dr. Hendrickson performed at the US
CURRENT EVENTS
Seattle Chamber Music Society. Born in Evanston, Illinois, Mr. Rosenwein holds a bachelor
of music degree from the Cleveland Institute of
Music, where he studied with former Cleveland
Orchestra principal oboe John Mack, and a master of music degree from the Juilliard School of
Music, where he studied with Elaine Douvas,
co-principal oboe of the Metropolitan Opera Orchestra. Mr. Rosenwein has appeared as soloist
with numerous orchestras, including the Elgin
Symphony, the Skokie Valley Symphony, and the
Cleveland Institute of Music Orchestra. He has
participated in various summer music festivals,
including Tanglewood, Verbier (Switzerland),
and the Spoleto Festival (South Carolina). In
1999, he participated in the Kent/Blossom Music program, and in 2000 he was a member of
the National Repertory Orchestra in Colorado.
Among Mr. Rosenwein’s honors and awards are
the Ralph Gomberg Prize (at Tanglewood, for
2002 and 2003).
33
34
OBOISTS IN THE NEWS
CURRENT EVENTS
Embassy in Paris, the American Church in Paris,
and the Château de Champs with pianist Mieko
Hironaka Bergt. She performs now with the Potsdam Wind Quintet, the Orchestra of Northern
New York, and the Northern Symphonic Winds.
Oboist CLAUDE VILLEVIELLE is at the forefront of
the exciting French oboe band ferveur et manie.
His group’s programs are always immensely creative, as this advertising piece will demonstrate!
THOMAS STACY, English horn soloist of the New
York Philharmonic’s recording on the Naxos
label of the Fuchs’ Concerto Eventide has been
nominated for a Grammy: Best Instrumental Soloist Performance (with Orchestra). Tom is assisted on this recording by the London Symphony
Orchestra, JoAnn Falletta conducting. This may
be the fi rst time that an English horn player has
been nominated for this honor. Congratulations,
Tom!
We’d like to thank Charlotte, North Carolina
oboist DELMAR WILLIAMS for his regular posts to
the IDRS listserv, featuring newspaper critiques
of orchestra concerts that include mentions of
oboe and English horn players. Keep “googling”,
Delmar! ◆
THE DOUBLE REED
35
Bassoonists’ News of Interest
Ronald Klimko
McCall, Idaho
K
ent (Ohio) State University bassoonist David DeBolt joined pianist Dana Brown in a
recital of Four Centuries of Bassoon Music
on October 2, 2005, in Kent, Ohio. Works performed were: Five Concert Studies by Bernard
Garfield (now published by the composer); Sonatas by Telemann, Mozart, and Glenn Gould; and
the romantic Fantasie Brilliante by Lailliet.
In Europe, Parisian bassoonist Pascal Gallois
performed the legendary Sequenza for Solo Bassoon by Luciano Berio, (a work that was composed for him which consists of circular breathing throughout!), along with a new composition
by German composer Sven-Ingo Koch entitled
Jenseitswanderer für Fagot Solo in Torino, Italy,
on December 2, 2005.
French bassoon specialist Charles Holdeman
joined forces with Debbie Torp, German bassoon; Janet Harriman, harp; Chris Maunu, baritone; and Bill Tremblay, poet, in a concert at the
Loveland (Colorado) Museum on November 20,
2005. Works performed were: the Mozart Sonata
K. 292 (with a Mozart poem from his letters read
before each movement); two songs by Debussy:
Les Cloches and Romance; Lyric Seasons for
bassoon and piano, and The Orchard Flower (an
original song from a poem by Sam Hamill), and
A Night on the Town (world premiere of music
to accompany the poem written and recited by
Bill Tremblay. (The last three works are original
compositions by Charles Holdeman.)
Ed Lacy, bassoon professor at the University
of Evansville, Indiana, gave a recital there on
September 27, 2005. Works performed were: the
Saint-Saëns Sonate; Partita for solo bassoon by
Gordon Jacob; Six Studies on English Folk-Songs
by Ralph Vaughan Williams; two Miroshnikov
pieces, and the Adolph Bergt Trio for Bassoons,
where Ed was joined by Evansville Philharmonic
bassoonists Ron Tucker and Rudi Heinrich.
Philadelphia Orchestra principal bassoonist
Daniel Matsukawa joined forces with Lisa-Beth
Lambert, violin; Burchard Tang, viola; and cellist
Yumi Kendall to give the world premiere performance of the Bassoon Quartet No. 2 by IDRS
Honorary Member Bernard Garfield in Philadelphia on November 6, 2005. Other works on the
program included the Garfield Quartet No. 1; the
Hindemith Duo for Bassoon and Cello; and the
Devienne Quartet No. 3 in G minor, Op. 73, No.
3.
Thomas Priest, bassoon professor at Weber
State University, gave a faculty recital entitled
Rich with Rags on October 1, 2005, at Ogden,
Utah. He was joined by Jeannine Goeckeritz,
flute; Don Keipp, marimba; Laura Bronson Larson, piano, Bonnie Schroeder, oboe; and Sarah
Tu, harpsichord. Works performed included the
Récit et Allegro by Noël-Gallon; Curly Maple
Rag and Lancaster Rag by Brian Dykstra; Trio
No. 2 in d minor by Händel; Bethena and Elite
Syncopations by Scott Joplin/Bill Holcome;
Paragon Rag and Binks’ Waltz by Scott Joplin/
Earl North; Vals Venezolano and Contradanza
by Paquito D’Rivera/Marco Rizo; and the world
premiere of his own work Reminiscent Rains for
bassoon and marimba.
On November 5, 2005, bassoonist Gili
Sharett joined forces with the Goliard Chamber
Ensemble, cellist Lawrence Zoernig, and pianist
Arielle Levioff for a Benefit Concert in Queens,
New York. Works performed included Mozart’s
Sonata K. 292 for bassoon and cello; Gili’s Music for cello and bassoon (2003) by Peter Winkler; and Oblivion for bassoon, cello, and piano
by Astor Piazzolla.
Lecolion Washington, bassoon professor at
the University of Memphis, Tennessee, gave a faculty recital there on September 21, 2005. Works
performed included the Trio for Violin, Bassoon
and Piano by Gaetano Valeri; the Gordon Jacob
Suite for Bassoon and String Quartet; Bassoon
Set for Solo Bassoon by Adolphus Hailstork; the
Tansman Suite for Bassoon and Piano, and the
world premiere of Sonata for Bassoon and Piano
by James Willey.
CURRENT EVENTS
BASSOON RECITALS
36
BASSOONISTS’ NEWS OF INTEREST
CURRENT EVENTS
BASSOON CONCERTO PERFORMANCES
Baltimore Symphony principal bassoonist Phillip Kolker performed the Eric Ewazen Concerto
for Bassoon (a work he describes as “beautiful”
and “one of the rare works for bassoon and wind
ensemble”) with the Peabody Conservatory Wind
Ensemble, Harlan Parker, conductor on December 7, 2005, in Baltimore, Maryland.
Christopher Weait, (who will be retiring from
his position as bassoon professor at the Ohio State
University, Columbus, at the end of this school
year), gave the world premiere performance of
his own composition Blue Bassoon for bassoon
and band, assisted by the OSU Wind Symphony,
Russell Mikkelson, conductor, in Columbus on
November 29, 2005.
Robert Williams, principal bassoon of the
Detroit Symphony, performed the Concerto
for Bassoon and Orchestra by Nino Rota with
the Orchestra in Detroit on October 14 and 15,
2005.
(One fi nal performance note: from bassoonist
John Steinmetz comes word of the documentary
fi lm March of the Penguins about “penguin love”
in Antarctica, which has a musical score rich
with beautiful bassoon solos by bassoonist Rose
Corrigan, who is principal bassoon of the Pacific
Symphony, the Hollywood Bowl Orchestra and
bassoon professor at the University of Southern
California. John also notes that Rose even gets a
credit at the end of the fi lm!)
BASSOON AND CONTRABASSOON ACTIVITIES
Bruce Gbur, bassoon professor at Kansas State
University, Manhattan, Kansas, gave a bassoon
and contrabassoon recital there on October 13,
2005, assisted by Mary Ellen Sutton, organ;
Adrian Angold, bass saxophone; and Kristen
Mortenson, viola. Works performed were: Fanfare for Bass Saxophone and Contrabassoon
by Gregory Kosteck (1937-1991); ContrAlto for
Solo Viola and Contrabassoon by Kelly Richardson (b. 1959); Let Us Therefore keep the Feast,
Op. 219 by Carson Cooman (b. 1982); Pastorale for Bassoon and Organ by Craig Phillips (b.
1961), the Dutilleux Sarabande et Cortège and
the Weber Concerto, Op. 75. (Bruce added: “The
Craig Phillips piece is a real winner, should be in
everyone’s library.”)
Chicago contrabassoon specialist Susan Nigro will perform the world premiere of Contravariations by Giorgio Kouki on Sunday January
15, 2006, with the Chicago Chamber Orchestra,
Dieter Kober conductor at the Chicago Cultural
Center.
On Friday, November 18, 2005, I had the pleasure of hearing the Boise (Idaho) Philharmonic in
concert perform an interesting program of 9th
Symphonies by Dimitri Shostakovich, and Ludwig Beethoven. Principal bassoonist Patti Katucki
performed the beautiful solo in the Shostakovich
to perfection. And then, joining second bassoonist Janelle Oberbillig in the two bassoon version
of the lovely solo section of the last movement of
the Beethoven 9th, made it an enchanting musical performance throughout. Contrabassoonist
Donovan Schatz completed the bassoon section
for this fi ne concert.
CONFERENCES, FESTIVALS, COMPETITIONS
AND MASTERCLASSES
From Melissa Mackey, bassoon professor at
Southern Illinois University, Carbondale, comes
the announcement of the 2006 Neoteric Competition for original compositions for bassoon, horn
and cello. The fi rst prize is $400, and second and
third prizes are $150. Up to three winners will be
chosen, with the winning entries performed by
the Neoteric ensemble. Applications are due by
January 6, 2006. For further information contact
the following: Eric Lenz, Southern Illinois University School of Music, Mailcode 4302, Carbondale, IL 62901 (email: [email protected]).
As part of the University of Arkansas 16th
Annual Double Reed Weekend, San Francisco
jazz bassoonist Paul Hanson gave a performance
and a master class entitled. “Amplification Methods and Sound Effect Possibilities for All Classical Musicians” on November 14, 2005 in Fayetteville, Arkansas. (I wish I could have attended!)
Principal bassoonist of the National Symphony Orchestra, (Washington, D.C.) Sue Heineman
gave a master class at James Madison University,
Harrisonburg, Virginia, on Saturday November
19, 2005, according to Susan Barber, bassoon
professor at JMU.
The 2005 North American Heckelphone Convention was held in New York City on October
1, 2005, under the co-ordination of Peter Hurd.
Performances included the New York Kammer-
THE DOUBLE REED
37
SAD NEWS…
GOOD NEWS FOR FUTURE DOUBLE REED
STUDENTS:
From Frank Morelli, New York bassoonist and
professor at the Yale University School of Music,
come the wonderful announcement that, as of the
2006-2007 school year, tuition to the Yale Graduate School of Music will be fully subsidized, including tuition for second and third year students
as a result of large and generous contributions to
the School of Music! Wow! Better get practicing,
students. The School is a conservatory-level institution, with very high entrance requirements and
standards. But the price is right!!
Similarly, the Indiana University School of
Music in Bloomington has announced the change
in the name of the school to the IU Jacobs School
of Music, named after Barbara and David Jacobs,
who have donated $40.6 million to the School.
Most of the donated money will go for undergraduate scholarships, as well as a few faculty
chair endowments. So…let’s see… fi rst an undergrad degree from Indiana, followed by graduate
work at Yale…better hit that practice room!!!
AND FINALLY…
From contrabassoonist Jonathan Sherwin of the
Cleveland Orchestra comes these two interesting
photos. The fi rst is a picture of a banner hanging
in front of Severance Hall in Cleveland showing
Jonathan and his contra, which he claims should
have the caption: “You know you’ve really made
it as a contrabassoonist when you’re hanging
from a yardarm!”
The second shows the bassoon section of the
Cleveland Orchestra during their recent European tour where they decided to visit the graves
CURRENT EVENTS
musiker (with Illona Pederson); Robert Howe;
Mark Perchanok and ensemble performing Dixieland and Joplin; along with a special attendance
by Georg Otto Klapproth, retired English hornist
from Köln, Germany.
And fi nally, here is a picture of the Double
Reed Class of 2005 from the Brevard Music Center, North Carolina, sent by bassoon instructor
and faculty member Gili Sharett. Other instructors in the picture include oboists Paige Morgan
and Eric Ohlsson, and bassoonists Bill Ludwig
and Barry Stees, along with Gili.
Word has been received of the death of
Ethan Bauch, former bassoonist with
the Dorian Wind Quintet and longtime
freelancer in New York City, on November 12, 2005, after a two year fight with
lymphoma. There was a memorial service in his honor at the Menorah Chapel
in Union, New Jersey, followed by burial
in Clifton, New Jersey on November 14,
2005. The IDRS joins his friends and family in mourning his passing.
38
BASSOONISTS’ NEWS OF INTEREST
CURRENT EVENTS
AND FROM LIFE’S MUSICAL EXPERIENCES…
of old friends Beethoven, Schubert, Brahms, Johann Strauss, etc. while in Vienna. Here they
posed for a picture at Arnold Schoenberg’s grave,
with their hand signals providing some editorial
comment…
Recently on the net, New York bassoonist James
Jeter related the following story, proving that life
is, indeed, stranger than fiction. Here is the story
in his own words:
“Several years ago, I taught an amateur bassoonist for a few months. He was a lawyer here
in New York City, and his main goal in taking
a few lessons with me was ‘to play the Marine’s
Hymn” at an upcoming family reunion, in duet
with his Uncle Aaron, who apparently was a pianist. This nice gentleman had absolutely NO concept of rhythm or beat! We worked endlessly, but
he could not do a simple 2/4 or 4/4 pattern correctly, much less play the Marine’s Hymn (or anything else) in rhythm. At any rate, after MUCH
work, he managed to accomplish the duet at his
reunion. I asked him at his last lesson how it
went, and he was quite happy. He also dropped
the bombshell that his ‘uncle’ was the composer
Aaron Copland! I think they had a good time,
but I still wonder what liberties Uncle Aaron had
to accomplish to keep up with his nephew!” ◆
THE DOUBLE REED
39
Second Annual Double Reed Day at
Mississippi State University
Elaine Peterson
Starkville, Mississippi
CURRENT EVENTS
O
n Friday, Nov. 11, the Mississippi State
University Department of Music Education
held its second annual Double Reed Day.
Hosted by Elaine Peterson, the half-day clinic
brought together oboists and bassoonists to participate in masterclasses, coaching and ensemble
playing, followed by an evening faculty concert.
Fourteen musicians participated, including highschool and college students from
Alabama, Louisiana, Georgia
and Mississippi. Kim Woolly,
the visiting assistant professor
of bassoon at the University of
Southern Mississippi, was the
guest clinician, as was Bonnie
Oppenheimer, principal oboist
of the Starkville Symphony.
The afternoon began with
massed double-reed ensemble,
after which oboists and bassoonists separated to have masterclasses. Dr. Woolly taught the
bassoon class while Dr. Peterson
and Dr. Oppenheimer lead the
oboists. Students then broke into
smaller one-on-a-part chamber
ensembles, followed by a fi nal
session with everyone back together again. The afternoon
ended with everyone playing
Percy Granger’s Shepherd’s Hey,
selections from Handel’s Water
Music, and Christmas tunes arranged by Alan Hawkins. The
bassoonists performed movement I of Haydn’s Trio in C Major, and a small oboe ensemble
performed Francois Gossec’s
Tambourin.
The evening concert featured
Dr. Peterson and Dr. Woolly on
bassoons, and Mississippi State
faculty member Ms. Wendy Payton on piano. Dr. Peterson and
Dr. Woolly kicked off the concert with Mozart’s
Sonata in Bb K292. Dr. Woolly performed the
Sonata in F Major by William Hurlstone and the
Edward Elgar Romance, Op. 62. Dr. Peterson
performed Variations on an Arietta by Pergolesi
by Otmar Nussio and the Sonatine by Alexandre
Tansman. The concert concluded with the bassoon duet The Impish Imp by Mike Curtis.
SECOND ANNUAL DOUBLE REED DAY AT MISSISSIPPI STATE UNIVERSITY
CURRENT EVENTS
40
Elaine Peterson rehearsed the massed double reed ensemble.
Kim Woolly leads a bassoon masterclass
The performance of the Mozart Sonata aired
on WMSV 91.1 at noon on Sunday, November 20. All participants received a t-shirt and a
chance to win gift certificates to Gail Warnaar’s
Double Reed Shop. To learn more about music at
Mississippi State and Double-Reed Day 2005, go
to http://music.msstate.edu.
Elaine Peterson is the assistant professor of double reeds and music history at Mississippi State
University. ◆
THE DOUBLE REED
41
Carolyn Hove English Horn Master Class
Virginia Stitt
Southern Utah University, Cedar City, Utah
CURRENT EVENTS
W
lunch Mark Chudnow, rehat do you get
pairman extraordinaire,
when 33 English
gave a lecture on instruhorn players dement repair. From 3:45 to
scend on Provo, Utah at
5:45 p.m. there was time
the invitation of Geralyn
for rehearsal with the acGiovannetti, oboe profescompanist and reedmaksor at Brigham Young Uniing with Carolyn. Three
versity, and Carolyn Hove,
participants were assigned
solo English horn of the
to each of the hour-long
Los Angeles Philharmonic?
reedmaking sessions. We
The First Annual English
were all back at 7 p.m.
Horn Master Class given
to hear solo repertoire
by Carolyn Hove.
coaching with the pianist
Starting months before
until 9:30 p.m.
the June 22, 2005 openFriday started at 9:30
ing concert an oversized
a.m. with solo repertoire.
postcard was sent out anFrom 1:00 to 3:30 p.m.
nouncing the master class.
Mark Chudnow gave a
Registration was open
talk on keeping our infor as many observers as
struments in repair and a
wished to come; but the
method for checking each
participant number was
of the adjustments. It was
capped at 15. Each parL to R: Danielle Jensen, Carolyn Hove.
quite a sight to see over 30
ticipant chose a solo piece
instruments out in front
and orchestral excerpts to
of their owners with everyone paper testing the
perform. The total number attending this year’s
pads. And because we had different makes of
master class was 33.
instruments, there were questions about this or
The opening recital was stunning and includthat adjustment screw that was in a slightly difed Carolyn’s transcription of Beethoven’s Seven
ferent place.
Variations on the Theme “Bei Mannern welche
A room was made available where everyLiebe fuhlen” from Mozart’s opera The Magic
one was able to try a variety of bocals by Tom
Flute. Hindemith’s Sonata (1941) followed. RavHiniker, Philip Ross, and the Fox Company.
el’s Pavane pour une infante defunte closed the
What a great, and sometimes frustrating, exfi rst half of the program. The velvety tone, exquiperience. Just when someone would think they
site phrasing, superb musicianship and ensemble
had found the ideal bocal, they would try “just
playing with Scott Holden, piano, left the audione more” and be totally confused again. The
ence transported to another sphere. After interevening session featured another solo repertoire
mission Carolyn came back with two outstanding
class.
20th century pieces: Elegy by Patricia Morehead
Saturday morning began again at 9:30 a.m.
and Moorland Sketches by Kathy Henkel; the
with an hour of orchestra excerpts. From 10:30
last piece performed with string quartet. What
a.m. until noon Carolyn held an open lecture anan evening of beautiful playing.
swering questions from the floor, which included
Thursday morning began with a study of orchoosing equipment, reedmaking, audition takchestral literature from 9:30 a.m. to noon. After
CURRENT EVENTS
42
CAROLYN HOVE ENGLISH HORN MASTER CLASS
L to R: Alden Bahr, Mark Chudnow, Martha Sargent
ing. The afternoon concluded with orchestral
literature from 1:00 to 3:45 p.m., reedmaking
from 4 to 5 p.m. and rehearsals for the participant recital from 4 to 6. The participant recital
started at 7:30 p.m. Performers from throughout
the United States shared a variety of repertoire
including works by Persichetti, Jacob, John Marvin, Bozza, Hindemith and Pierre Max Dubois.
The evening’s program concluded with Triangles
IV by Thomas Stevens, for English horn and three
oboes featuring Carolyn Hove.
As I read through my notes on the orchestral
literature the recurring question was: “What is
hard about this solo?” or “What are the challenges of this solo?” Carolyn really wanted us to
think about the solo as it fit with the orchestra, as
it portrayed an effect, and then as it technically
challenged us.
With every solo Carolyn would sing or pulse
the accompanying instrument’s rhythm; throughout long notes she would insist on the proper subdivisions. She would also insist that we listen for
the relationship of the English horn to the orchestration. Being aware of the history and/or story
that the composer was representing, the style of
articulation, the subtle phrase changes, etc. are
vitally important to the proper execution of the
composition. Of course there were little fi ngering and dynamic tricks that were given. Carolyn
demonstrated for each participant, and always
her beautiful, full, in-tune tone would come out
– it didn’t seem to matter if the reed was left on
the instrument for 20 minutes
or in a cup of water for two
minutes. The air, the tongue,
the reed, the instrument always responded to her bidding
in a glorious way.
Carolyn Hove’s enthusiasm
for the English horn, for the
music, and for teaching fi lled
every moment of her twelvehour days with us. When asked
how she could keep up the intensity of the master class,
her humble reply was that she
wasn’t doing anything out of
the ordinary – that being a successful performing musician
one must be able to sustain
the enthusiasm each and every
day. Carolyn encouraged all of
us to become and/or remain in
top physical condition in order to be in top musical condition; she herself is a runner, but she suggested swimming, walking and yoga.
As a teacher, Carolyn was able to appreciate
what each participant was doing correctly, and
demonstrate and explain how to make the music performance better. As a teacher herself, this
writer was astounded at the versatility in her instruction. Some needed basics reinforced, some
needed minute, subtle nuances incorporated in
their playing; but all of the participants improved
dramatically in the process.
Jonathan Bowman, the piano accompanist
for the master class, was not only great to work
with in rehearsals, but learned a tremendous
amount of music in a very short amount of time,
and played superbly in the master classes and on
the participant recital. What a delightful and talented young man.
The organization of the master class, from
Carolyn Hove, to Dr. Geralyn Giovannetti of the
School of Music at BYU, to BYU’s Continuing
Education, to Mark Chudnow, to Jonathan Bowman, to all of the registrants - it was a terrific
three days of English horn, great music, great
teaching, and great camaraderie. Once again the
enthusiasm of so many of our important performers today, willing to give of their time and expertise to share their knowledge with others, cannot
be emphasized enough. Thank you. ◆
THE DOUBLE REED
43
Bassoons in Concert in Córdoba, Argentina
Alejandro Aizenberg
Córdoba, Argentina
O
n October 4th an extraordinary concert
was held at the Auditorium of the CórPablo Farías de la Torre
doba State Conservatory of Music “Felix
(1st year student), with Prof. Brusco:
T. Garzon”, organized by Prof. Gonzalo Brusco,
-Canzonetta (Julius Weissenborn)
bassoon teacher of the Conservatory and memI’ll be Home for Christmas
ber of the Córdoba Symphony Orchestra and the
(Gannon –Kent)
Córdoba Symphonic Band.
The event convoked the whole bassoon comGabriela Federico (1st year):
munity of the city, which included students,
Duo nº 16 (Emanuelle Krakamp)
guests and Prof. Brusco himself, who took turns
Excursion (Timothy Johnson)
on the stage to delight the audience with solos,
Piano: Raquel Pizarro
duets, trios and quartets.
The main guest was the American bassoonist and IDRS member
Peter Zeimet, from Reno, Nevada,
who came all the way to Córdoba
specially for the ocassion.
Mr. Zeimet got acquainted with
Prof. Brusco through the IDRS Sponsor-a-Member program. He adopted
the Córdoba Conservatory Bassoon
Class, not only paying for the IDRS
membership, but also by donating,
among other things, two bassoons,
reeds, cane, music, and bassoon
t-shirts!
A very friendly relationship developed among Brusco and Zeimet,
Pablo Farías de la Torre and Prof. Brusco in performance.
through several months of e-mail
CURRENT EVENTS
Participants in the Special Bassoon Concert in Córdoba,
Argentina.
writings, which culminated in Peter’s visit to Argentina to paricipate at the bassoon event.
Among the guest musicians, it was also remarkable the presence of Fabian Contreras,
principal bassoon of the Córdoba Symphony
Orchestra and the Córdoba Symphonic Band,
and Alejandro Aizenberg, co-principal bassoon
and contra bassoonist of the Córdoba Symphony
Orchestra, who joined Prof. Brusco to perform,
among other pieces, the Córdoba premiere of
Bozza’s Divertissment.
The concert was so well received, and it had
such a positive repercussion, that all the participants are already making plans for a similar event
for next year.
The whole program was the following:
CURRENT EVENTS
44
BASSOONS IN CONCERT IN CÓRDOBA, ARGENTINA
Córdoba Bassoon Ensemble: Verónica Herrera (7th year), Mariela Enamorado (7th
year), Amelia Ottonello (7th year), Gonzalo
Brusco:
Lamento (Pixinguinha)
Hora cero (A. Piazzolla)
Preludio from La Traviata
(Giuseppe Verdi)
Recuerdos de San José (Luis Castillo)
Trío de fagotes: Fabián Contreras,
Alejandro Aizenberg, Gonzalo Brusco:
Hearts Beats Waltz (Walter Miles)
Divertissement pour trois bassons
(Eugene Bozza)
Round the Mulberry Bush
(Geoffrey Hartley)
Alejandro Aizenberg discussing the contrabassoon.
Emilia Fadul (4th year):
Largo and Allegro (Antonio Vivaldi)
Vanesa González (4th. year):
Sonata II (Johann Galliard)
Piano: Ileana Mastronardi
Alejandro Aizenberg:
Four Sketches for contra bassoon and
piano (Gordon Jacob)
Minuet I y II from the 1st suite for cello
(J.S. Bach)
performed on baroque bassoon
Fabián Contreras, Alejandro Aizenberg and Gonzalo Brusco
playing bassoon trios.
Peter Zeimet - Gonzalo Brusco:
Three Songs (Cole Porter)
Of course, the event concluded with a joyful
brindis at a typical restaurant of downtown Córdoba, where the main guest, Peter, had a taste of
the Argentinian cuisine, and enjoyed the warm
friendship of the Córdoba musicians. ◆
THE DOUBLE REED
45
The Third Annual Bassoon Day @ McGill
Stéphane Lévesque
Montréal, Québec, Canada
soons available for trial.
Our special guest this year was University of
Michigan bassoon professor Richard Beene, who
gave a spirited and inspiring class on solo repertoire and orchestral excerpts. McGill University
bassoon students Lou Paquin, Dantes Rameau,
Mark Biunno and Laurence Messier performed
brilliantly and were accompanied by pianist Louise Lessard.
The Bassoon Day came to a close with our
annual Bassoon Extravaganza concert, which
included an elegant performance of the SaintSaëns Sonata by Richard Beene and Louise Lessard, and various ensemble works performed by
Mr. Beene along with MSO bassoonists Stéphane
Lévesque, Mathieu Harel, Martin Mangrum and
Mark Romatz. As usual the concert ended with
the traditional bassoon ensemble fi nale, with 19
bassoonists – including a special appearance on
bassoon by Montréal Symphony bass trombonist Pierre Beaudry! – playing bassoon band repertoire favourites.
I look forward to welcoming you to our
fourth annual Bassoon Day @ McGill on Saturday March 18, 2006, with special guest Laurent
Lefèvre of the Paris National Opera
in his fi rst North American master
class guest appearance. ◆
About the author: Stéphane
Lévesque is principal bassoonist
of the Montréal Symphony Orchestra and assistant professor and
bassoon area coordinator at the
Schulich School of Music of McGill
University.
Participants in the McGill University Bassoon Day admiring a new
Benson Bell bassoon.
CURRENT EVENTS
T
he third annual Bassoon Day @ McGill was
held at the Faculty of Music at McGill University in Montréal, Québec, Canada, on
April 2nd, 2005. Events took place throughout
the day, and bassoonists of all ages, including students, amateurs and professionals attended.
The events began in the morning with a master
class by Stéphane Lévesque, principal bassoonist
of the Montreal Symphony Orchestra, which focused on orchestral excerpts by Ravel, Stravinsky
and Tchaikovsky. Bassoonists who participated
in the class were Tania Lavergne from McGill
University, Emily McIntyre from the Université
de Montréal, and Sarah Gauthier-Pichette and
Julie-Christine Parent from the Conservatoire de
musique de Montréal.
The day continued with exhibits from Canadian bassoon maker Benson H. Bell and Montréal woodwind specialist Pascal Véraquin. Bassoonists had the opportunity to try B.H. Bell
bassoons and bocals, and Benson had once again
brought along his excellent profi lers which were
very popular. Pascal Véraquin had brought his
usual wide array of bassoon accessories, reeds
and cane, as well as Moosman and Schreiber bas-
46
THE DOUBLE REED
Articles
THE DOUBLE REED
47
Reflections and Advice for Young Oboists:
A Conversation with Eric Barr
Frances Estes
Dallas, Texas
A
Dorian, Eduardo Mata, Ibert, Escales
RCA, Mata, Ravel, Complete Mother
Goose, Valse nobles et sentimentales
Delos, Andrew Litton, Shostakovich Symphonies #10 and #5
Klavier, Chamber Music of Carl Reineke, A
World of Romance
During these sessions together, I have observed his unequaled and sincere humility. He
rarely listens to his recordings and radio re-broadcasts. He is working for today and not resting on
his laurels. I believe while others were “out in the
spotlight”, Eric was probably in the back room
trying to figure out the measurements of the fl are
of some shaper tip.
After thirty-three years in the DSO he has
quite a perspective. Hopefully this article affords
an opportunity for him to share his expertise.
Frances Estes (F.E.): How did you happen to select the oboe and what influenced you at that
early stage?
Eric Barr (E.B.): My parents were both professional musicians and taught music in the high school
I attended. My father loved the oboe and wanted
me to play it at least through high school. I suppose by then I had devoted so much time to the
oboe I did not feel very prepared to do anything
else. I think my concept of the oboe was probably
formed at an early age by the record collection my
parents owned-mostly Philadelphia Orchestra. In
my small hometown we rarely had live performances of visiting orchestras so I relied on these
recordings for my growing interest in music. So
this “French-American “ school of oboe playing
- Gillet, Tabuteau, de Lancie formed my concept
of a combination of tone with flexibility.
F.E. I know you are a graduate of Oberlin
ARTICLES
friend teasingly asked me (holding his hand
back of his head in a hurling position)
“What is the range of an oboe? About fi fteen feet?” If you are Eric Barr, principal oboe of
the Dallas Symphony Orchestra in the Meyerson
Symphony Center, the “range” of his oboe (now
we are talking sound) is to the very top blue dome
of the Meyerson.
For a long time I have wanted him to tell his
story for The Double Reed. He really is one of
our unsung heroes.
It is not his style to
give oboe camps or
seminars (although he
does teach at Southern
Methodist University).
He has, however, dedicated his whole life to
the oboe. He knows it
inside and out, as well
Frances Estes and
as gouging machines,
Eric Barr
shaper tips, reeds, and
instruments. At one time he had a machinist
manufacture a gouging machine, and also a Robinson-Barr shaper tip. These are no longer being
made.
Every year I make a pilgrimage to his home
for reed guidance. I ask him a question; he knows
the answer. He has set up my oboe and English
horn gouging machines, planing board, and keeps
them going. When I watch him doing reed work,
I realize he is an artist in cane. Every move and
scrape is so incredibly refi ned and certain, reflecting the hours he has invested in this pursuit. He
has the neatest reed desk in the universe, in fact,
the only neat one I have ever seen.
We have heard him play in the Dallas Symphony since l973. His sound has a presence that
reaches out and stays present - no on and off truly legato playing. It is an oboe tone with just
the right balance of highs and lows with flexibility for exquisite nuance.
His beautiful playing can be heard on DSO
recordings:
48
REFLECTIONS AND ADVICE FOR YOUNG OBOISTS: A CONVERSATION WITH ERIC BARR
Conservatory of Music. Tell us where you have
played during your career.
mally discover until you were confronted by it
in a piece of music.
E.B.: After Oberlin, I played four years in the
Marine Band in Washington, D. C. Then I was
in the Atlanta Symphony for two years. In 1973
I came to Dallas and have been there ever since.
I have played twenty summers with the Grand
Teton Music Festival in Jackson, Wyoming. I have
performed as associate principal oboe with the
Boston Symphony for 5-6 years in Tanglewood
and on various tours.
(2) Pianissimo attacks on low E, F, Fs , and even
G sometimes. These notes tend to have a sort
of “acoustical bubble” (for the lack of a better description) on the front of the note as it
emerges quietly. (I have found that the recent
regular model Lorée Royale oboes seem improved in this area.) They often do not speak
cleanly and resist at the last moment - scary.
Try starting them softly without the tongue.
Just start easily with the air and give them a
real test that way. They should start without
an “oink” on the front of the note. Oboists really need a good low E at the soft end. Many
important solos (sometimes not included in
many audition lists) start on low E at a quiet
dynamic - Shostakovich 6th Symphony, Bizet
Symphony in C, Tchaikovsky Capriccio Italien, Copland Appalachian Spring, Respighi
Pines of Rome, to name a few. These solos all
start quietly and alone. I probably am sounding a bit paranoid about the pianissimo playing but our stage here is very small and very
loud so making soft reliable entrances is a
must!!
Both the downward slur and the low attack issues mentioned above have been dramatically improved – I should say completely
resolved – when I replaced the newer Lorée
top joint with any of my older Lorée top
joints. This led me to measure the bore differences between old and new tops. The main
difference occurs from the trill keys to the
reed well. The newer top joints are considerably smaller in the bore. It is my opinion that
this poses problems when one closes the reeds
while playing in situations mentioned above
- (1) and (2).
ARTICLES
F.E. I know you have spent a lot of time analyzing oboes, gougers, and shapers. Would you share
some thoughts on these “equipment issues”?
E.B.: Regarding oboes: I will focus my observations on the Lorée oboe. Although I am well acquainted with most of the oboe makes being used
in America, I fi nd that for my concept of tone
with flexibility Lorée works best. I should qualify
that by saying my favorite Lorées are those from
the “C” series through the “G” series. It is still
possible to fi nd healthy examples of this vintage
to play successfully. I have used two “C” series
Lorées for the past ten years and recently found
a “G” series that I think is quite good. After the
“G” - “H” series they seemed to evolve away
from what is most satisfying to me. The earlier
oboes have a very strong core in the sound that
you can move in and out on to color the sound.
That core also creates nice articulation possibilities by affording a “tonal rebound” if you will,
that colors the articulation nicely. Although the
newer Lorées have a very luxurious sound on the
surface, I miss these other qualities as well as the
flexibility.
Here are a few critical tests that I might suggest to young players selecting instruments for
themselves.
(1) Ease of the downward slurs over the “break”.
Try these examples quietly and slowly to
make sure they work smoothly:
Many newer oboes I have tried have trouble
with this. It is not something you would nor-
(3) Rapid articulation in the low register. Because
the newer oboes are quite thickwalled, rapid
articulation in the lower register is often difficult (this is my theory). The lower end does
not “rebound” as quickly as they
once did. One is forced to wait for
the next note to speak causing a general clumsiness in the passage. Try
Etc.
some passage work that highlights
this area such as the Prokofiev Classical Symphony, Tchaikovsky Capriccio Italien, etc.
THE DOUBLE REED
One can always adjust a reed for these things
but it is better if the oboe behaves and is a help
instead of a hindrance. I fear less experienced
players will be seduced by an instrument that
has a big glamorous tone and a lot of “gopower” then be betrayed when they really
have to play in a refi ned and controlled environment. Many times, accidents are blamed
on “reed-problems” when it is really the oboe
being used intimately and revealing its acoustical “gremlins”. You know it is so often the
delicate moments that prove troublesome. It
really is good at these times to have an oboe
that you can trust.
Eric at the “neatest reed desk in the universe”.
make that inherent in the reed blank, while a too
narrow shaper will fight you for it along the way.
A wider shape at the throat with a rapid narrowing into the string and a very slight flare at the
top seems to work best for me. The arrangement
of these three areas is very crucial and delicate and
can easily produce too much of a good thing – i.e.
too much anchor and not enough buoyancy.
Regarding gougers: I think that my ideal way to
cope with the gouger issue is not one that would
prove popular. I have always purchased my machines directly from Robert Graf and set them up
for myself. John Mack started me on this by setting up my fi rst machine while I was a student at
Oberlin. When I got my fi rst job in the Atlanta
Symphony, Joe Robinson helped to show me
what was actually involved physically in doing
the work.
I don’t profess to know exactly and precisely
how to sit down and make myself a great gouger
blade. I do know how to work with a new Graf
machine and get myself to the point where a fortunate accident might happen. I can count those
career events on one hand.
This whole process is, of course, very time
consuming and frustrating, but has in the end,
offered me far better results than any “ready to
use” machine I have tried.
The gouger blades that I make for myself are
more pointed with flattened sloping sides than
the conventional “perfect-arc” type blades. This
gives the reed more buoyancy and color (and also
more longevity). It also affects directly the size
and shape of the reed opening. A crude demonstration of this is as follows: Take a sheet of paper, fold it in half, and set it on a table to resemble
a tent. Quickly press and release the top of the
tent. This “springy” action resembles the effect of
the reed - embouchure relationship - creating and
ARTICLES
Regarding shapers: I think I have tried almost everything available. None of them have really been
ideal for me. My favorite shaper was lost by an
airline company in Europe on tour six years ago.
It was an old Brannen X shaper – very out of fashion these days. I know that the narrow and very
narrow shapers have been popular for some years
now. I really tried to go that route for awhile but
never felt “right” with them. They are supposed
to keep the pitch up, but by the time I scraped out
enough cane to get a tone with depth and flexibility, they felt flat but still sounded high – a terrible combination! Conversely, when I switched
over to my old Brannen X, I did not have to go
so deeply into the cane for what I wanted and the
reeds all came out more up to pitch. A paradox
- but it works for me.
Recently, Laila Storch was kind enough to
allow me to make some reeds on several of Tabuteau’s shapers – ones that he professed to like.
That experience pretty much confi rmed my own
inclination toward a wider shaper. I have not,
however, found any “modern” shapers of the
wide variety that sing. They are just bulky without the necessary color.
Another thing I have against narrow shapers
is that I hear people playing them sharp or else
sounding like they are trying to play them down
to pitch which gives the notes a kind of “unsettled” color - similar to the effect created by giving
the tuning “A” while looking at the tuner trying
to make the needle hit center. I think that the
shaper should allow one to feel that the notes are
“settled” in place as you produce them at a nice,
warm, piano level.
I don’t like to be forced into over scraping my
way into proper placement. A good shaper will
49
50
ARTICLES
enhancing color and dynamic possibilities. In my
experience the conventional rounded blade does
not offer the same qualities.
On one level, a gouger should prepare the cane
so that one can make a decent reed. On another
level, it will imbue the cane with vibrating characteristics that will take one’s reedmaking and
playing skills to another dimension altogether.
There is a reason Tabuteau spent countless hours
making and trying different blade curves. His
“reedmaking” to my mind occurred on the inside
of the reed more than the outside. The scraping
just allows the gouge to release itself into action.
That, to me, is the effect of a great gouge. The
more one gets into the reed - the more it works
with you and stands its ground rather than merely providing an area for the air to pass through.
And I don’t think it’s possible to get a single radius - perfect arc - to accomplish all this. At least,
I have not seen it.
In summary, regarding these three important
items of equipment, having them all work for you
is not going to guarantee a musical result. But in
the right hands, it makes a long term commitment to the oboe a lot more manageable.
F.E.: Could you perhaps offer our younger readers some advice from the “other side” of the audition screen?
E.B.: First of all, I would recommend that any serious student of the orchestral repertoire purchase
the complete Beethoven Symphonies recorded by
George Szell and the Cleveland Orchestra. Also I
might add, the same artists’ recordings of Haydn,
Mozart, Schubert, and Schumann. For me, these
represent the highest level of performance in the
classical style. They should be thoroughly studied for all aspects of performance techniques; i.e.
tempos, articulation, intonation, ensemble, not
Eric at home in Dallas
to mention the excellence of the individual performers. I do not think there exists a better study
guide.
On a more practical note, don’t play a big new
reed. When you are alone in a hall, the dynamics
can often sound bloated. One needs the contrasts
from a reed that is easy to control. Then you can
open up on it for the louder dynamics. You don’t
want to spend ten minutes of audition time holding onto a big reed that felt great for ten notes in
the warm-up room.
Have your pianissimo playing really under
control. I have heard many auditionees play their
concerto movement very convincingly only to
turn around and repeatedly stumble in the more
delicate moments. Many players habitually practice above the dynamic levels that really matter in
everyday orchestral work.
I would suggest practicing something like the
second oboe part of the Brahm’s Haydn Variations theme (with repeats). Or - after warming
up and playing for awhile - sit in your chair and
don’t play at all for a full five minutes - then touch
a few low notes quietly. That kind of good control just makes you sound better in general as you
move around on the oboe securely and smoothly.
I remember a conversation with Alfred Genovese about Tabuteau’s performance of a certain
orchestral solo. “When Tabuteau fi nished playing that solo - it was played.” said Genovese. No
stone was left unturned. Every note was considered and joined to the next and the whole phrase
was given in a controlled and beautiful presentation. That kind of audition presentation can be
learned. It is just a matter of pushing yourself to
the next level rather than accepting the “conventionally attractive” approach. This will give one’s
audition a distinctive quality.
F.E.: Are there any other areas of improvement
that you might like to address?
E.B.: I would like to speak about articulation for
a moment. As young oboists, it is usually the last
technique we address. The whole reed-tone thing
is so daunting, it is no wonder. Speed becomes the
eventual issue and quality lags behind - usually in
the guise of a “thuddy” noise at the beginning of
the note. Although in auditions this sometimes
cannot be heard from a distance, it nevertheless,
creates the general ambiance of roughness. I seem
to be able to cure this in many students by having
THE DOUBLE REED
them move their tongue slightly to the right of the
center of the tip. This accomplishes two things:
the tongue only stops the vibration of the reed
rather than close the tip opening, and rapid articulation becomes easier and the buoyant quality is
immediate. This technique of light tonguing relies
on the position of the tongue being very close to
the reed and it should just touch the tip enough to
stop the vibration - no more. If this is mastered, a
beautiful, unfussy articulation is possible.
F.E.: Do you practice in a different way now
than in your early years?
F.E.: Reedmaking is always important to oboists. Would you care to offer some insights?
EB The subject of reedmaking is too vast for this
interview. However, a few observations might be
in order. Taking for granted the reader has a good
working knowledge of reedmaking, I would say
that comfort and security are paramount. This
breeds confidence and good production habits. One should actually feel physically “good”
breathing life into the oboe. That is not always
easy but it can happen when you fi nally get your
equipment to match your body (embouchure
etc.). For me, it means a rather small opening,
immediate response, and a little “thickness” in
the sound. A lot of this comes from the length
and thickness (or thinness) of the tip. I do most of
my reed fi nishing by blowing gently into the reed
without tonguing the note. This really shows response and initial sound quality at its fi nest level.
Tonguing the reed disturbs the reed too much to
determine the response factor. Finally after many
years of reedmaking, the consistent and serious
reedmaker will evolve the skill to make reeds that
are comfortable by doing less to them rather than
more. One sheds the extra baggage over the years
and learns what really works and the reedmaking process becomes simpler, and therefore, more
sophisticated. Of course, there are those days (or
weeks) when I feel like I don’t have any clue as to
what I am doing. The cure for that has often been
to stop and resharpen my knives and not waste
time scratching on cane that doesn’t vibrate. My
best reeds have always been the quick ones - not
the ones I “picked over” for an hour. In the end,
one has to learn to make serviceable reeds from
mediocre cane. Then when a good piece of cane
comes along, you remember what it is really like
to play the oboe. ◆
I asked two of Eric’s long-time colleagues to offer
comments about his playing and their experience
working with him.
“What can I say about a friendship that began in
the mountains of western North Carolina in the
summer of 1970 and continues to this very day?
When Eric and I began performing together in the
Brevard Music Center orchestra 35 years ago, it
was immediately apparent to me that I had met
a musical soul mate. There were no awkward
negotiations about intonation or musical phrasing. Unison passages were just that. Of course
we spent time figuring out the minor tendencies
of our respective instruments, but while doing so,
began to realize our common love for the details of
the music we were to live with for the rest of our
professional lives. When we both found ourselves
in the Dallas Symphony Orchestra four years
later, the friendship and respect we had made
blossomed. Performing with him during my tenure
with the Dallas Symphony was a most wonderful
experience that I shall never forget. He is a total
musician.”
-Stephen Girko, former principal clarinet, Dallas
Symphony Orchestra
“Working with Eric over the past 29 years has
been pure pleasure. Along with his wonderful
playing, Eric’s leadership, wit, and occasional demonic sense of humor have been appreciated by
all of us with the Dallas Symphony Orchestra. On
ARTICLES
E.B.: I work on very different things now than I
did when I started in the orchestra. Back then, I
practiced to learn all the repertoire with which
one has to cope when playing in an orchestra every day. The hall we played in did not require a
lot of control for the quiet levels of playing. In
our new hall, the stage is very small and quite
dry sounding, so I had to really change a great
deal to accommodate the new acoustic. Now my
main daily focus consists of a lot of reed work to
produce very soft attacks in all registers and provide the warmth and color that the stage lacks. Of
course, the technical issues of playing an instrument never go away, so I try to keep a modicum
of facility available, but it is no longer my primary interest.
51
52
a personal level, I will miss his unselfish friendship and rare integrity. Without equivocation, Eric
steadfastly follows the path of his beliefs and
values.”
-Gregory Hustis, principal French horn, Dallas
Symphony Orchestra
ARTICLES
Finally, Andrew Litton has been the Dallas Symphony conductor for the past twelve years with
Eric as principal oboe. He offered these reflections on their association.
“Eric Barr is a star principal oboe. He has been
one of the great musical assets of the Dallas Symphony and his retirement will truly signal the end
of an era. I will long remember his brilliant contributions to the Mahler and Shostakovich Symphonies that we performed over the years - all these
great oboe solos always delivered with just the
right amount of pathos and emotion. I also owe
Eric a great deal since it is partly his fault that I
became Music Director of the Dallas Symphony!
You see, he was on the Search Committee that selected me, so I will always think of Eric with great
respect and affection.”
-Andrew Litton, Music Director, Dallas Symphony
Orchestra
These two gentlemen share a major decision and
that is, the 2005-06 DSO season will be their
last. Two jobs very well done!
Frances Estes formerly played with the Fort Worth
Symphony and Opera Orchestras. Presently she
is a member of the Dallas Camerata Woodwind
Quintet and Les Amis Chamber Ensemble.
Eric prepares to demonstrate the range of the oboe
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53
A Study of the Concerto for Bassoon and String Orchestra
by Amando Blanquer Ponsada
James D. Hough, Jr.
Madrid, Spain
T
BIOGRAPHY
Amando Blanquer Ponsada was born in Alcoy
in the province of Alicante on the Mediterranean coast of Spain on February 5th, 1935. His
instrumental training commenced at the age of
ten years when he undertook the study of flute
and piccolo. During his early adolescence he was
admitted to the Banda de Musica Primitiva in his
native city of Alcoy. Under the tutelage of Fernando de Mora Carbonell, the band’s director,
and the noted Spanish composer and conductor Rafael Casasempere (1909-1997), the young
Amando Blanquer studied flute, horn, violin,
and piano simultaneously. His study of harmony
began with Professor Casasempere. He began
composing at the age of fi fteen when he wrote
his fi rst pasodobles and Moorish marches: The
pasodoble was the official marching step of the
Spanish infantry fi xed at the metronome mark-
ing of 160. These were performed in the Fiestas
of Moors and Christians where the great Spanish
symphonic bands played in traditional festive parades throughout the city. The income he gained
from these early compositions, in addition to remunerations from conducting various regional
symphonic bands, enabled him to begin his studies at the Conservatorio Superior de Música de
Valencia in 1954. At the conservatory he studied
piano with Leopoldo Magenti, horn with Miguel
Falomir, aesthetics and music history with Francisco León Tello and composition with Manuel
Palau (b. Valencia, January 4, 1893; d. there, February 18, 1967).
The teacher at the conservatory who had
the most profound and long lasting influence on
Blanquer was Manuel Palau. Palau studied with
Ravel in Paris and became his ardent disciple. As
such, his works were overflowing with impressionistic color and modality. According to Blanquer’s biographer Adrián Miró, Palau was the
“high priest” of Valencian music, albeit his contemporary Valencian colleague, Joaquín Rodrigo
(1901-1999), was more of a Spanish nationalist
composer rather than a regionalist.1
In 1958 Blanquer moved to Paris where he
continued his education at the Schola Cantorum
of the Sorbonne University studying composition
with Daniel Lesur (b. Paris, November 11, 1908,
died there, July 2, 2002) and orchestration with
Pierre Wissmer. In his biography on Blanquer,
Adrián Miró comments that both teachers opened
up new musical horizons for him. According to
Blanquer, Lesur was a man of extraordinary sensibility who emphasized clarity and disapproved
of easy effects and excesses. He never tired of
telling his pupils: “There is only one thing that
matters and that is that the music must contain
a lot of great feeling and expression. In order to
accomplish this it is of vital importance that the
composer not be inhuman, nor mechanical in his
compositional approach.”2
However, it was the influence of Olivier Messiaen that had the longest lasting and most pro-
ARTICLES
he following article is a reduced version of
my D.M.A. Document written in 2004 as
the fi nal requirement for the degree at Texas
Tech University. It was a great pleasure and privilege to be able to meet and interview Amando
Blanquer Ponsada who was of enormous help in
having supplied me with many essential documents pertaining to his Concerto for Bassoon
and String Orchestra. His oeuvre also includes
several chamber works for woodwinds and I was
looking forward to further collaboration with
him for the purpose of making them known to
the English speaking music world. This past July,
I received an e-mail from Maestro Blanquer’s
daughter, Maria Teresa, informing me of his sudden passing which was a great loss for the musical
world in Spain.
I am very grateful that his family has put his
library and complete works at my disposal so that
I can continue my research on the life and works
of this outstanding Spanish composer who was
recognized and celebrated throughout Europe
during his lifetime.
ARTICLES
54
A STUDY OF THE CONCERTO FOR BASSOON AND STRING ORCHESTRA BY AMANDO BLANQUER PONSADA
found effect in Blanquer’s musical thought. Blanquer attended classes in musical analysis with
Messiaen at the Paris Conservatory. “The great
liberty of expression which the great master of
Turangalila gave to his music, including serial
technique, new notational procedures, the application of exotic instruments and birdsong did not
diminish in any way his objectivity and clarity
in explaining and elaborating upon his detailed
analyses of the great classics: Couperin, Mozart,
Debussy, etc. Messiaen put great emphasis on
the enormous responsibility involved in being a
composer.”3
During this period he began to receive recognition for his early compositions such as the
Sinfonietta for Orchestra, for which he received
the National Award for Music in Spain in 1959,
and his woodwind quintet Tema y Variaciones,
for which he won an award from the Spanish
sector of the International Society for Contemporary Music during the 1960 World Festival of
Contemporary Music in Cologne.
When Blanquer fi nished his Parisian studies in June of 1962, he applied for the coveted
Prix de Rome. He wanted access to new musical
ideas and to live new experiences. He particularly wanted to be connected with the resurgence
of symphonic music in Italy, which included the
works of Malipiero, Casella and Maderna.
At the competition, in December of 1962, all
five candidates were asked to compose a “dramatic scene.” Blanquer’s composition so pleased
the jury that he was awarded the prize and spent
the fi rst year in Rome, studying composition with
Godofredo Petrassi at the Accademia Santa Cecilia. As expected of all winners of the Prix de
Rome, Blanquer spent the second year in various
European capitols known for their noble musical tradition such as London, Salzburg, Vienna,
Paris and Munich.4
Amando Blanquer is renowned all over Europe, both for his musical compositions and in
Latin America for his pedagogical publications.
His two pedagogical books are “Técnica del
Contrapunto” (The Technique of Counterpoint),
published by Real Musical, Madrid 1975 and
“Análisis de Forma Musical” (The Analysis of
Musical Form), published by Editorial Piles, Valencia 1989. Both books are being used in conservatory and university classrooms not only
throughout Spain, but also in many of the Latin
American countries as well. 5
When I traveled from Madrid to Valencia in
May 2004 to meet and interview Mr. Blanquer,
he had just returned from Maastricht, Holland
where a special concert had been given in his honor in celebration of his life and work. I am planning to introduce Blanquer’s woodwind chamber
music works to audiences in the United States.
They include three woodwind quintets, Tres Piezas Breves (Three Short Pieces) for flute, clarinet
and bassoon, two chamber concerti for diverse
instruments and a thus far unpublished Sonatina
for clarinet and bassoon.
Throughout his life, Blanquer has always
had a great love for wind instruments due to his
having grown up in the midst of the Valencian
tradition of symphonic bands. He has composed
for every conceivable genre including woodwind
quintet, string quartet, an impressive variety of
genres for symphony orchestra and symphonic
band, sonata, and opera. To date, he has composed nine concerti for solo instruments and orchestra. Blanquer’s concerti for solo wind instruments and orchestra are the Concerto for Bassoon
and String Orchestra (1962), the Concerto for
Horn and Orchestra (1976), always Blanquer’s
instrument of choice: (“He received a solo bow
for his horn playing in Wagner’s Siegfried Idyll at
the age of thirteen years at a performance of the
Banda Primitiva in Valencia.”6), Dedalo: Music
for Solo Clarinet and String Orchestra (1977)
the Concerto for Flute and Orchestra (1986), the
Concerto for Four Horns and String Orchestra
(1987) and the Concerto for Trumpet and Orchestra (1989).7
THE BASSOON CONCERTO
The idea of composing a bassoon concerto was
pure inspiration on the part of Blanquer and the
work was written without a commission. The
concerto was conceived in Paris during his fi nal
months of study there where he composed the
greater part of it, and fi nished in Valencia during the summer vacation period of 1962. The
piece was the composer’s fi rst solo concerto, and
Adrián Miró affi rms in his biography on Blanquer that it is now considered by Spanish musicologists to be one of the fundamental cornerstones of the composer’s work.8 In Part I of his
biography on Amando Blanquer, Adrián Miró
states: “I personally confess that if I were made
to choose between all of Blanquer’s concerti for
THE DOUBLE REED
“His creative talent had enabled him to mould
and fashion an outstanding contribution to the
bassoon repertory, but this was not enough. A
bassoonist had to be found who would bring to
performance fruition Blanquer’s first adventure
into the genre of solo concerto. At that time, due
to its extreme virtuosic demands, no Spanish bassoonist dared to play it. The work would not be
premiered until June 13, 1975.”13
The great French bassoon virtuoso, Maurice
Allard, with whom Blanquer had struck up a cordial friendship during his years of study in Paris,
premiered the work. On one of his visits to Paris,
Blanquer had met with Allard and told him of his
previously unperformed bassoon concerto.
Allard enthusiastically offered to perform the
concerto and it was finally given its world premier
on June 13th 1975 at a concert in a Romanesque
church in Ottmarsheim, Switzerland in collaboration with the Folia Orchestra of Basilea under
the direction of Valencian conductor Miguel de
la Fuente. Shortly thereafter it was included in
two other concerts played by the same performers in Guebweiler, Switzerland and in the concert
hall of the Strasbourg Conservatory during the
Contemporary Music Festival of Europe. In 1977,
the Parisian publishing house of Geraud Billaudot
published the concerto. Within just a few years
the work became part of the solo bassoon repertory of renowned bassoonists in France, Germany,
Hungary, Czechoslovakia, etc. This work has been
fully incorporated into the bassoon repertory in
Europe.14
The concerto has also been performed in various Latin American countries using the composer’s piano reduction, but heretofore not in North
America. The author has asked several extremely
well known American bassoonists as to whether
or not they are acquainted with the concerto, including Bernard Garfield and Loren Glickman.
Not one of them is familiar with the work. If
there have been any performances in the United
States using the piano reduction, they have been
undocumented.
Shortly after the concerto’s premier and subsequent performances by Maurice Allard, Blanquer was made a member of the Honor Committee of Les Amis du Basson Françaix (The French
Friends of the Bassoon Association). In appreciation of this honor, Blanquer published an article
in the association’s periodical (March 1976, p.5)
praising the bassoon’s various qualities and subtleties of expression for which the composer had
a strong predilection.
It would be difficult, if not impossible to express
in words the exquisite sonority of this beauti-
ARTICLES
solo instrument and orchestra, my maximum interest would be inclined toward this surprising
composition.”9
This welcome addition to the bassoon concerto repertory, albeit to date unrecognized in
the United States, goes to the limits of expression
of which the instrument is capable: “sometimes
emphasizing the low register in grotesque passages that are idiomatic of the bassoon, reminding
one of the grandfather in Prokofiev’s Peter and
the Wolf, or emphasizing technical virtuosity in
the extreme upper register.”10 Blanquer’s technically challenging writing for the bassoon’s upper
register in this concerto is very characteristic of
the French Jancourt system bassoon for which
the work was intended. At the time of its composition, the French Jancourt system bassoon was
the preferred instrument of choice in Spain. The
Heckel system bassoon was not introduced in
Spain until the 1970’s.
“The fi rst movement Allegro overflows with
luminously lively leaps from register to register.
The second movement, Andante sostenuto, is a
wonderful example of the composer’s ability to
express majestic lyricism and at times also great
pathos. The third and fi nal movement, Vivo, is
full of capricious humor. The concerto is truly
a masterpiece of contrapuntal complexity. Although the bassoon as soloist always shines forth,
the instruments composing the string orchestra
are treated as true soloists, far from being a mere
accompaniment.”11 The piano reduction, done
by the composer himself, is truly a challenge for
the most skilled virtuoso. “Be sure to remember
when you perform this work with the piano reduction that it is a concerto for bassoon AND
piano and that the two instruments are absolute
equals.”12
As previously stated, Blanquer began sketches for the concerto during the last months of his
stay in Paris and fi nished it during the summer
of 1962 in Valencia. The fi nal page of the score
reads: Valencia-June-September, 1962.
55
56
ful instrument, capable of the most diverse and
varied sonorous effects and able to adapt itself
to any expressive ambience: humor, melancholy,
passion, nobility, tenderness, coquettishness, ad
infinitum. Its adaptable sonority, robust low register, suggestive middle register and sensitive
upper register enable the bassoon to express the
most subtle nuances.15
ARTICLES
Adrián Miró, in Part I of his biography Amando Blanquer en su vida y en su música (Amando
Blanquer in His Life and in His Music) writes
the following about the concerto’s beginnings as
a performance piece in Spain:
It is unfortunate that a work of such potential importance for Spanish 20th century bassoon music
had a difficult beginning in Spain. The Spanish
premier of the concerto had been planned for January 24, 1980. It was to have been performed at
the Teatro Principal in Valencia by soloist Vicente
Merenciano, for many years principal bassoonist of the Radio-Televisión Orchestra of Spain in
Madrid. After his tenure in Madrid, Merenciano
returned to his native city of Valencia where he
taught at the Conservatorio Superior. In his youth
Merenciano studied in Salzburg with Rudolph
Klepac and is now hailed as Spain’s most outstanding teacher of the bassoon.
The orchestra to have accompanied him in the
Blanquer concerto was the Orquesta Municipal de
Valencia under the direction of composer/conductor Ernesto Hallfter (1905-1989). However, administrative delays on the part of the orchestra’s
management had not been counted on. The parts,
published by Billaudot, had been ordered so late
that they did not arrive on time for the rehearsals.
Halffter was furious over this incompetence and
the concerto had to be substituted by the Oracion
del Torero (Prayer of the Bullfighter) of Joaquin Turina. This was despite the fact that the programs
had already been printed, including an article
about the concerto by Blanquer in which he wrote
about the harmonic luminosity, the rich melodic
invention and most importantly the emotion and
vigor that give the work a prominent place within
the concerto repertory for solo bassoon. This deplorable circumstance delayed the introduction
of the work to both the public and musicians for
several years.16
The quote I have just made from Part 1 of
Adrián Miró’s biography on Amando Blanquer,
published in 1984, is not altogether accurate.
During a recent telephone conversation with the
composer, I asked him if the concerto had been
performed in Spain after the unfortunate cancellation of the January 24, 1980 Spanish premier.
He replied to the affi rmative, but could not remember off hand the date. He told me that he
would look into the matter, and several days later
his daughter and secretary, Maria Teresa Blanquer, sent me an e-mail with an attachment that
contained the program of the Spanish premier of
the work.
Amando Blanquer’s Concerto for Bassoon
and String Orchestra was fi nally performed in
Spain on November 23, 1983. The performers
were Vicente Merenciano, bassoon soloist and
Manuel Galduf conducting the Orquesta Municipal de Valencia. The performance took place in
the Salon de Actos de la Universidad Cheste (Valencia). The program, which also included Liadov’s Eight Popular Russian Songs and Dvorak’s
8th Symphony, was repeated on November 24th
in the Salon de Actos de las Escuelas Profesionales de San Jose (Valencia) and on November
26th in the Salon de Actos de la Sociedad Musical
Primitiva de Liria (Valencia).
Despite the delays, the concerto is now a standard piece in the Spanish National Conservatory
repertoire for bassoon, having been performed
both as a jury piece and in concert.17
ANALYSIS
Before presenting the outline of my own analysis, I would like to quote some of the concepts
expressed in Mr. Blanquer’s own analysis of the
work, which he so graciously gave to me when I
visited him in his home.
“The work is one of great harmonic luminosity and
rich contrapuntal invention. The formal structure
is obedient to that of the classical concerto, giving
to the soloist special liberty in his solo passages
that emanate directly from the material played by
the instruments of the orchestra, which are also
treated as authentic solo parts and not as simple
accompanists. The thematic material is based
on abstract sonorous ideas comprised of modal
scales of the composer’s own invention that combine in an ample range of melodic intervals of special classification in their registers and sonorous
THE DOUBLE REED
57
Program from the first performance of the Concerto for Bassoon.
elaborated. It is a prodigy of expression.
The third movement contains the idea of
a rondo, but not treated strictly as such. The
movement’s contrapuntal inventiveness, plus the
virtuoso displays of both the bassoon and the orchestra are what really count. There are allusions
to music heard in the first two movements, not as
thematic ideas, but rather as cyclic references
that give this concerto an exquisite compositional
unity.”18
Amando Blanquer: Concierto para Fagot y Orquesta de Cuerdas, Valencia 1962.
Solo Bassoon, four fi rst violins, three second violins, two violoncellos and one contrabass.
Piano Reduction: by the composer.
Published in 1977, Geraud Billaudot, editeur.
14 Rue de l’Echiquier 75010 Paris.
MOVEMENT I
Tempo: Allegro; Meter: 4/4 time; Form: Ternary
with Coda.
Form: ABA + Coda
A – mm.1 to 53; B – mm.54 to 95; A1 – mm.96
to 134; Coda – m.135 to end at m. 144.
ARTICLES
heights. These ideas stand out when developed
by the soloist and the orchestra. The orchestral
parts are also treated like authentic solo parts
and not as simple accompanists. The music in the
orchestra is developed linearly and in many cases
the chords are the result of the free play between
contrapuntal lines. In the work, one can observe
the improvisatorial fantasy employed in combining the elements of rhythm, melody, harmony and
timbre. The concerto expresses the sentiments of
subtle melancholy, tenderness and humor.
The first movement, Allegro, is majestic. Its
thematic ideas are in constant evolution, never
being presented in the same way twice. The
movement is divided into distinct sections, one for
each variant of the opening material. The varied
re-exposition of the first idea begins in m.96. The
re-exposition of the second idea appears in m.121.
A coda at m.135 takes the movement to its end.
Here, there is a passage in the strings reminiscent
of the intervals that were earlier entrusted to the
bassoon and a modal change in the second violin
to minor-major.
The second movement, Andante sostenuto, is in
lied form. Its middle section consists of a capricious scherzetto full of humor. The second movement seems to have been composed with the same
sentiments heard in the first movement, now ably
58
ARTICLES
EXAMPLE 1 MOVEMENT I PRINCIPAL THEME MM.6-20
THE DOUBLE REED
59
ARTICLES
ARTICLES
60
THE DOUBLE REED
MOVEMENT II
Tempo: Andante sostenuto; Meter: 3/4 time;
Form: Ternary ABA1+ Coda
A - mm.1 to 55; B - mm.56 to 114; Coda mm.140 to 147
The second movement is in modified song form.
The outer sections express great pathos and
yearning while the contrasting middle section is a
lively, humorous Scherzetto..
MOVEMENT III
Tempo: Vivo/ Meter: 2/4 with frequent measures
of varied compound meters/
Form: Modified Rondo Form-ABA1CDA11 Coda
Introduction-mm.1-15; A-mm.16-37;
B-mm. 38-45; A1–mm.46-53; C-mm.54-66;
transition-mm.67-80; D-mm.81-99;
Intro.Material-mm.100-115; A11-mm.116-145;
Coda-mm.146-188
POSTLUDE
informed me that a new catalogue of his works
is now in the process of being compiled and will
soon be ready for publication. During that conversation, he requested that I send him a copy of
the title page of this paper that will be included in
the new catalogue.
As previously stated, most Spaniards do not
immigrate to other countries other than going
abroad for vacations or studies. I believe this to
be the principal reason for Blanquer’s music being
almost unknown in North America. The majority of his travels have been to European countries
where he studied. After his studies abroad and
after an arduous examination process, he was
awarded the title of Professor of Counterpoint
and Fugue at the Valencia Conservatory in 1966.
In 1977 he assumed the post of director of that
institution. His life and career have been centered
in his beloved Valencia in service to educating the
young generation of Spanish musicians, to conducting various ensembles and, of course, to the
unceasing creation of his musical compositions. A
composer and pedagogue of such stature both in
Europe and Latin America should certainly have
the opportunity to be known and recognized in
the United States.
In conclusion, despite his greatness as composer, pedagogue and humanitarian, what was
most striking about Amando Blanquer’s character was his humility. During my interview with
him he told me: “I am just a laborer at my craft.
All I’ve wanted to accomplish in life is to be of
service to others through my music, teaching,
and most importantly, to do good for my fellow
man.”19 ◆
NOTES
1
2
3
4
5
Miró, Adrián, Amando Blanquer en su vida y
en su música. (Alcoy: Ediciones de la Caja de
Ahorros de Alicante y Murcia, 1984:. translated by the author.). p.20. (Adrián Miró, for
many years a professor of musicology at the
Sorbonne University in Paris, was born in
Valencia and is a lifelong friend of Blanquer.
They were classmates at the Sorbonne during
Blanquer’s years in Paris. Miró is now retired
and lives in the suburbs of Valencia.
Miró, p.36
Miró, p.38
Miró, pp. 56, 57.
Translations in English will be forthcoming.
ARTICLES
From what I have been able to ascertain, the
Concerto for Bassoon and String Orchestra by
Amando Blanquer has not previously been performed in North America. The rental performance department of Theodore Presser Company, King of Prussia, Pennsylvania, is the sole
rental agent for Billaudot in the United States.
They have informed me that the orchestral parts
have never been rented in this country. Unless the
concerto has been previously performed with the
piano reduction, my lecture recital in defense of
this paper will be the American premier of the
work.
To say that Amando Blanquer’s oeuvre is
enormous would be an understatement. The catalogue of his works, published by the Sociedad
General de Autores de Espana in 1992, and organized by Vicente Galbis Lopez contains works
in every conceivable genre including opera, works
for symphony orchestra and symphonic band,
choral works, various works for diverse chamber
ensembles and works for various solo instruments
in a variety of settings, including solo sonatas.
The 1992 catalogue lists 147 works, the reading of which makes one aware of the amplitude
and diversity of his oeuvre. The catalogue is now
twelve years old and Maestro Blanquer composed
a sizeable number of works since that date. In a
telephone conversation this past February, he
61
62
6
7
8
9
10
11
12
13
14
Miró, p.14.
Galbis López, Vicente, Catálogos de Compositores Españoles: Amando Blanquer. (Sociedad General de Autores de España). Madrid, 1992) p.15
Miró, p.46
Miró, p.47.
The French Jancourt System Bassoon was still
used exclusively both in France and Spain at
the time Blanquer composed the concerto.
Miró, p.48
Interview with Amando Blanquer
Miró, p.48
Miró, p.48
15 Article in the Journal of Les Amis du Basson
Françaix, March 1976, P.5.
16 Miró, p.49. (translated by the author).
17 In a recent telephone conversation with Igor
Melero, professor of bassoon at the State Conservatory of Music in Castilla y Leon, Spain,
and my former colleague in the Orquesta Sinfonica de Castilla y Leon, he assured me that
the Blanquer Concerto for Bassoon is a standard work in the bassoon curriculum in all
Spanish State Conservatories.
18 Blanquer’s analysis of the Bassoon Concerto
(translated by the author.)
19 Interview with Amando Blanquer
BIBLIOGRAPHY
Blanquer, Amando. Article in the Journal of Les Amis du Basson Françaix,. March 1976, p.5.
ARTICLES
Blanquer, Amando. Article and short analysis on the Bassoon Concerto that, according to Adrián
Miró, was included in the program notes for the cancelled January 24,1980 Spanish premier. Maestro Blanquer presented me with a copy of the article.
Galbis López, Vicente. Catalogue of Blanquer’s Compositions and Writings. Madrid: Sociedad General de Autores de España, 1992.
Hough, James D. Jr. Interview with Amando Blanquer. May, 2004.
Miró, Adrián. Amando Blanquer en su vida y en su música (Part 1). Alcoy, Spain: Ediciones de la Caja
de Ahorros de Alicante y Murcia, 1984.
THE DOUBLE REED
63
Friedrich Eugen Thurner (1785-1827):
The Triumphs and Tragedies of a Master Oboist
James Brown
Malmesbury, Wiltshire, England
This obituary of Thurner, written by his friend
and colleague Georg Döring1, appeared in the
Allgemeine Musikalische Zeitung, Leipzig, May
9th 1827 (vol. XXIX: 313-324,) and is here freely
translated by James Brown. The interpolations
made here are as chronological as possible, so as
to enhance Döring’s narrative.
F
ARTICLES
riedrich Eugen Thurner was born in Mömpelgard in the Duchy of Württemberg in
southern Germany, on December 9th 1785.
His father, Anton Thurner, was one of the greatest flute players of the time, often touring with
his flute-playing brother, Franz. The double concertos they performed drew the admiration of
all musical Europe. In Paris, for example, they
received what was then an enormous sum, 100
Carolinen, after their appearance at the Concert
Spirituel. While on a journey to see art treasures,
Anton, who came from Kassel, also gained an entrée there, via the famous oboe player Christian
Samuel Barth 2 , who at that time was employed in
the excellent band of the art-loving Landgrave.
It was at Kassel that Anton got to know Christine Bissdorf, Barth’s sister-in-law. In her he saw
a life-companion to his liking, and went on to
marry her. He was then called to Mömpelgard
where the local Duke, Friedrich Eugen of Württemberg, employed him as an administrative secretary and chamber musician. In addition to his
artistic virtuosity, Anton Thurner also possessed
a scientifically trained mind, and fi rst-rate drawing and writing skills.
The fi rst fruit of his happy marriage was
Friedrich Eugen, and perhaps because they
shared the same names, the Duke always showed
a special kindness towards the young lad, as did
his Duchess, who manifested similar compassion
toward another son born to the Thurners shortly
after Eugen. Eugen had only just reached his
fourth birthday when tragedy struck. After a
short illness, and only a few days apart, both of
his parents were suddenly snatched away by an
early and untimely death. The Duke and Duchess
now graciously extended their kindness to the
two orphans. On their death-bed, the parents
had appointed an uncle in Kassel as guardian, to
supervise the further education of the surviving
children. The ducal couple now bequeathed
a yearly pension via the uncle to pay for this
education. (This “uncle” was the father of Georg
Döring, the author of this obituary).
At such a tender age, Eugen now came
into the care of a man who passionately loved
music, and was himself a performer of no mean
distinction. Without doubt, it was this man who
pointed Eugen’s talent in the right direction,
leading him through his whole development
until he became an independent artist. The
young Eugen was scarcely settled in Kassel when
his tutor gave notice and left. Fortunately, he
seems to have been given the right fundamental
instructions to that time for the development
of his musical talent. Eugen’s lessons were
then entrusted to Herr Hersell, a most suitable
piano teacher and organist. After less than a
year’s tuition, he was able to instruct the lad in
the use of figured bass. Eugen made wonderful
progress. He was only just eight when he played
a Mozart piano concerto in public for the fi rst
time, with unusual skill and expression, causing
astonishment in his audience.
He now wished to learn to play a wind
instrument, and because he had his late father’s
instruments in his possession, decided on the
flute. To this end, he took lessons in Kassel from
a very good amateur flutist, a Herr Körner.
Here again, he made rapid progress, seeming to
have great natural dexterity and overcoming all
difficulties with ease. It was not long before he
was able to play in public on the instrument, and
everyone who heard him described him as an
artistic phenomenon. In particular, he showed
complete mastery of the then very popular
effect of the double-tongue. From early on, the
boy displayed a pronounced wish to be famous,
and it is reasonable to assume that his desire to
perform as a solo musician - just as his father and
ARTICLES
64
FRIEDRICH EUGEN THURNER 1785-1827: THE TRIUMPHS AND TRAGEDIES OF A MASTER OBOIST
uncle before him - guided his effort and aims, and
that this ambition was bound to receive ample
nourishment in his guardian’s home, where all
visiting musicians found generous hospitality.
Now aged twelve, it suddenly dawned on him
that there were so many excellent flute players
around that it might be difficult for him to earn
his laurels in this well-stocked field. Because
of this, he lost all enthusiasm for the flute,
maintaining with childish obstinacy that it was
a girlish and characterless instrument, and with
tears in his eyes, pleaded with his guardian to be
allowed to play another instrument. The uncle
agreed, leaving him with a free choice, and the
lad picked up an oboe, with the assertion that this
was the most difficult instrument of them all, and
only with such a challenge could he fi nd peace
of mind. Tuition on the oboe was immediately
started with one of the suitable oboists in
Kassel at that time. Even at this stage, the young
Thurner’s talent showed itself in an extraordinary
way. An excellent attack, a wonderful facility and
technique - all of these things seemed to assure
him of a great future. Indeed, the 70-year-old
organist of the cathedral, Becker, (who had been
a pupil of J.S. Bach in Leipzig), having overheard
the lad practising his studies, prophesied that
the 13 year-old Thurner would become one of
the greatest names. The teacher who gave young
Thurner his fi rst instructions on the instrument
that in later years would make him famous, came
to the conviction that in order to fully develop
a talent like this, measures had to be taken
that would advance rather than hold back his
progress. The boy’s guardian was conscientious
about where to send the young man so that his
artistic, spiritual and ethical development would
not be neglected.
Meanwhile, the Duke and Duchess of
Württemberg, his generous sponsors, had passed
on. Their illustrious daughter, the Empress Marie
Fedorowna, who had become the wife of Tsar Paul
of Russia, did not wish even one of the charities
started by her parents to remain unfulfi lled, and
after a request from Eugen’s guardian, she agreed
to maintain the allowance he had been receiving
until he reached the age of twenty. The one
condition was that at some time in the future, he
must visit Russia, to demonstrate to the Russians
the fruits of his study and diligence. Relying on
this support, and having used up most of the
legacy received from his parents, it was decided to
send Eugen to Munich, to the home of the former
Ballettmeister Crux, a distant relative. Crux
received him very kindly. Now began further
instruction from the famous Ramm3, a really
magnificent oboist, whose softness of execution
has probably never been surpassed. But this was
not his only tutor in Munich, as he was lucky
enough to be instructed in composition by the
much-respected Franz Danzi4, who was at that
time resident in the city. Eugen was still only a 16year-old when some of his earliest compositions
were heard for the fi rst time by a Munich audience.
He had composed two symphonies - in E f and D
- as well as the music for a ballet by Crux, Das
Urtheil des Paris: all met with general approval.
For the fi rst time, his name was prominent in the
public press, even in this publication (AMZ), and
the admirers of musical artistry began to have
great hopes of catching a glimpse of this shining
musical meteor.
AMZ V:338ff. Munich, during 1802-3.
The state of Music in Bavaria, notably in Munich.
Enough for the moment about concert music,
and to another phenomenon - to Herr Thurner
and his ballet music. This young musician, a pupil
of Kapellmeister Danzi, who has already had a
couple of small works performed, now steps forth
in the direction of the heroic ballet Das Urteil des
Paris [The Judgement of Paris]. Herr Crux, the
local Ballettmeister, had choreographed this ballet
some years before, in Paris itself no less, but this
was an entirely new version, very much altered,
particularly in its conclusion....
The composer, Herr Thurner, has not
neglected any aspect of his artistic skills in giving
these differing situations life and dignity, feeling
and sentiment. The most elegant playing from
all the instruments, sometimes moving along
together in large tutti passages; sometimes in
beautiful sections where they seem to imitate
each other in friendly rivalry, with solos for
particular players performed with a special charm
and with glittering ornamentation, the frequent
modulations - all of these display the talents and
gifts of the composer, holding the attention of the
listeners while at the same time guaranteeing
their enjoyment and pleasure. However, one could
readily discern that interest in the performance
markedly diminished, especially toward the end,
when the impressive scenery could not disguise
or prevent the emptying of the theatre. The
composer had perhaps recognised these failings
of the production, redeeming them with his own
THE DOUBLE REED
artistic contribution. A serious overture, with
one beautiful section following another; then
an exceptionally wasteful accompaniment of
trumpets in the first half of the ballet, resulting in
a weary, and finally idle orchestra.
We will not talk about this aspect further, but
rather much more of the requisites of good ballet
music, and how far Herr Thurner has the right
qualities to achieve them. There are some lovely
solos in Das Urteil des Paris, with elegant variations
for the orchestra’s virtuosi, and with some brilliant
playing from the orchestra as a whole. All these
are necessary requirements, and Herr Thurner has
done his utmost to achieve them.
We wish from our heart that Herr T. (who
shows so much talent and application) would look
a little more at the works of the great masters,
and build his own style for serious music with his
acquired knowledge of their example. If we had
not reason to believe that there is something
exceptional to anticipate from him, we would not
have spoken out in this way, and at such length.
Kapelle of Herr Bernard, a rich businessman in
Offenbach, and Thurner was engaged for the
position, on acceptable terms and very agreeable
circumstances. He passed many happy days in
Offenbach, thanks in particular to the personal
friendship of the worthy Bernard. But Bernard
suffered significant losses in his trading with
England and had to economise, leading one to
predict the eventual dismissal of his band. This
prospect persuaded Thurner to exchange his
pleasant stay at Offenbach for Brunswick, where
he had been offered the post of principal oboe in
the Duke’s orchestra.
AMZ XII: 238-9. 1810 New Year’s Day, Leipzig.
Herr Thurner, a member of the Royal Chapel in
Kassel, let us hear his oboe playing. He received
much applause, and rightly so, because he really
is a first-rate player. His tone is full and strong
without becoming at all strident or rough. He
knows how to use his skills, and in all the shading
of the tone colours, each is important. As a result
his expression is positive, agreeable and spirited,
and also graceful when appropriate. Likewise, his
execution is full of conviction and meaning, and
his passage-work is even and well-articulated.
The programme that he played was of his own
compositions, and these were admittedly rather
motley though not unpleasing, but in general
were very favourably written for the principal
instrument.
AMZ XII: 718-9. 1810 August, Kassel.
The state of Music in Kassel (Part I).
Herr Thurner came from the Brunswick Court
Orchestra (in 1807). He is a soloist without the
current customary bombastic, declamatory sort
of tone. I believe that with his quiet conviction,
Herr Thurner can be counted amongst the best of
the upcoming young oboe players. He has a very
pleasant, even and strong tone, which ranges
from the strongest fortissimo to the lightest
pianissimo, and with the finest of nuances. The
most treacherous difficulties are all executed
with lightness and a happy security. In the
passagework, his playing is warm and precise,
and his staccato is especially attractive. His
performance displays a wonderful sense of taste
and insight into the music - all of which qualities
are only ever possessed by the greatest virtuosi.
His compositions also show imagination, and a
talent which stands out in his instrumental music.
Herr Thurner has appeared here in Kassel during
ARTICLES
Many oboe compositions were completed in
Munich, though their creator approved only one
of these for public performance which survived
to be heard in later times. This was a Concerto
for Oboe in C major, with variations on a muchloved theme from Weigl’s Corsar. After staying in
Munich for three years and acting on the advice
of his guardian, he travelled to Vienna c.1806,
not to receive there any specific tuition but to
absorb what this imperial city had to offer by
way of theatre and music, all aimed at furthering
his personal development. Beethoven was there,
and the influence of his ubiquitous presence was
strongly evident in several of Thurner’s later
compositions.
The time had now come for the young
man to fulfi ll his obligations to his noble
Benefactress, whose generous support had put
him on a smooth path towards his main goal
in life. Before this, however, he went back to
Kassel to visit his foster-parents, making from
there the difficult journey to St. Petersburg. But
contrary to expectations - and on what grounds
has remained unknown - it transpired that the
Empress, although still of a kindly disposition
towards the young man, had decreed that all his
obligations to her were discharged. By chance,
he was suddenly able to turn this unexpected
dispensation to good account. As it happened, a
vacancy for an oboist was open in the flourishing
65
66
these last months both as oboe virtuoso and as
composer, and in comparison with so many others,
is to be respected and encouraged.
ARTICLES
AMZ XIII: 543. Kassel., during 1811.
Herr Thurner’s music for the ballets, Amyon
beschützt durch Neptun, and Un Jour à Paris,
about which I have recently written, is now at
least partly rewritten as a Divertissement, after
undergoing a new arrangement. His music is very
good: it received a spirited and well-deserved
reception, both from the general public and from
the experts.
AMZ XV: 134. 1812 October 18, Kassel.
The state of Music in Kassel (Part 2).
Herr Schunke was soloist in the Horn Sonata
by Thurner, with the composer at the piano.
Herr Thurner showed himself to be a lively and
accomplished pianist, something that the majority
of the large audience here assembled had
hitherto not known. The Sonata itself is a very
worthy piece, worked out with much art, industry,
and application; however, it was more for the
experienced listener than for the general public.
(Thurner’s Horn Sonata is reviewed at length in
AMZ XX: 474. July 1818).
AMZ XV: 12. 1812 December 14, Frankfurt.
Herr Thurner, chamber musician to the
Westphalian Court, gave a public concert here, of
which I am happy to be able to report that here
was a young, gifted composer and virtuoso. He
has already appeared in this publication and was
very favourably mentioned, and many local artists
could now see and hear for themselves, how
it was that Thurner had been engaged by Herr
Bernard in Offenbach as such a young, though
promising player. We heard first an Introduction
and Allegro from a symphony that he had written,
from which was recognisable that the composer
had a lively imagination, with significant - even
audacious - ideas, and excellent and workmanlike
instrumentation. But the facility of writing good
movements that then bind the work together
as a whole, (a factor that set standards for the
more knowledgeable music lovers), and in which
deep, lingering feelings well up - this is something
that is almost invariably missing from most
performances......
We heard him later in the programme, playing
an oboe concerto of his own composition. In this
respect, the concerto had similar moments of
strength, and the same merits as the symphony
that we had heard earlier, both of them were of
a very high standard. As a virtuoso, Herr Thurner
showed himself to be pre-eminent in his field.
His tone in the low register was strong and full,
almost reminding us of the Basset Horn, and in the
upper register he produced the tone and pleasing
sound of the oboe. It was when the passagework was unusually difficult and continuous,
that he made us realise that only the strength of
a virtuoso, such as he himself possessed, could
result in so accurate and precise a performance.
In this respect, Thurner offered each listener full
satisfaction, with the full tone from his strong
reed and via his technical mastery, by which he
played with such precision.
In the last item in this concert, Thurner
was joined by fellow oboist Josef Schmitt5, in a
performance of the Concerto for Two Oboes and
Orchestra by Fiorillo. It was really interesting to
hear these two virtuosi playing together. We
have mentioned Herr Schmitt’s qualities in this
publication (AMZ) before. His tone is weaker
than Herr Thurner’s throughout, though also
more pleasant, and certainly between the two is
perhaps the more appropriate. He played all the
passage-work very tidily and accurately, which
quality he had in common with Herr T, though
Thurner probably made lighter of the many
technical difficulties in the very similar solo parts.
However, neither player produced that rounded,
pleasing and accomplished performance with
which Herr Ramm in Munich so often enchanted
his audience. However, they will also probably
attain this through practise and experience assuming that discretion and modesty keep them
within bounds.
Meanwhile, we owe Herr Thurner a debt of
gratitude in that he has allowed us to become
acquainted with his talents and artistry: so it was
with great regret that his audience here was so
unusually small. Perhaps the December weather
did not allow it to be larger. He goes on now to
Karlsruhe, Strasbourg and Paris.
Becoming a young adult in Brunswick,
Thurner soon made the acquaintance of many, in
particular of the famous violinist Louis Spohr6 someone who had always managed to maintain
his position as a practising and creative artist. It
is certain that when the Napoleonic Westphalian
Kingdom was set up, the Brunswick Court
Orchestra was forced to move to the Court of
THE DOUBLE REED
His lifestyle was most agreeable. He lived
in the house of his guardian, and took full
advantage there of a quiet family life, and the
love and harmony that were so well established.
His closest friends were the composer Fesca, the
two Schunke brothers - of whom the younger
died much too young - and the flute-player Keller
from Donaueschingen. He also spent many
happy hours in the house of the Countess von der
Malsburg, who was a practising musician and
lover of the arts. Thurner was a virtuoso pianist
as well as an oboist. This other great talent led
him to many agreeable musical encounters,
and the close intimacy of this particular sort
of music-making. This meant that he now had
access to some rarefied musical circles. Thurner’s
talents as a pianist were confi rmed by one of
his pupils, Carl Schunke, whose scintillating
virtuosity on the horn during the previous year,
and his performances under both Hummel and
Moscheles in Paris, won well-deserved laurels.
It was during this seven-year residence in
Kassel, that the occasion fell of Thurner’s visit
to Frankenhausen in Thüringen to perform
in the Musical Festival there. Thurner, Spohr,
and Hermstädt were the three musicians who
displayed their mastery of German instrumental
music in a dazzling fashion. These great artists
had never been heard in one concert before, and
when Spohr, through his bewitching singing violin
and deep commitment enchanted everyone, and
Hermstädt 5, with his colossal technique on the
clarinet and soft delivery, stimulated the utmost
admiration, the imposing grandeur of all aspects
of Thurner’s performance made no less strong
and lasting an impression on the listeners. The
violent domination of Germany by the “Monster”
(Napoleon) was fated to fi nd its vengeful and just
demise. With it collapsed the house of cards that
was the glittering - but short-lived - Kingdom of
Westphalia.
AMZ XVII: 575. Kassel, midwinter 1814.
The state of music in Kassel.
In a concert he promoted, Herr Thurner - now
using the title Professor of Oboe at the Royal
Konservatorium of Music, Vienna - played one of
his own oboe concertos. The work is sensibly and
methodically constructed, and nowhere resembles
the average oboe concerto. His virtuosity on his
instrument is sufficiently well known for me not
to have to describe. The only thing - and I mean
the only thing - that I miss in his playing, is in the
ARTICLES
Kassel. This was a homecoming for Thurner, and
everyone who had heard him play there before
found that his skills had advanced markedly.
He handled his instrument with an audacious
grandeur that he had not previously had, and
would possibly never have again. His tone was
strong and full, but he could suddenly drop to
the sweetness of a melting pianissimo, while at
the same time maintaining something that was
spontaneous yet noble. He seemed to sweep
away all difficulties with a strength that no one
else could imitate. His cantabile passages were
soulfully delivered, and the magical bravura with
which he played his own compositions charmed
every listener.
He was frequently accused of being unfaithful
to the particular character of his instrument and
of giving it a strange sound, as he did not confi ne
his playing only to the soft and sweet. But his
detractors never understood that for music to
be alive, it must embrace all forms of emotion.
His exceptional ability contrasted sharply with
that of the dilettanti who only carried out the
absolute minimum of what was required on the
oboe, which Thurner treated as a source of rich
expression. But his critics failed to understand,
and, as expected, they blamed the artist rather
than admitting their own philistine perceptions.
It was not only as a soloist but also as an
orchestral player that Thurner was inimitable. It
is difficult to describe the journey on which he
always took you through every little solo, and
of the dramatic portrayal of the character of
the moment. This was perceived instantly with
grace, light and humour, or with gravity and
depth. Whoever lived in Kassel in those times
and remembers those solos in Boieldieu’s Calif
of Baghdad overture, Grétry’s Caravan to Cairo,
or in the ballet, will indeed never forget them.
He worked very hard during this period, a time
that he always described as the happiest in his
life. As well as composing several concert pieces
for the oboe, piano, and other instruments, there
was also a commission from the Intendant of the
Theatre to write music for the ballet, Socrates und
Alcibiades - which did not reach performance together with other characteristic masterworks.
But the ballet Zephyre und Flore and other
Divertissements were made use of. He enjoyed
life at Court and in the city, and during an illness
that prevented the Musikdirektor La Gaye from
carrying out his duties, Thurner took over the
post of Kapellmeister for a short time.
67
68
lower register, where the true sound of the oboe
is wanting. His tone there has for me a certain
stridency, and bears a likeness very much to that
of the shawm. If he could reduce this particular
quality without losing anything else, his playing
would certainly profit. He must also realise that
if at the concerts of the Ex-King of Westphalia
he were to stuff the bell of his oboe with cotton
wool, the improvement to his tone might surprise
him. Whoever hears Herr Thurner, realises that he
is one of the greatest oboists in the world. How
well this artist knows how to make something
out of a few simple notes! Here, the strength of
his sound carries one along with it, making you
feel that you are no longer confined in a small
space. For example, you only have to hear him
playing his part in the Calif of Baghdad overture
to understand this.
ARTICLES
Musicians, who tend to settle wherever their
skills are appreciated, have to migrate - and so,
Thurner too had to leave Kassel.
AMZ XVI: 228. 1814 January 31, Kassel.
In his final concert here, (in the Hessischen Hof,
Kassel), Herr Thurner played one of his own
oboe concertos and his Scène for the Oboe. As
Herr T is one of the greatest living oboists and
much esteemed, something that has been known
by common consent for a long time, it seems
unnecessary to remark also on this occasion,
that through his exquisite playing and tasteful
performance as virtuoso and composer, he made
his farewell most honorably. We greatly regret
this loss, and wish that he may enjoy everywhere
the welcome, love and encouragement that as an
oboist and as a person he so richly deserves.
His life now became almost nomadic, and it
pleased him to take his art into distant regions,
something for which his calling had prepared
him. He visited northern Germany, and then
across Ostfriesland to Amsterdam. Here, having
encountered an exceptional amount of good
will, he lingered on for several months.
AMZ XVI: 419. 1813-14.
The state of music in Amsterdam.
Herr Thurner, formerly oboist in the Royal Chapel in
Kassel, gave us a concert. He had become known
previously here through a concert during the Felix
Meritis season. He played beautifully in a concerto
of his own composition, but the loveliest playing
was in a Rondo and Variations on a Tyrolean Song.
He has a glorious tone, great dexterity and a finely
finished presentation. Especially remarkable is his
crescendo and diminuendo. Herr Thurner goes on
now to Vienna, where he has a teaching position.
His great talent brought forward many admirers,
who appreciated his spirit and his goodheartedness, and he made many new friends.
His letters speak with enthusiasm for the artistic
life of Amsterdam, and his later life there in the
saddest of circumstances made him realise that
this love of the arts in Amsterdam was no mere
figment of his imagination.
AMZ XVII: 376. Munich, during 1814.
Travelling musicians during the Season.
Herr Thurner, from the former Kassel Court
Orchestra, with his rather odd tone, could not
conquer everything for himself on this occasion,
largely as a result of his somewhat bizarre
compositions. The general impression itself
worked against him, despite his accurate and
audacious performance.
From here, he pushed further along the Rhine,
wandering beside the river as far as Alsace, then
on to Zürich before reaching Stuttgart. He found
here his old friends the Schunke brothers and the
flutist Keller, all three having become members
of the local Kapelle. He too might have reached
agreement on the envisaged engagement here, but
several mishaps - including a six-month throat
infection - frustrated this plan.
AMZ XVI: 695/6. 1814 September 21, Frankfurt.
On September 21, we had a concert organised
to delight us, given by Herr Thurner, Professor of
Oboe at the Konservatorium of Music in Vienna.
He played a concerto of his own in the first part of
the evening, and to finish it a Scène pour Hautbois
Principal, and Variations on a Tyrolese Song. This
valiant artist and Royal Chamber Musician of the
Westphalian Court, had played here in December
1812, and meanwhile, we have given our opinion
of him many times in these pages. We still have
much pleasure in noting that he has improved
in all aspects since then. His tone is now more
appropriate - the lower register not so strong
as previously, and now much more singing in the
upper. It gave us all much satisfaction, and he is
truly a master of his instrument.
THE DOUBLE REED
AMZ XVII: 61. 1814 October 15, Mannheim.
Herr Thurner, travelling through our city, gave us a
concert; the strength and clarity of the tone that
he gets from the oboe is unique, and he makes
light of those difficulties which he himself so
seldom encounters.
AMZ XVII: 236. 1814 December 17, Strasbourg.
Herr Thurner, formerly the principal oboist in
Kassel, gave us a concert in the Music-Lovers
Society’s Hall. He played one of his own oboe
concertos with exceptional skill, purity of tone
and security, particularly in the upper register.
Everything that he played was greatly admired
by all. He also played the oboe obbligato in a
Potpourri, based on the compositions of Dalayrac.
AMZ XVII: 255. 1814 December 19, Strasbourg.
The end of the concert came with the Calif of
Baghdad overture by Boieldieu. This pleased
everybody. Exceptionally surprising was the
little cadenza for the oboe, which Herr Thurner
- of whom we have already spoken - played
exceptionally beautifully.
An ill-starred journey now took him to Vienna,
where he had spent a happy youth preparing his
artistic career. There, he was overpowered by
a sudden misfortune, which is justly counted
among the most cruel to affl ict mankind.
AMZ XVII: 854. Early in 1815, Vienna.
The famous oboist Herr Thurner has been living
here for quite some time, and will shortly let us
admire his talent publicly.
AMZ XVIII: 19-20. 1816 January 28,
Vienna Musikverein.
Thurner was guest oboist with the Royal Bavarian
Chamber Musicians in the first performance of
Hummel’s Sextet, with the composer at the piano.
The players were: Dressler, flute; Thurner, oboe;
Rauch, horn; Wranitzky (senior), viola; Mark, cello;
Grams, double bass; plus the composer, piano.
AMZ XVIII: 120. 1816 January 29,
Vienna Kärntnerthortheater
On January 29, Thurner let us hear him in a
concerto of his own composition. Der Ruf, (a
local newspaper) advertised Herr Thurner as the
greatest living oboist. We cannot entirely agree
with this judgement. While his artistic ability and
his complete control over the unusual difficulties
of this obstinate instrument are indeed impressive,
nevertheless, the sweetness and charm of Herr
Westenholtz’s8 oboe-playing, and the overall
presentation of our own valiant Herr Czerwenka9,
makes them also very alluring.
He remained in Vienna for a long time:
his distant friends were unable to explain
why, considering that there were no attractive
prospects open for him there, and the rewards
in giving piano lessons for a talent such as his
were not satisfactory. One spoke of an unhappy
passion for an exceptional lady pianist that kept
him there. But there then came the shattering
rumours that he had gone mad and was confi ned
to a mental institution. There was no agreement
as to what had caused this terrible condition.
Strange and fantastic ideas were bandied about,
unsupported by evidence. In any case, they are not
fit for publication, as they involve persons who are
still alive today (1827). Once, when his body and
mind seemed quite sound, Thurner confided in
the author of this article, talking of these horrible
accusations. However, these cannot be retold
here, as there is some probability that they were
produced by his hapless visions and not by reality.
But to speak of his own impressions: he was of
the persuasion that he - a man passionately in
love - had been drawn into a malicious and cruel
game and had then become its pitiable victim,
a constellation of events which not infrequently
affl icts ambitious souls.
Thurner’s father had been born in Vienna,
and his son had found relatives here who had
the means and willingness to look after him. At
last, after much trouble and many difficulties, the
combined efforts of several distinguished doctors
succeeded in rescuing him from his anguished
derangement. They believed that the root cause of
his illness had been cured, and advised him to go
ARTICLES
AMZ XVII: 553 During the 1814 Season, Zürich.
Herr Thurner from Kassel showed us just what a
master he is! Part of this warm approval was that he
played a brilliant concerto of his own composition,
and profited thereby. But in the second half of the
concert he spoilt it all for himself by playing a
Potpourri, based on local Swiss and Tyrolese Airs,
which entirely antagonised his audience, although
he was trying to pay them a compliment. But we
have already had enough of this sort of music in
Switzerland, and could have dispensed with the
time spent in the cattle feeding-stall.
69
70
on a diverting and artistically inspiring journey,
which would also build him up, as he had grown
very weak. He would also benefit from distancing
himself from a city which just might be keeping
his sad memories alive.
ARTICLES
AMZ XIX: 434. 1817 May 29, Berlin.
Herr Thurner from Kassel has already played
between the acts in the opera on the 23rd. He
gave us a Spanish Rondo for oboe and orchestra,
of his own composition. He gave us another
concert on the 29th, playing a concerto in C minor
for oboe - with a Russian rondo - which he had
written, together with a Divertimento for oboe
and orchestra, receiving much well-deserved
applause. The characteristic liveliness, both of his
compositions and of his playing are well known.
Toward the autumn of 1817, then, Thurner
travelled from Vienna, via Prague and Leipzig to
Frankfurt am Main. Here was now living Georg
Döring, his second oboe in Kassel, who had
recently given up the oboe in order to follow a
literary career. After a separation of five years,
Döring could not hide the fact that this once fi nelooking man, whose mere appearance always
provoked some interest, now looked very much
older than his age. There was an uncertain look
in those fiery eyes, indicating perhaps that a full
healing of his mental illness was left unfi nished,
and under the pressure born of despair, that his
spirit was broken.
It was now a very good and positive time for
the Frankfurt Opera, in that Spohr, Thurner’s
friend from Brunswick days, had taken over the
direction himself. He was offered a position in the
orchestra, which was nothing short of ideal for
him, for he was looking for a peaceful existence,
and longed to be working again among friends,
so he took it on. As an oboist, Thurner seemed
to have lost some strength, but gained more in
expression, and his latest compositions breathed
a deep feeling of melancholy that his earlier works
had lacked.
AMZ XX: 55. Early 1818, Frankfurt.
Another outstanding musician is with our local
orchestra, probably won for us by Herr Spohr namely the famous oboist Herr Thurner, whom I
admired in Prague last Spring, and very beautifully
he played too. He is the foremost living exponent of
this difficult instrument. He played a composition
of his own, an attractive and genially presented
Spanish Rondo, which gave him the opportunity to
show us his great dexterity, his resonant delivery,
and all those other admirable features that are a
characteristic of a true virtuoso.
AMZ XX: 724/5. 1818 September. Frankfurt.
Last week we had a marvellous concert from the
oboist Herr Thurner. How beautifully he played!
His fullness of tone, the sweetness of it, the
authority of his technique, and the deeper feeling
in his performance all of which led to a wonderfully
rounded whole. He played his own compositions:
all had a strong foundation and were played with
much spirit.
From Louis Spohr's Memoirs, Pt II: 62-65.
(published by Longman, London 1865)
During 1818, Thurner, a player on the hautboy
came to Frankfurt. I had previously known him
in Brunswick where we had both been members
of the orchestra. Already at that time, Thurner
distinguished himself greatly by his skill upon that
instrument, and also in his talent for composition.
During his subsequent travels, particularly while
in Vienna, where he lived for some time, he had
acquired the reputation of being the first of living
hautboyists. However, many strange stories
circulated of his residence there; of a liaison with
a lady of rank, whom he afterwards accused of
having given him poison in a cup of coffee. A
criminal inquiry was instituted, where it was
found that he had periodic fits of insanity, at
which times he was possessed with the idea that
he was being poisoned. These tales concerning
him, which passed from mouth to mouth, imparted
to him a certain interest, and his concerts were
on that account most numerously attended.
I found him on his arrival in Frankfurt - for he
immediately paid me a visit - more earnest and
reserved, it is true, than when I was previously
acquainted with him in Brunswick, but otherwise
remarked nothing whatever peculiar in him. As his
playing pleased very much, and as I knew that his
orchestral skill was very great, and given Georg
Döring’s retirement from the orchestra (who now
thought of devoting himself entirely to authorship)
a vacancy had occurred for a hautboy player, so
I proposed at the next sitting of the theatrical
committee that Thurner should be engaged as first
hautboy. The salary he asked was not unusually
high, and therefore the proposition met with no
opposition, even Mr. Leers (the treasurer) himself
making no objection.
THE DOUBLE REED
alone with him (the children being at school)
she was about to call in a seamstress, who was
sewing in the adjoining room; but scarcely had
she risen than he also sprang up and clasped
her in his arms. With a shriek of terror, she tore
herself from his grasp, rushed into the adjoining
room, and succeeded in closing and bolting the
door before Thurner could follow her. There was,
unfortunately, no other exit from this room, and
the terrified women found themselves besieged
by the madman. His endeavours to force the lock
they met by pressing against the door with their
whole weight, and all the strength terror gave
them. They succeeded, for after a few vain efforts
he abandoned his purpose, ran down the stairs
and out of the house. Dorette now felt about to
faint, was obliged to send for the doctor, and was
kept to her bed for some days. After my return,
her assurance of again being under my protection
soon restored her, and thus this circumstance was
fortunately attended by no worse results. For the
unfortunate young man, this last violent outbreak
of his malady resulted in his discharge by the
directors of the theatre.
There was a growing opinion among his friends
and acquaintances, expressed many times, that
distraction and a frequent change of locality
had often allowed some sort of remission of his
condition to take place. He himself understood
this, and remembering those former happy
sojourns in Amsterdam, resolved to visit this
artistic city for a second time. While on the
journey, he was asked to give a concert or two en
route, but alas, his pitiful mental illness struck
him down again.
AMZ XXII: 344. 1820, May.
A Health Report from Amsterdam.
The oboist Herr Thurner came here about a year
ago to give a concert, but unfortunately he was
hindered from doing so by a severe illness. Happily,
he recovered from this misfortune after some six
months of debility, and is now well enough again
to resume his artistic career. We wish very much
that we might be able to keep this remarkable man
among us; this could be through an engagement
in our Concert series, easily possible, or in one of
our theatres. He would certainly be a credit to any
orchestra.
Having endured several relapses, he (just as
before) managed to regain his faculties. He gave
ARTICLES
Thurner took his place then in the orchestra,
and proved a real acquisition by the tasteful
execution of his soli and by his fine tone. After
some time, however, a remarkable melancholy
was observed in him, which gradually increased
so much, that at length not a word above a
whisper was to be heard from him. Nevertheless,
he always performed his orchestral duties with
punctuality, so that I hoped that these periods of
sadness would pass without further results. Soon
however, they assumed the character of complete
aberration of mind, in which the fixed idea of the
Vienna poisoning again evinced itself. It was
now full time to remove him from the orchestra,
to prevent the possibility of some unpleasant
occurrence. Döring, a near relation of Thurner’s,
undertook to provide for him and get him cured,
and was engaged also to temporarily fill his place.
The malady soon increased with such violence
that it was necessary to have him constantly
watched by keepers. One evening, nevertheless,
he succeeded in escaping from them scarcely halfclothed. During a violent snowstorm he wandered
about in the open fields half the night, nor did he
return home until morning, covered with a thick
crust of snow and ice. As he had immediately
gone to bed in this condition, the doctor found him
bathed in perspiration and in a violent fever. This,
though, brought about a crisis, for from that day
he got better, and was soon able to resume his
duties in the orchestra, with fully restored sanity
of mind. I remarked, nevertheless, that for about
eight days in every month, and always with the
moon’s increase, he was visited by a slight return
of his melancholy madness, which announced
itself beforehand by a fixed look and a certain
feverish restlessness. With Döring's assistance, I
managed to keep him away from the orchestra for
a few days, until his more cheerful look bespoke
anew his recovery.
In this manner, Thurner performed his duties
up to the summer, and it was hoped that by
degrees, he would also be cured of these slighter
attacks. In the latter part of this time he again, as
formerly, called upon me now and then, and even
spent the evening with me, behaving in a friendly
manner towards my wife, and showing interest in
the children. Later, when I went to Mannheim, it
did not at first seem strange to Dorette, my wife,
to see him come into the room. However, when
he sat down opposite her without a salutation
or even a word, she began to feel uneasy, and
was at length seized with fear. As she was quite
71
72
one more concert, and his talent shone through at
its most brilliant. This was in Amsterdam in the
autumn of 1820, playing in a Concerto for Two
Oboes by Winter, together with Flad, another
master oboist from Germany.
ARTICLES
AMZ XXIII: 406/7. Late 1820, Amsterdam.
At the beginning of the winter season, Herr
Flad, the first oboe of the Royal Bavarian Court
in Munich gave us a concert in the local German
Theatre. We heard a concerto of his own, wherein
his beautiful, pleasing tone and refined, tasteful
presentation left nothing to be desired. Herr
Thurner joined him for the second half of the
concert, in a Concerto for Two Oboes by Peter von
Winter, which resulted in an exceedingly beautiful
performance, played in a masterly fashion by
both of these great artists. We had never heard
anything of this kind before.
Flad persuaded him to play the Winter
concerto again the following April in Munich,
in what was to be his fi nal appearance. But a
short time later he became very downcast, and
several days thereafter was gripped by repeated
outbreaks of insanity of such vehemence, that this
poor and much pitied man had to be committed
to an asylum.
Thurner spent the last seven years of his
life in Amsterdam. He had been taken to the
Buitengasthuis, a mental institution on the
outskirts of Amsterdam. His mental condition
gave him some periods of remission, often for
weeks at a time. One of his doctors in particular,
W. G. Bakker, recognising his gifts, arranged
that in these brief intervals from his illness, he
be given proper clothing and a table to sit at in
a room to himself. So it was that he continued
composing in relatively civilised comfort, and
was even able to enjoy the company of Herr
Bakker’s circle of friends. He composed a
number of pieces in this last period of his life,
dedicating and presenting them to his doctors,
in recognition of the generosity and humanity of
their treatment of him in the institution. Alas,
none of the compositions from these days seems
to have survived. Thurner suddenly became
very ill in March 1827, and despite all efforts,
the end came on March 21st. His funeral took
place in Amsterdam on March 25th 1827 at
the Leidse Kerkhof, attended by his friends and
former colleagues, including many well-known
musicians, all of whom came to celebrate the
life of a great musician - a life of triumph and
tragedy.
GEORG DÖRING
In 1827, when Georg Döring originally wrote
this obituary, most of the pieces below were still
in print. It is not possible to give a complete list
of Thurner’s compositions, many of which were
written while on tour around Europe. Many were
given away to admirers - without his retaining a
copy - and to those who had entertained him with
their hospitality on his travels.
The significant works he produced and
published, up to his last period Amsterdam, (and
their current locations where known) are:
Opus 31
Overture in D major.
Opus 32
Divertissements, for oboe and
guitar - originally oboe and strings,
published by Hofmeister, Leipzig
(19th Century). In the guitar version,
the fi rst of the three movements is very
similar - though more embellished - to
the third movement of Op 39, called
Oboe Concerto 2 in Hofmeister’s list,
(though not in Döring’s obituary). The
theme in the second movement of the
Divertissements is the Tyrolean song
which caused so much indignation in
Zürich - (see AMZ XVII: 553). The
third movement has really extensive
variations on an anonymous theme,
perhaps from one of Thurner’s
discarded ballet suites.
Opus 33
Quatuor Brilliant for oboe and string
trio (Hofmeister).
Opus 35
Scène pour le Hautbois, for oboe and
small orchestra.
Opus 38
Rondo Boleros for oboe and strings
- a really advanced tour deforce.
(Hofmeister).
Opus 39
Oboe Concerto no. 2 in C major. This
has variations on a theme by Weigl
as its third movement (Hofmeister).
All the material of this concerto is
available from the Free Library of
Philadelphia, Edwin A. Fleisher Music
Collection, no.871.
THE DOUBLE REED
Opus 40
Duo for Two Oboes, arranged after
a Mozart piano sonata. The slow
movement of these Duos appears in
Oboe Duets Book 2, The Chester
Woodwind Series JWC55356 (ed:
Brown 1981), still in print.
Opus 45
Grand Sonata Brilliante, oboe
and piano. (Kistner, Leipzig, 19th
Century) Zimmermann, Frankfurt
ZM 2208 (1980), still in print.
Opus 56
Trio for Oboe and Two Horns
(Notturno) (Kistner, Leipzig, 19th
Century). This was written by Thurner
to be played by himself and the two
horn-playing Schunke brothers. The
Andante movement from this Trio,
arranged for oboe and piano, appears
in Oboe Solos Book I, The Chester
Woodwind Series JWC55087, (ed:
Brown 1976), still in print.
OTHER PERFORMERS AND
PERFORMANCES OF THURNER'S WORKS:
Bauer (?-1831)
1825, Kassel, Rondo Boleros.
Diethe, Johann Friedrich (1810-1884)
1840 Jan-23 Leipzig, Rondo Boleros.
Kley (?-1866)
1829 Jan-22 Kassel, Rondo Boleros.
Kretschmar, Johann Gottlob b. 1809
1836 Dec-26 Dresden, Rondo Boleros.
Malík b.1800
1822 Mar-01 Prague, Scène pour le Hautbois.
Peschel, Alexander
1823 Dec-23 Dresden, Divertissements.
Prüller, Anton
1827 Mar-23 Prague, Oboe Concerto.
Ramesch, Franz
1827 Feb-12 Prague, Scène pour le Hautbois.
NOTES
1
Georg Asmas Döring (1789-1833). As
Döring’s father had been appointed Thurner’s
guardian when both of them were still very
young, Eugen and Georg must have grown
up together. They fi rst met professionally in
1812, when the latter was appointed second
oboe in the Court Orchestra at Kassel, where
Thurner was fi rst oboe. The following year,
Thurner left Kassel to embark on a solo
career, and Döring was promoted to take his
place. In 1817-18, Döring moved to Frankfurt
to take up an earlier acquaintance with Spohr,
at the same time abandoning the oboe for a
literary career, even writing the libretto for
Spohr's opera, Der Berggeist. He remained
close to Thurner during his troubled times,
and would have been the natural choice
to write this obituary, as no one knew him
better. Georg Döring composed only an
Opus 1 - significantly called Boleros - Rondo
Espagnol for oboe and orchestra - a spirited
and attractive piece available in a modern
edition from June Emerson Edition, no. 373
(ed: Brown).
2
Christian Samuel Barth (1735-1809). Founder
of a Danish oboe dynasty, carried on by his
sons. He was a former pupil of J.S. Bach in
Leipzig. First oboe in the Court Orchestra
in Kassel 1769-86, he then went to work in
Copenhagen, retiring in 1797.
3
Friedrich Ramm, (1774-1812). One of the
greatest of all oboists and for whom Mozart
wrote his Oboe Quartet.
4
Franz Danzi (1763-1826) A well-known
composer and teacher of composition, with a
considerable interest in and output of pieces
for wind instruments.
5
Josef Schmitt. A Frankfurt oboist who was
born before Thurner and outlived him. He
was a follower of Ramm, and the dedicatee of
Döring’s Opus 1, Boleros- Rondo Espagnol.
6
Louis Spohr, (1784-1859) A great violinist,
composer and Music Director, whose life
seemed to be intertwined with Thurner and
Döring, so frequently does his name appear
with theirs.
ARTICLES
Other Works:
Oboe Concerti in C-minor (with Russian rondo)
and in F major.
Sonata for horn and piano. (published)
Symphonies in D and E f. (both published)
Ballets: Amyon beschützt durch Neptun
Un Jour à Paris
Socrates und Alcibiades
Das Urtheil des Paris
Zephyre und Flore
73
74
7
Johann Simon Hermstädt (1778-1846) was
also associated with Spohr, and gave the fi rst
performance of Spohr’s Alruna Variations for
clarinet and orchestra in 1810.
8
Friedrich Westenholtz (1778-1840) was
yet another giant of the oboe. Although he
was a court musician to the King of Prussia
in Berlin, he spent much of his time as a
concerto soloist with a big repertoire. He also
composed several Concertante pieces, taking
the oboe’s compass right up to top Af.
9
Joseph Czerwenka (1759-1835), a Bohemian
oboist from a family of oboists, was at one
time a member of Haydn's orchestra at
Esterhaza, but came to Vienna in 1794,
staying there for the rest of his life. He went
from one important post to another, and was
rightfully known as a master of the oboe.
ACKNOWLEDGEMENTS
My grateful thanks are due to Wolfgang Beese for
his invaluable and crucial assistance in translating
some of the more eccentric idiosyncracies of the
German text.
My thanks are also extended to three dear
friends: Marc Stotijn, Francien Adamse-Scheffer,
and Machteld Scheffer, all of whom helped me
greatly in researching Eugen Thurner's fi nal days
in Holland.
***************
ARTICLES
***************
CODA. The ground in which Thurner was buried
was used as a graveyard only between 1660
and 1860, when it was absorbed by the City of
Amsterdam. The site was closed, the gravestones
removed, and the plot redeveloped as building
land for the growing city. There is now no
trace of its former use. For the season 1953-4, I
played with the Netherlands Opera Orchestra in
Amsterdam. I cannot imagine what my emotions
might then have been had I known that Thurner
was lying in what had been the graveyard of the
Leidse Kerk, only 200 metres from where I was
sitting, night after night. ◆
©2005 by James Brown
All Rights Reserved
This edition prepared for The Double Reed by Michael
Finkelman, with the assent of Mr. Brown.
CONTINUED
ON NEXT PAGE
THE DOUBLE REED
75
ARTICLES
Cover of Thurner’s Opus 32
ARTICLES
76
Cover of Thurner’s Opus 35
THE DOUBLE REED
77
Beveling: The Magic of Insignificant Splinters
L. Hugh Cooper (Edited by Mark Avery and Mark Clague)
Ann Arbor, Michigan
I.
ARTICLES
Beveling represents an often ignored but important element of reed design and adjustment.
Understanding why and how to contour the reed shape by utilizing these seemingly insignificant
splinters of cane is crucial to crafting successful reeds.
A. Bevel Functions:
1.
Contrary to popular thought, the bevel’s primary function is to modify (if needed) the
shape’s contour to correctly position the reed’s mechanical fulcrum, thus ensuring that
the resultant reeds will possess both reverse wire function (an indispensable characteristic
of all truly superior reeds) and tip openings that resist collapse (see Illus. I, “Relative
Strengths of the Various Mechanical Fulcrums”).
2.
A secondary function serves to produce stable hermetically sealed tubes and reed/bocal
junctures by creating mechanically secure “butt” or “lap” type side-seam closures (see
Illus. IIa, “Bevel Variants Compared”).
3.
The bevel may also be utilized to reduce the interior static volume of the reed tube, a
structural equivalent to using a narrower shaper. (With certain very narrow shapers,
beveling may be counter indicated; however, the resultant tube stability and hermetic
integrity will be compromised.)
4.
A rather subtle fourth bevel contribution helps reinforce the normally desirable laterally
damped degenerative/regenerative curve tip function by mechanically stressing the two
reed blades’ four linear lines of inflection.
B. The amount and method of beveling depends on the final reed proportions desired and the
shaper being used. Individuals must experiment with the bevel contour until assured that the
reed’s mechanical fulcrum is correctly placed at or slightly behind the first wire position or
all subsequent reed making efforts will be to no avail (see Illus. I, “Relative Strengths of the
Various Mechanical Fulcrums” and Illus. IIa–b, “Bevel Variants Compared”1).
C. Insightful manipulation of the bevel’s length and depth, coupled with varied distribution
of wire-pattern placement on the shaped cane, offers a consistent, accurate method for
modifying shaper contours. In modifying the shape utilizing wire placement, the relative
distance between the wires (the wire pattern) remains the same, but this pattern migrates up
and down the shape. Locating the wire pattern closer to the tip produces a wider resultant
shape, while placing the wire pattern closer to the back produces a narrower resultant shape.2
Such flexibility, when combined with selective beveling, offers the possibility of producing
functionally similar reeds from a variety of shapers, or conversely of producing a variety of
dissimilar reed types from a single shaper.
1.
Both of these pedagogic advantages are especially effective when using 127mm (5”)
gouged cane, for such longer cane offers the liberal option of 6.35mm (1/4”) of wastage
that may be trimmed in any desired proportion from the back and/or tip ends of the
shaped cane, the practical equivalent of owning many shapers. (Shorter cane lengths may
be used to similar advantage; however the resultants will be more limited in scope.)
2.
Intelligent utilization of such flexibility in shaper resultants creatively liberates both
teacher and student alike, without incurring the expense of purchasing a multitude of
costly shapers.
D. The following explanations and sketches specifically depict a methodology used in producing
the traditional symmetric (four-sided), 30° down from vertical, full (100%) depth bevel (see
Illus. III). The precise angle of the bevel should actually vary somewhat in response to the
differences in the natural curvature of individual sticks of cane, the gouge contour being used,
and the degree to which the reed tube is rounded out.3 This variability probably explains
the small discrepancies in bevel angles recommended by various accomplished reed makers.
BEVELING: THE MAGIC OF INSIGNIFICANT SPLINTERS
ARTICLES
78
II.
Rather than attempting to cope with these minute variables, the author recommends using a
30° (1/3 of a right angle) bevel angle as both rational and easy to conceptualize when teaching
and making reeds. In addition, because of angle complementarity the same 30° angle may be
applied to both symmetric (down from vertical) and asymmetric (up from horizontal) designs
(see E and F below and Illus. IIa–b, “Bevel Variants Compared”).
E. The following specific personalized bevel contour and method is dictated by the author’s
version of a parallel scrape (tip-taper4) Knockenhauer type reed, derived from the back of
a long, wide shaper using 127mm (5”) long, gouged cane with the over 6.35mm (1/4”) of
wastage all being trimmed from the tip end of the reed blank. Change any of the above
variables and the reed bevel would of necessity have to be modified in a compensatory manner.
This bevel is produced as follows:
1.
With a penknife or sapphire fingernail file, begin a shallow bevel at the collar (shoulder)
position with the beveling tool held at a 30° angle to the lower inner edge of the vertical
side-axis of the shape (see Illus. III, “Traditional 30º, Full, Four-Sided, Symmetric
Bevel”);
2.
Gradually deepen the 30° bevel until reaching full (100%) depth at the second wire
position;
3.
Continue the bevel at full (100%) depth and consistent 30° angle until reaching the back
of the shape then;
4.
Carefully duplicate the identical bevel contour on the inner edges of all four sides of the
shape.
5.
Note: a common symmetric four-sided beveling error is to bevel at too horizontal an
angle on all four sides, resulting in opposing channels on the interior of the reed and a
leaky tube/bocal juncture (see Illus. IIa.3, “Common Symmetric Beveling Error”).
F. An alternate type bevel produces equally acceptable results and is in some form used successfully
by many prominent reed makers. This bevel can be described as an asymmetric (two-sided),
30° up from horizontal (or 60° down from vertical), variable depth (0% to 100%) bevel.
1.
Its basic structural difference is that only one opposing edge is beveled on each half of
the tube, and at a 30° angle up from horizontal rather than down from the vertical axis
of the shape (see Illus. IIb).
2.
This asymmetric beveling on only two opposing edges of the tube produces “lap”-type
tube seams. These overlapping closures are less stable than the symmetric “butt”-type,
however, they have the advantage of automatically ensuring reasonably consistent
directional lateral slippage.
G. With the use of either type bevel (or combination thereof) achieving the same tube dimensions
and fulcrum function on shapers with narrower throat and tube widths would require starting
the bevel further toward the butt-end of the reed on the shape and/or reducing the bevel
depth.
Bevel Applications:
A. There are, of course, countless other individual bevel variants in use. For example, one
respected reed maker creatively combines both type bevels to maximize the more positive
elements of each. This unique bevel originates at the collar (shoulder) position as a shallow
two-sided asymmetric bevel, thus ensuring consistent, and in this case desired, lateral
slippage. It then increases gradually in depth to the second wire and finally converts to a foursided symmetric bevel from slightly before the third wire position to the back of the shape.
This combination design improves tube stability, reverse wire function, mechanical fulcrum
strength, and hermetic integrity of the tube closures as well as reed/bocal junctures.
B. An equally renowned artist reed maker who uses a very narrow shaper removes all wires from
an unbeveled and unwrapped reed blank, ideally after one year of seasoning, then with wires
removed, opens the butt end to sand-in a short, full, four-sided symmetric bevel at the back of
the already formed previously unbeveled tube. He then rewires (reversing the wire twist sides),
wraps, opens the tip, and finalizes the reed. Although somewhat labor intensive, the short,
accurate four-sided symmetric bevel produced by this method improves reverse wire function,
mechanical fulcrum, tip opening strength, and creates a hermetically tight juncture between
reed and bocal. All this from a little 9 to 10mm-long bevel, without encouraging, in this case,
THE DOUBLE REED
III.
79
ARTICLES
unwanted excess lateral slippage.
C. Which way represents the correct way to bevel? They both do, for these two outstanding
professionals have, like many others, intelligently utilized the magic power of the bevel’s
“insignificant splinters” to solve problems inherent to all reed making. Simply put, their
excellent reeds would not be their excellent reeds without their excellent individualized
bevels.
Most student and some professional reed makers could profit from a personalization of their bevel
contour by manipulating one or more of the following bevel variables.
A. Overall Bevel Depth:
1.
Beveling of any kind always reduces both the outside diameter (O.D.) and the inside
diameter (I.D.) of the tube at the point of the bevel. Reducing the size of the shape and
its resultant tube as follows:
2.
Assuming a fully rounded tube, constructed from concentrically gouged cane, controlled
selective beveling of either the four-sided symmetric or two-sided asymmetric variety will,
when using the recommended 30°/60° complementary bevel angles, predictably reduce
the resultant reed tube diameters (both O.D. and I.D.) by an amount approximately
equal to 75% of the gouge thickness, at the point of bevel, times the percentage of bevel
depth (0% to 100%), also at the point of bevel. For example,
3.
Assuming that a given shape used with unbeveled 1.2mm thick concentrically gouged
cane produces a fully rounded 6.2mm O.D. and 3.8mm I.D.5 structural arch at the
position of its second wire:
a. Using a maximum 100% bevel depth would reduce the tube diameters by an amount
roughly equal to 0.9mm (75% of 1.2mm times 100%). The resulting diameters at
the point of the bevel would be approximately 5.3mm O.D. and 2.9mm I.D. This
would be the smallest possible tube diameter achievable at this point from this
shape.
b. Using a partial bevel depth of 50% would reduce the diameters by approximately
0.45mm (75% of 1.2mm times 50%). The larger resulting tube would have a 5.75
O.D. and a 3.35mm I.D.
c. Using an even smaller bevel depth of 25% would reduce the diameters by even
less, specifically 0.225mm (75% of 1.2mm times 25%), producing a tube with a
5.975mm O.D. and a 3.575mm I.D.
4.
Changes in any or all of the tube bevel variables will affect the resulting tube diameters.
Obviously, the bevel’s influence on reed tube size and contour is very real, predictable,
and subject to individualized control ad infinitum.
a. The individual’s challenge is to correctly modify (if needed) the proportional bevel
length and depth contours to provide compatible mechanical fulcrum strength,
consistent reverse wire function, stable tip aperture openings, and hermetically
secure tube/bocal closures.
b. Section III: B (below) may offer aspiring reed makers sufficient insight and
directionality to ensure success in their individualized quest.
B. Bevel Length and Proportionate Depth:
1.
Originating the bevel and/or increasing its proportionate depth further back on the
tube (toward the butt end) results in overall larger “reed cavities,” stronger mechanical
fulcrums, improved reverse wire function, and more open tip apertures less prone to
collapse.
a. These structural changes impact the three major components of acoustic “Reed
Contribution” as follows: “static volume” (the inner capacity of a reed’s cavity
at rest [sans bocal overlap]) is increased; “vibratory contribution” (the relative
amplitude [vigor] of blade oscillation) is also increased; while “damping” (acoustic
friction) of the reed blades (both lateral and linear) is reduced (see L. Hugh Cooper
and Mark Avery, “Reed Contribution,” Journal of the International Double Reed
Society. 13:3 [1991], p. 59).
b. Such modifications in reed contribution (all else being equal) will broadly affect the
reed’s response spectrum as follows: Lowered pitch center, improved low register
80
ARTICLES
IV.
V.
response, less secure high register; and a more vibrant open projective quality of
sound, capable of producing broad flexible timbral, dynamic, and pitch nuance at
the expense of requiring greater control through the use of a pro-active embouchure/
breath relationship.
2.
Originating the bevel and/or increasing its proportionate depth further forward on the
tube (towards the collar) results in smaller overall reed cavities, weaker mechanical
fulcrums, diminished reverse wire function, and less open tip apertures more prone to
collapse.
a. These structural changes will in general affect the three major components of reed
contribution in manners similar in nature but opposite in effect to those cited in
section III, B, 1, a (above).
b. The reed’s response spectrum will in general also be affected in a similar but opposite
manner to those cited in Sec. III, B, 1, b (above), producing higher pitch reeds, less
responsive low register, more secure high register, and a less vibrant, more subdued
(damped), homogeneous, easier to control, but less projective quality of sound.
c. Note: the author recommends avoidance of the paradoxic and misleading use
of “brighter” versus “darker” terminology when describing variance in tonal
characteristics. For, in reality, the “brightest” sound consists predominantly of
raucous low frequency partials, while the “darkest” sound is practically devoid
of vibrant lows. In fact, the latter’s soft, subdued, phantom fundamental is
perceived primarily through the internal heterodyne effect occurring within man’s
physiologically creative non-linear hearing mechanism. See L. Hugh Cooper, “The
Four Major Physiologic Parameters of Man’s Music System.”
Final Resultants:
A. Mixing the above bevel variables in conjunction with changes in the location of the wirepattern placement, forward (larger reeds) or back (smaller reeds) on the shape, allows excellent
results to be obtained with almost any given shaper.
B. Bevel modifications combined with wire-pattern shifts thus offer a more economical and
flexible approach to shape variety than buying a multitude of shapers or grinding down an
existing one.
C. At most it will only take a few experimental pieces of cane to find a combination that really
works for you.
D. When you find the right combination, rays of enlightenment will break through the dark
clouds of innocence.
Conclusion:
A. You now know the why of beveling.
B. It is up to you to devise the specific how.
C. Now go do the right thing!
NOTES
1
2
3
4
5
Note: the proportional relationships of tube diameters shown in Illustrations IIa and III are somewhat
exaggerated to visually enhance the bevel’s marked effect on reed tube size and contour.
For a discussion of the effects of relative wire placement, see Other Observations — Wire Functions and
Placement, which includes a discussion of pre-Etruscan structural arches and first-class Archimedean
levers in reed design.
The rounded out 30° bevel angle given here represents a practical pedagogic approximation; however,
assuming a fully rounded reed tube constructed from 2.54cm (1”) diameter concentric gouged cane,
a 27° angle would be geometrically more precise.
Lou Skinner’s terminology; see James R. McKay, The Bassoon Reed Manual: Lou Skinner’s Theories
and Techniques (Indiana University Press: 2000).
The difference between the outside and the inside tube diameters is always twice the thickness of the
gouge at the point of measurement.
THE DOUBLE REED
81
ARTICLES
First wires ideally function as fulcrums of an Archimedean, First-Class (teeter-totter
like) lever system. As such, when properly constructed, any vertical change in the
height of the reed tubes structural arch, occurring behind the first wire position,
should result in a directionally opposite vertical shift at the reed tip aperture. (Basis of
reverse wire function)
The structural arch heights are measured with a vernier caliper immediately in front of
the first and second wires and as close as practical behind the third.
The arches may be varied by changing the shape, arching the 1 st and 2 nd wires more
or less, and varying the placement and depth of the bevels.
Also note that the full and partial parallel, as well as reverse double wedge sketches
are depicted with both collars and parallel scrape blade contours representing a
normal configuration for these fulcrum types.
ARTICLES
82
THE DOUBLE REED
83
ARTICLES
ARTICLES
84
THE DOUBLE REED
85
The Experts’ Expert–Oboists / Double Reed Masters
Who do the professionals revere among their contemporaries
and forebears? Martin Cullingford asks eight oboists to
nominate their Experts’ Expert.
(Reprinted with permission from The Gramophone, June 2005)
HANSJÖRG SCHELLENBERGER
GORDON HUNT
I was inspired by Terence
MacDonagh’s playing when
I was young, and was then
so fortunate to be a student
of his. His legacy is immense. So many of today’s
players studied with him. If
you listen to his wonderful
phrasing, seamless legato
and intensely vibrant singing tone in the Beecham
NICHOLAS DANIEL
Janet Craxton. Her cruelly early death at the age
of 52 robbed us of many
great years of her playing
and teaching. Sadly it is
horribly hard to fi nd recordings of her, but when
one does it’s the Holy
Grail of musical integrity
on the oboe. The recent re-release of Janacek’s
Mladi on Decca fi nds her glowingly inspired,
and her Britten Metamorphoses, recorded
under the composer’s
guidance, put paid to
all the terribly exaggerated and contorted
versions on the market. Her impeccable
sense of taste and style
alongside staggering
commitment and control mark her out as a
real English Original.
Re-releases please!
ARTICLES
Without any doubt Heinz
Holliger. He was the oboist
who reinvented our instrument. He was a big challenge
to all of us young players because he proved that oboeplaying is not limited only to
some orchestra and chamber
music activities but is an instrument with a fullscale soloisdc quality. His technical skill was far
beyond any other oboist of his time. He found
tons of pieces in the libraries for our instrument
that nobody knew of. He presented pieces like
the Zelenka sonatas, of which we did not know
and which are of the same level of composition as
some pieces by Bach.
RPO recordings, on
which he was principal oboe, or the
Mozart discs with
the London Wind
Soloists, you cannot
fail to be captivated.
He has been a role
model for me and for
so many other oboists that it is difficult
to over-estimate his
influence.
ARTICLES
86
THE EXPERTS’ EXPERT–OBOISTS / DOUBLE REED MASTERS
SARAH FRANCIS
NEIL BLACK
It has to be Leon Goossens.
His natural musicianship
and unique tone, supported
by superb breath control,
could hold you spellbound.
He believed in purity of outline and phrasing, that you
should play the oboe like
a good violin, and that it
should sound effortless. In his recordings of the
Schumann Romances with Gerald Moore and the
legendary performance of Mozart’s K370 with
the Lener Quartet,
he reveals the music
and you are almost
unaware of the superb technique. It
was his magical
sound and his ability
to vary the tone colour that inspired me
to take up the oboe.
Jiří Tancibudek. He was the
dedicatee of the Martinů
Oboe Concerto - we have so
few fi rst-rate pieces for the
oboe, and this is one of them.
He was principal of the Czech
Philharmonic before he left
in 1947 for political reasons,
with a wife on one arm and an
oboe under the other, and made his whole career
in Australia. The school of Australian oboe-playing owes him absolutely everything
- practically every
oboist in Australia
has been either his
pupil or under his
influence. He was an
extraordinarily nice
man. I think he was
an enormous influence for the good.
ALBRECHT MAYER
FRANCOIS LELEUX
Ingo Goritzki is the one
whom I admire and respect
in particular as an artist
and a colleague. I owe him
a lot and I feel fortunate to
have had the chance to benefit from his experience and
musicality. His exemplary
recording of Bach Sonatas
is an absolute favourite of mine. The Partita for
Oboe solo might turn you into somewhat of an
addict of Bach’s music. It’s so inspiring
with all the virtuosity and delicacy of
the fi ne ornamental
structures. This atmosphere of pure vitality
which marks the artistry of Ingo Goritzki
makes me become
light-hearted by mere
listening.
Maurice Bourgue is the oboist who has done the most
important work with pupils
today - the greatest oboists
of the younger generation
are his pupils. He recorded
a wonderful Vaughan Williams concerto. He always
looks for what is behind the
music, what makes the music so special, and is
able to communicate
it to his pupils. It’s
his style, his sound,
everything. He has an
amazing vibrato, with
a very particular way
of making a phrase
that is totally in the
present. I would also
mention Pierre Pierlot and Heinz Holliger from the older
generation.
THE DOUBLE REED
DOUGLAS BOYD
Maurice Bourgue - because
of his extraordinary musicianship, his wonderful
phrasing, his tasteful use
of vibrato. But the most
extraordinary thing about
him was that he didn’t seem
to have any limitations. He
could absolutely fi ll a concert
hall with his sound and have this extraordinary
dynamic range and incredible colour. It just
completely opened my
eyes that there was the
possibility to do this
on the oboe. He’s one
of the great instrumentalists of the latter half
of the 20th century.
My other big influence
was Janet Craxton, a
wonderful, wonderful
teacher with fantastic
integrity.
I very much enjoyed reading your tribute to the
world’s great oboists (June, page 46). However,
I must hasten to put in a good word for our outstanding oboists on this side of the Atlantic. I am
speaking, of course, of the artists of the American school of oboe playing which was founded
by Marcel Tabuteau, principal oboist of Philadelphia Orchestra from 1915 to 1954. Tabuteau created a unique sound (and style of reed-making)
that evolved from the French oboe school of his
day.
Besides teaching such greats as John de Lancie (his successor in the Philadelphia Orchestra),
Tabuteau’s sphere of influence, and especially his
principles of musical phrasing and expression,
extended well beyond his oboe students at the
Curtis Institute of Music in Philadelphia. (He
taught wind classes and string ensembles there,
too.) Tabuteau’s pupils went on to occupy the fi rst
chairs of most of the major American orchestras.
John de Lancie, who taught at Curtis on Tabu-
teau’s retirement, continued the evolution of
the American school of
oboe playing. His distinguished pupil, Richard
Woodhams, is now the
Philadelphia Orchestra’s
principal oboist and oboe
professor at Curtis.
It is my duty (and my
pleasure) to report that
Tabuteau’s legacy is very
much alive and doing
amazingly well. I am one of the lucky Philadelphia Orchestra concertgoers who weekly experiences the delights of Mr Woodhams’s eloquent
musicianship. Through his impeccable artistry,
Mr Woodhams has continued the evolution of
the American school of oboe playing. And he is
carrying on the Tabuteau-de Lancie tradition as
he teaches and inspires the latest generation of
oboe students at the Curtis Institute of Music.
Many of them (including the incredibly talented
Liang Wang, newly appointed principal oboe of
the Cincinnati Symphony) have already moved on
to positions in our major orchestras!
Doug King
Pennsville, New Jersey, USA
ARTICLES
Follow-up letter reprinted with permission from the
The Gramophone, August 2005:
GREAT OBOISTS
87
88
BIRTHDAY TUNE FOR A BIG BASSOON
Birthday Tune for a Big Bassoon
ARTICLES
Mike Curtis
Roseburg, Oregon
THE DOUBLE REED
89
Benjamin Britten’s Temporal Variations:
A Study of Analysis and Interpretation
Amari Pepper Barash
Assistant Professor of Music, Washington State University
T
throughout; the theoretical discussion will
be peppered with pedagogical considerations,
culminating with some
thoughts for students
in their quest to develop greater interpretive
acumen through careful study of an accessible
work in the oboist’s canon.
Theme and variations forms, in general, are
excellent for training students inexperienced in
analysis to seek connections between sections of
music at many levels: motive, phrase, period, and
entire variations; the form itself is analytically
simple and therefore less likely to intimidate students than, say, a complex sonata form with an
ambiguous recapitulatory moment and a lengthy
coda. The Temporal Variations, in particular, create a compelling form in themselves. The piece’s
nine variation movements are arranged in a largescale arch, as far as melodic material goes, and
the pattern of key areas and their relationships is
quite compelling as well (see Ex. 1):
The significance of E f in the piece is immediately clear; as a key area in five of the nine
movements, E f provides an important harmonic
basis for the development of the variations. As
one might expect, the pitch itself is also primary
in the theme. Looking further at the key areas,
one can see that G - arguably the main key of the
piece, as it begins and ends it - is, in some ways,
trumped by E f. Nearly all of the intermediary
movements - that is, those departing significantly
from the melodic cell presented in Variation I and
developed in Variations V and IX - are in E f. (The
appearance of D Major seems almost obligatory
in the penultimate variation, serving as a domig minor
| theme: foreboding
Ef Major
|
Ef Major
| precise, military, decisive
g minor
|
V.
Commination
g minor to ef minor
| theme: fierce, doomed
VI.
Chorale
ef minor
|
VII.
Waltz
ef Major
| expressive, rhythmically free
VIII.
Polka
D Major
|
XI.
Resolution
G Major
| theme: triumphal
Example 1: Key areas, arch form, and expression in Britten’s Temporal Variations
ARTICLES
he intersection of theory and practice, in
any field, is a fundamental and fascinating
issue. For performers, often, it is primarily
about score study and the way in which our understanding of compositional processes informs our
playing. This article will focus on Britten’s 1936
Temporal Variations and how score study has informed both my interpretation of the piece and my
teaching.
Why the Temporal Variations? Several of
the work’s characteristics distinguish it as a particularly engaging teaching piece: its compelling,
shockingly simple and persistent motif; its transparent variation form; and the unusually wide variety of expression, color, and dynamics called for
throughout, for example. Unjustly ignored in the
literature, the Temporal Variations provide an ideal forum for teachers and students at all levels of
theoretical sophistication to discuss form, motif,
harmony, and interpretation. Additionally, certain
passages - and, indeed, entire variations - are simply impossible for the oboist to perform without
an excellent grasp of the piano part. The oboist is
truly obligated to consult the score in order to produce an accurate (let alone a convincing) performance; this presents the teacher with a perfect opportunity to encourage familiarity with what lies
beyond the oboe part and, as a result, to help forge
deeper artistic connections between oboe students
and their collaborators.
In the pages that
Theme
follow, we will exam- I.
ine formal, motivic, II.
Oration
and harmonic aspects
III.
March
of the Temporal VariaExercises
tions and trace them IV.
ARTICLES
90
BENJAMIN BRITTEN’S TEMPORAL VARIATIONS: A STUDY OF ANALYSIS AND INTERPRETATION
nant for the triumphal Resolution, but we shall see
later that it, too, holds importance in the melodic
scheme.) E f even ends the powerful Commination
(Variation V), the centerpiece of the work.
In order to discover the reasons for Britten’s
choices of key areas, novice students should perhaps be encouraged to seek the connections between key and melody. In this piece, a remarkably
simple and persistent melodic cell consisting of an
ascending half step and an ascending minor sixth
permeates each variation (see Example 2).
An appropriate first task for a student learning
the Temporal Variations might be to determine on
his or her own what comprises this basic motivic
cell and to discover through practice, score study
and rehearsal how the cell figures throughout the
piece. Throughout the nine variations, the focal
half step takes on a variety of characteristics; it
is consistent, though, in that the first pitch (Cs,
in Example 2) is always dissonant and always
emphasized. The harmonically consonant second
pitch (D, in Example 2) is deemphasized each time
until the conclusion of the aptly titled fi nal variation, Resolution. The D is, despite its deference to
Cs, of great importance: as shown in the reduction below (Example 3), D forms something of a
pedal tone in the motivically identical first, fifth,
and ninth variations. It also serves as the dissonant pitch of the pair when the cell moves up one
half step to D, E f, C f in the latter phrases of the
variations.
Continuing to explore the ubiquitous func-
tions of the half step throughout the piece, students should take an interest in the construction of
the material in the piano part as presented in the
Theme. In addition to supporting the dominance
of the half step in all registers, the left hand affects
the basic harmony that underlies much of what
follows in later variations (see Example 4). Note,
also, that the implied triad harmony is centered
around an E f minor triad; while the expectation is
that the final dyad will resolve from G f and C f to
G and B f, it remains unresolved.
The half step and its partner, the minor sixth,
make captivating appearances throughout the
variations, contributing humor, irony, and a variety of other characters to the individuality of each.
While by no means exhaustive, I hope to present
a few salient examples in each variation to which
students’ attention may be directed in their efforts
to analyze the piece.
The second Variation, the Oration, resembles
in its construction an operatic recitative. While
both the oboe and piano parts contain repeated
half steps, the speech-like variation focuses primarily, at first glance, on arpeggiated triads. When
one’s attention is drawn, however, to the slurred
pairs of pitches in the oboe part, one finds a curious trend: almost wthout exception, each slur joins
pitches separated by one half step. In measure 30
and following, the oboe part more directly states
the half step + minor sixth motive so prevalent in
the Theme. The Oration is one of the more difficult variations to analyze, for the appearance of
Example 2: The primary melodic cell as presented in the Theme
Example 3: Reduction of the oboe part of the Theme, Commination, and Resolution
Example 4: Reduction of the piano part of the Theme,
strengthening the half step and setting the stage for the essential key of Ef
THE DOUBLE REED
91
ARTICLES
to the score. (And what will it mean for those eyethe original cell is somewhat surreptitious. Howing the editorial tempo markings in the Polka later
ever, when delivered with understanding, humor
on?)
and cunning, the movement can sparkle. The
The fourth variation, Exercises, is dictatorial
Oration is one of the movements which cannot be
and precise, not to mention rather difficult techniperformed without a secure understanding of the
cally. The trading of two distinct lines throughout
piano part: the cues in the oboe part are not sufmust be as tight as it is intense; it is here that the
ficient to ensure correct entrances and rhythmic
chromatic double neighbor and the by now familinterlockings, so the student can - and must - atiar chromatic descent rise to prominence (see Extain the satisfaction of score knowledge in order to
ample 5):
rehearse and perform the work.
The ingenious double melody presented here is
Additionally, the character of a recitative does
beg for some rhythmic and expressive liberties within the constraints of the accompaniment,
and this Oration is no exception.
A certain lilt and a wink of the
eye toward the audience makes
the movement an animated and
Example 5: Interlocking half steps and chromatic double neighbors in the Exercises
engaging one. Accomplishing
this requires discussion and eye
really quite engaging: note the Gs and sustained
contact with the pianist - again, the variation necA in the lower voice, while the upper notes climb
essarily addresses some of the most fundamental
down and then up the chromatic ladder: E-D-Ds issues in musical collaboration simply by virtue of
Cs -D-C-Cs (mm. 84-85 and 86-87), then B-Cits construction.
Cs -D-Ds -E-F-Fs (mm. 88-89). This interlocking
When performing the Temporal Variations, I
recurs throughout in both parts, each while the
sometimes expect a sensuous Aria to follow the
other leans heavily upon - what else - chromatic
Oration. However, as illustrated in Example 1,
neighbor tones (piano, mm. 84ff; oboe, mm.
the more expressive variations follow the Com104ff). What a satisfying discovery for a budding
mination; we are given, instead of a singing third
analyst! The importance of maintaining precise
variation, a militaristic March which can be seen
rhythmic integrity, again, encourages attentiveas either frightening or farcical. The oboe takes on
ness to the rhythmic interaction of the two parts.
an accompanimental role for much of the varia(In any case, it is one of the true “white knuckle”
tion, and the repetitive and obstinate ostinato
movements for me as a performer.)
(which has been dubbed an “obstinato” by the
The Commination, or “formal denunciahumorists of the College Music Society) consists,
tion,” is pure Kafka for me. The denunciation (of
unsurprisingly, of the pitches D and E f. A cursory
whom?) is necessarily left to speculation in this
look at the melodic line in the piano (beginning at
instrumental work; however, written, as the piece
measure 51) shows an accented succesion of the
was, in 1936, and following the March and Exerpitches B-C-Gs, a familiar cell simply transposed
cises, thoughts of the German military do come to
from its introductory guise. The astute student
mind. It has been said that Britten was writing of
may also notice that the arpeggios at the opening
Hitler’s rise to power in these variations, but in the
of the oboe part lead from E up to Ds and from G
absence of compelling evidence, I prefer to think
up to Fs.
of vague, Kafkaesque threats of imprisonment for
This inversion of the original ascending half
unspecified infractions which, ultimately, can be
step is surely not coincidental; however, despite the
neither proven nor dismissed.
agogic accents on the arrival notes of Ds and Fs,
Certainly, the threat is imaginatively expressed
Britten gives no indication that the major seventh
through the change in register (down one octave in
should be brought out. What might this mean for
the oboe, a richly thick register centering around
the performer? For my part, I simply can’t resist
low Cs and D), the marking con fuoco, the aggresgiving a slight “ping” to each of the those pitches,
sive and punctuated piano arpeggiations of defalling as they do on strong beats. This may be an
finitively minor triads, and a variety of expressive
interesting topic of discussion for interpreters who
means whose specifics will be left to the individfeel differently about the need to adhere precisely
ARTICLES
92
BENJAMIN BRITTEN’S TEMPORAL VARIATIONS: A STUDY OF ANALYSIS AND INTERPRETATION
ual’s imagination. This variation will be revisited
shortly in the context of the three movements (I, V,
IX) creating the formal arch.
The sixth variation is the haunting Chorale, in
which, once more, the student oboist is, happily,
obliged to consult the score in order to understand
the place of his or her part. Considered alone, the
minimal oboe part quite brilliantly restates the
original motive (on the notes E, F, Df, F, E; this is
very difficult for the average listener to hear and so,
in appropriate settings, might be worth mentioning prior to performance. The gorgeous chorale
setting takes place, for me, outside analysis. That
is to say, I prefer to simply revel in the magnificent harmonies and to know that the theme hovers
in the oboe part, each pitch occurring one tritone
above the last pitch in the pianist’s phrase. That
said, one small technical issue does arise for inexperienced performers, a wonderful reminder of
the need for all collaborators to lead when called
for: most of the fermatas on each oboe note are
followed by an eighth rest before the pianist begins
the next phrase; on two occasions, however, the
pianist begins before the oboe cuts off the fermata
(mm. 155 and 161). How can the oboist dictate
the moment for the pianist to begin? It is certainly
possible, but is it advisable? To me, it is clearly for
the pianist to decide when the fermata has ended. I
have worked with pianists whose eyes bulge at being asked to determine the moment of arrival, but
I believe it is an opportunity for collaborators to
share interpretive responsibility and for pianists to
move beyond what they may have conceived as an
“accompanimental” role. In some cases, a request
to lead these phrase beginnings may be the key to
a revelation for the student pianist - all the better
for the collaborative efforts of both performers.
To return momentarily to the question of the oboe
motive: what techniques might avail themselves
to arching across the chorale so that listeners can
hear the motive lingering after each phrase? A colleague once suggested to me that stilling the vibrato might make the oboe notes more distinct, but I
remain uncertain. For me, the expressive content
of the oboist’s vibrato (whether rich or minimal
in context) is only rarely to be sacrificed entirely.
This is a common point of reflection for students
and for professionals.
The Waltz is a variation rich in analytical detail; here, the half step-minor sixth is transformed
into both major sixth and minor seventh to suit
the sweet, reserved mood of the moment. I often
begin this seventh variation in a bit of a trance
from the sweeping beauty of the Chorale, and I
have made this part of my interpretation of the
piece: I begin with obvious uncertainty, as though
lost. The opening of the oboe part is written in
a way that supports this; the phrase in mm.171172 is repeated and elongated, with no additional
harmonic closure in the piano, in mm.173-174. In
m.175, crescendoing toward the espressivo double
chromatic neighbor in .m176, I fi nally reach the
tempo that will serve as the grounding for the rest
of the ephemeral dance movement. Pedagogically
speaking, the diminuendi on each slurred pair of
half steps are certainly not to be missed; here, too,
the double chromatic neighbor recurs (mm.176ff),
recalling in an entirely different context the Exercises. The slurred pair of chromatic pitches presents an opportunity for students to take careful
note of the importance of articulations to fi ne performances; I have often found that woodwind students (my former self included) tend to approach
marked articulation in a rather cavalier fashion,
and the student’s awareness of the primary cell can
serve as an impetus to take marked articulations
more seriously.
The penultimate variation, the Polka, warrants
a very close analytical look. Noticeably diatonic,
the Polka appears in its earnest lightheartedness to
be a caricature of itself. The oboe part opens with
a heavy-handed descending major seventh, with a
fermata and crescendo on the first Fs and an accent
on the consequent G. Of course, the comical effect
of a crescendo to a descending and accented seventh must obviously have been known to Britten.
The intermediate slurred pairs are now diatonic
for the first time, clearly outlining the dominant
key of D Major. The ascending scalar flourishes in
the left hand of the piano (beginning in measure
223) further clarify the surprisingly unambiguous
major mode; aside from its playfulness, this variation is distinguished by its evident major modailty,
which is unprecedented in the substantial 16-minute work. Complete from the outset with overstated, obvious half-step grace notes, the variation
(in the right hands) can approach pure camp. The
decision to perform in earnest or in jest rests, of
course, with the performers - and how to make
such a decision is another discussion that can take
place in the lesson or studio class. How do the
editor’s calls for frequent tempo fluctuations play
into such a choice, and how seriously should they
be taken? All of these are questions well suited to
the thoughtful student at any level, and the ensuing technical discussions are also unquestionably
THE DOUBLE REED
Example 6: Avoidance of and arrival on G in the piano, Resolution
tive differences among the three, the student must
examine the piano part, which contains the most
important clues as to the expressive individuality
of each. Here, very clear illustrations of texture,
rhythm, accentuation, dynamics, pedaling, melodic content, arpeggiation, silence, harmony, register, and many other indispesable compositional
devices are provided in great abundance; a wealth
of compositional understanding in a relatively
minimal, simple context is contained within the
variations of these few measures. Each performer
will find significance in different aspects, and a
close reading of these variations will help students
develop a unique and convincing interpretation
of the piece. In my case, for example, the persistence of the Cs -D motive in the Resolution is of
great import, and I try to emphasize the maestoso
character with conviction; I am also struck by the
absence of the tonic pitch, G, in the fi rst 18 measures of the piece (while the piano moves through a
plethora of key areas during a dramatic chormatic
descent and ascent which studiously avoids G [see
Example 6]). The definitive arrival of the piano on
G in measure 308 is truly stunning, and I believe
that an awareness of this weighty moment adds
power and fullness to a performance.
How so? How do we translate our knowledge
of compositional strategies into a unique and solid
interpretation? This is one of the perennial (and
encouraging) questions asked in music studios everywhere, at every level.
In my experience, posing such questions leads
to further inclusion of style, expression, and analysis in lessons.
It is sometimes difficult to move beyond those
aspects of music-making that are measurable,
quantifiable, objective; lesson time is limited, and
we certainly do not want students to perform
wrong notes or rhythms, nor do we wish for them
to perform on substandard reeds or with insufficient rehearsal time. However, those ephemeral
qualities that transform a student musician into
an artist must also be taught and discussed in lessons, and I firmly believe that theoretical analysis
is at the foundation of this ultimate goal of music
pedagogy. ◆
ARTICLES
meritorious (how can the case for “camp” be
made, and how can I show in my performance that
I intend for it to be campy? How can I “overdo”
the marked accents without missing the downward slurs on the major sevenths? How fast can
I play the duplets at the end without losing control or losing the pianist in his/her fiendishly difficult part, and how can we practice for security in
performance without sacrificing spontaneity?). In
my studio, these are the thought-provoking talks I
hope to have each week.
Following a thorough examination of the
Theme and the six intermediate variations, students might be directed to carefully study the
Commination and the Resolution; as we have seen
already, these two variations share many characteristics with the Theme. Hopefully, students will
perceive the few but significant items that separate
each of the three. A few of these are discussed
below:
As shown in Example 1, the Commination
ends in E f minor. How does Britten begin in g
minor and reach the minor flat VI? By approaching the extremely long common tone, B f, which
appears at the end of the oboe part, we discover
a very soloistic passage in the piano (mm.143ff.)
outlining in no uncertain terms the key of E f,
preceded by the same chromatic descent from G
outlined in Example 3. As Variations I and IX conclude on the pitch D in the oboe (supporting, one
might add, to the significance of the note in the
scheme of the piece), the student may readily notice this surprise B f at the end of Variation V and
look into the material so virtuosically presented in
the piano. Once rehearsals have begun, of course,
the oboist can hardly fail to notice this very taxing
long tone, which totals 20 beats with ritard and
fermata at a heavy adagio tempo.
The oboe part of the Commination takes
place one octave lower than in the Theme and the
Resolution.
The oboe part of the Resolution consists of
only two pitches: Cs and D.
Issues of dynamics, tempo, rhythmic deviation,
and other expressive variations may be explored in
the oboe part of the three variations.
In order to truly grasp the stylistic and affec-
93
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THE DOUBLE REED
95
To Heckel or Not To Heckel, That is the Question
Robert M. Stein
University of California, Los Angeles, California
R
across the water, and perhaps for this reason,
she decided that her next Heckel, due to arrive
soon, will be a standard red. Her only worry is
that it might not match her concert frocks.
On the other hand, in a 1990 interview, Gareth Newman and Charles McCracken declared
themselves new converts to the Fox bassoon. 2
Newman found himself very much at ease
switching from an 8000 series Heckel to a Fox
201 and McCracken is now playing a Fox 601. In
another interview in The Double Reed Matthew
Ruggiero disclosed that he sold his 10,000 series
Heckel, which he purchased when he joined the
BSO in 1961, and bought a new Fox 201. 3 Kim
Walker, a professor, soloist and recently dean
and principal of the Sydney Conservatorium of
Music, had the following to say,
“I use both my Heckel of many years #11922 and
a Püchner bassoon, model superior 13,000 series.
The Heckel was chosen for me by Sol Schoenbach years ago and he was horrified that we had
to pay $5000 at the time. The Püchner bassoons
of recent years are favorites of mine for their rich
depth in the tone and agility.”
To be sure, the purpose of all of this is not to
in any way demean the extraordinary quality of
Heckel, but rather to point out the opportunity
this type of market offers to alternative instrument makers. It is only in a market of this kind
that one is very willing to consider and evaluate the merits of instruments produced by other
makers.
Are all Heckel bassoons great instruments?
Of course not. Even Stradivari produced some
“clunkers” as pointed out by the Hills in their
defi nitive biography, “Hence it came about
that he (Stradivari) produced works of varying
merit, here very successful, there failing somewhat, though he never made positively poor
instruments…”4
Certainly, all bassoons are not created equal.
The process of building musical instruments out
ARTICLES
ecently I contacted the Heckel factory in
Biebrich, Germany and was told that there
is a five year wait for a new Heckel bassoon,
however, they were not taking any new names for
the waiting list. Hello! That’s a “Catch 22” if I
every heard of one. There is a five year wait but
you can’t get on the wait list. So how do you buy a
new Heckel? My best guess is that a market is going to develop in buying and selling places on the
Heckel wait list. The cost of a new Heckel, based
on the inflated Euro, is now around US$40,000.
This in turn has driven the price of thirty, forty
and even fi fty year old Heckels to as much as
US$30,000.
The difficulty of obtaining a new or used
Heckel together with their high price has caused
some players to raise serious questions of just how
much better, if at all, a Heckel bassoon is as compared to bassoons being made by other makers.
William Waterhouse points out that “the reputation enjoyed worldwide by Heckel bassoons has
remained a unique phenomenon for most of the
last century. This dominant position has become
somewhat eroded in recent decades, partly because of their refusal to enlarge their manufacturing capacity and because of the ever increasing competitiveness in quality, price and delivery
time on the part of other manufacturers.”1
To be sure, there are the dedicated Heckel
players. Judith LeClair, the principal bassoon of
the New York Philharmonic, in a March 2001
CNN interview, stated that the Heckel bassoon
is the best made and that she continues to play
on a 1940 Heckel that she acquired when she was
15 years old, which is the only bassoon that she
owns. Nadina Mackie Jackson, whose recent CD
is titled “Notes from Abroad”, said that she has
always had the pleasure of playing Heckel bassoons, from the 5,000 series instrument that
Christopher Millard loaned to her when she was
16 years old through several serial #’s until her
current black Heckel which is a 13,000. Her European friends always think that it is something
else, because black bassoons are not common
96
TO HECKEL OR NOT TO HECKEL, THAT IS THE QUESTION
of wood is an organic art both mysterious and
magical. The composer and conductor, John Williams, has said that he believes that a bassoon is
“haunted” by the spirit of the tree from which it
is made. 5 ◆
NOTES
1
2
3
4
ARTICLES
5
William Waterhouse, Bassoon (Kahn & Averill, London 2003) 29-30.
The Double Reed, Vol. 16, No. 1, 1993.
The Double Reed, Vol. 22, No. 3, 1999.
W. Henry Hill, Arthur Hill & Alfred Hill,
Antonio Stradivari; His Life & Work (Dover
1963) 38-39
The Five Sacred Trees, CD Program Note,
(Sony Music 1996)
THE DOUBLE REED
97
Richard Killmer: A Life Heavily Seasoned with “Variety”
A Conversation with Cees Verheijen at the IDRS Convention in Banff, 2002
Richard Killmer
Rochester, New York
M
with Dr. Gower and cello with Donald Garlick
in preparation for being a high school orchestra
teacher. That’s how I became a string teacher in
the Longmont public schools in Longmont, Colorado. How did I get to be an oboe player? The
story gets longer.
In 1962 I joined the Army and played in the
NORAD Band where I played the saxophone,
the flute, clarinet, and the oboe. I also played the
cello with the Air Force Academy string quartet.
I traveled on tour once with the Air Force Academy Band where I played second oboe and cello.
During the Longmont and Army years (196065) I would go into Denver to play in a few community orchestras, during which time I spent two
years studying with Denver Symphony principal
oboist David Abosch. It was in one of these orchestras that I met my wife. Actually, we played
in three community orchestras because in one orchestra I played oboe, one I played cello, and in
one we both played viola. This was just wonderful
amateur music. Thank goodness for community
orchestras, I say. So after meeting my wife I asked
her what I should do after I got out of the army. I
could have gone to Hollywood and made record-
ARTICLES
y musical life began in Garland, Texas
where my twin brother and I both sang
in a children’s choir and took piano lessons at age 8. I was not from a musical family,
although my mother played piano. My father had
just been released from the Army in 1945 or 46.
Then I started the clarinet in the fi fth grade. I
tried the oboe for one week with the reed that
was in the case. A young lady who used a lot of
lipstick had been playing on that reed. It was the
most grotesque thing I ever saw! I didn’t know
any better so I played it. When I took the oboe
home, my mother, who had just given birth to one
of my brothers said, “Get that thing out of here.
It sounds awful!”
Then we moved to El Paso, Texas, because my
father went back into the Army. There I played
clarinet in the band and cello in the orchestra. I
studied both with the same teacher, who was a
cellist in the El Paso Symphony. One day he asked
me to play the oboe.
Later, when I was a sophomore in high school,
my band director, Charles Gholz, suggested I
study oboe with Richard Henderson, who was
the principal oboe of the El Paso Symphony and
a professor at Texas Western College. Richard
Henderson, whose daughter Rebecca teaches at
the University of Texas, passed away last year
but was a great influence on many oboists. At my
fi rst lesson, Mr. Henderson said they needed a
second oboe in the orchestra. He was asking me,
a fourteen year old, if I would audition for the
orchestra!
I was going to have to play the Midsummer
Nights’ Dream Scherzo. I couldn’t play it and so
my brother who was a flutist said, “Oh just go
dum daga daga dum dum dum.” So I started double-tonguing way too early in my life and have
never learned how to single-tongue properly. But
I got the job and we played together in the El Paso
Symphony for two and a half years.
After that I went to Colorado State College
in Greeley, Colorado to study with a man named
William Gower. I studied all the woodwinds
98
RICHARD KILLMER: A LIFE HEAVILY SEASONED WITH “VARIETY”
doesn’t happen often. So, I kind of felt like a
fraud. We spent three years there and then I went
back to Yale to get my doctorate. It was then that
I won the job in the St. Paul Chamber Orchestra.
I did have to audition for that!
I was at St. Paul for eleven years. That was
basically my career. During that time I was hired
to be the principal oboe of the Aspen Music Festival. I did that for 7 years partly when I was in
St. Paul and partly after I made the move to Eastman. I have been at Eastman for 22 years and for
the last four years I have also been the visiting
oboe professor at Yale. So now I have two jobs.
And for one year I had three jobs because in addition to the two professor positions, I played with
the New York Woodwind Quintet and coached
with them at Juilliard. I found three jobs to be
over the limit. So now it is just the two jobs!
During my 8th year at Eastman I took a sabbatical and played a few concerts with the Boston
Symphony and Boston Pops.
We live in Rochester but have an apartment in
New Haven, Connecticut. So on Friday afternoon
I drive six and half hours or 350 miles to New Ha-
ARTICLES
ings as a saxophone player. Many of my friends
were doing that. Or I could go back to Longmont
and continue to teach strings, or I could go to
Yale and study oboe with Robert Bloom.
Oboe had always gnawed at me. I had some
really serious problems with it but I loved it and I
felt it was the natural instrument for me. My wife,
Sidney, was a big influence at the time. Her father
was manager of the Dallas Symphony. Somehow
she could relate to my having a career as an oboist
better than my going the studio route. Sidney suggested I continue with the oboe. So I said, OK, I’ll
do that and decided to study with Robert Bloom.
It was the best decision I could have made.
Later Sidney and I were blessed with three
children. Her patience is the reason our marriage
has lasted for thirty-seven years. As I look back
now, I am absolutely fulfi lled. I credit Sidney for
everything that is good in my life.
Two years later after studying with Robert
Bloom I won the principal oboe job in Oklahoma
City. Only I didn’t really win it. I didn’t have to
audition for the job. It was just given to me. The
conductor called and offered me the job which
St. Paul Chamber Orchestra Woodwind Quintet (c. 1974). Left to right: Richard Killmer (ob), Ronald Dennis (cl), Martin Smith (hn),
Carol Wincenc (fl), Matthew Shubin (bn).
THE DOUBLE REED
99
ARTICLES
been times that I have hyperventiven. Then I teach all day Saturday.
lated so badly that I fell over on the
Now I have eight students in New
stage. I had to learn to live with my
Haven and 20 students in Rochesnervousness.
ter. All that driving doesn’t bother
That is part of who I am. My
me because I really love teaching.
children and my wife taught me
In fact I really, really love teaching.
to take people for what they are.
I am obsessed with teaching and I
That lesson has made me be a betam an obsessive teacher. I love muter teacher. I take what they have
sic and I love the oboe. I am well
to give. I don’t have students who
aware of my limitations as an oboe
don’t work. They all try hard for
player and hopefully I don’t pass on
me. Their individual progress and
those limitations to my students. I
talent, in turn, motivate me, not by
try not to limit them to what I can
what they can’t do but what they
or cannot do. In order to be a good
learn to do - what they can do.
teacher you have to be a good lisRichard Killmner (r) and his
Students who seem scattered sometener. Every moment is improvisahigh school oboe teacher
times have to get through some pertional for a teacher. Every student
Richard Henderson.
sonal issues before they can achieve.
(like my three children) is very difBut they will achieve when the time is right.
ferent. My students say that I treated each one of
I think what we do together is important even
them like they were my favorite student. That’s
if they do not go on with the oboe beyond the
one of the secrets to teaching. Teachers cannot
four or five years. Sometimes I am disappointed in
anticipate or predetermine what will happen. You
myself for not being able to do what my students
react to what happens not what you want to hapcan do! All the variety of instruments I had expen. You have to teach the moment. Try to carry
perienced, and the public school teaching, led to
that individual to a vision of something better
my position at Eastman. I am absolutely fulfi lled
than what they are doing. What is it that we can
by my job at Eastman. Comaccomplish today? Some of my
ing to the IDRS convention
students won’t become profesin Banff I had six former and
sional oboists, but they need
current students performing.
to go as far as they can go. A
Nancy King, Jim Ryon, Ashgame I play with my students is
ley Barret, Mark Rogers, and
to say: that if they are nervous
the two oboists who played
they are being selfish. You are
in the Orchestra. I was out of
worried about yourself. They
my mind!
are not thinking about the muBecoming aware of the
sic. Share your music with the
world of oboe playing was for
audience. What if I make misme a gradual process. In high
takes? So what? Share the idea
school I listened to the reof music not the information
cordings from the New York
on the page. You are sharing
Philharmonic, with Harold
expression not the marks.
Gomberg, and the PhiladelI tell them not to be afraid
phia Orchestra with John
of their own voice. Find the
de Lancie and Marcel Tabupride in your tone. If you share
teau. In the service I became
your own unique voice with
aware of Marc Lifschey. As
the audience, the world will be
a student of Robert Bloom I
a better place. I think fear is
became even more aware of
the most serious impediment
his playing as well as Lifschey
to learning and performing. I
and John Mack. When I was
teach my students that prepain the orchestra in Oklahoma
ration is the best way to conKillmer in Master Class
City I fi rst became aware of
trol their nerves. There have
100
RICHARD KILLMER: A LIFE HEAVILY SEASONED WITH “VARIETY”
ARTICLES
American Reed Trio (c. 1997). Left to right: Richard Killmer (ob),
Frank Ell (cl), John Miller (bn).
be a national characteristic. Someone once
said that variety is the spice of life and I
thrive on it! Even my teachers were different in their approach. Robert Bloom was a
teacher who insisted on control of the reed
and control of tone. We spent the fi rst year
just concentrating on the control of the
reed. I practiced attacks and diminuendos.
Then the issue was one simple thing: music.
Everything else was secondary. He wasn’t a
technically oriented player. Because he was
also a string player, his way of playing was
always vocal and always ‘singing.’ Because
I was somewhat behind the others in the
class at Yale, he encouraged me to think
about what I was striving for and not to look side
to side and compete with others. “Just look ahead
and keep your eyes on your goals,” he would say.
Many of the people I knew in New York City
felt they studied with him because they listened to
him so much. You wanted to take on his beautiful
tone and you didn’t want to be without it.
Another wonderful teacher, John Mack, has a
more technical vocabulary. Although he is a wonderful artist, he also got into the details of how
you play. Many players that I hear influence me. I
don’t limit myself to one way of playing. I believe
the voices of different oboists should be as different as their speaking or singing voice.
In St. Paul the assortment of music was great.
We had a balance of old and new music to play,
side by side, all the time. Somewhere there was
always a weekly cantata going on in a church.
Heinz Holliger. Actually, we became very good
friends because we went on tour together with
the St. Paul Chamber Orchestra. It is so important that the oboe players of the world understand each other. That is why this conference is
so incredible. The IDRS Conference and international competitions allow us to hear wonderful
players. I have judged both the Tokyo and the
Geneva competition. When I go back home I say,
“Hey folks there is a world of oboe playing out
there you know nothing about.”
Oboe players are challenged by the extraordinary standards we hear around the world. The
only frustration is that with such a high standard
we are unable sometimes to always reach the standard. There is a complaint that maybe the national styles have become too blended. I say no. You
can still hear them as an individual voice. I do not
notice so many distinctions as much as I used to.
But because I know so many oboists in the
United States I can pick out certain tones,
such as William Bennett from the San Francisco Symphony (I taught him when he was
eleven). I can pick out Richard Woodhams
and John Mack and, of course, Robert
Bloom. Even though they are very different from each other, the standard is there
and each has a unique personality and tone.
So I don’t think we are homogenizing the
sound. What has changed is the intonation
standard and the consistency of tone standards. If that tends to make people sound
more alike, so be it. Because intonation and
consistency of tone (control of the instrument) is something to which we should all
aspire. I don’t think we are homogenizing
the sound. It has nothing to do with nationKillmer with former student Laura Griffiths, formerly principal oboe
of the Cleveland Orchestra.
al standards. Out of tune playing should not
THE DOUBLE REED
101
The bassoon player, John Miller and I, with
our friend, clarinetist Frank Ell, were for 25
years a trio called the American Reed Trio. John
and I also put a group together in a Presbyterian
Church called Bach Chamber Players of St. Paul
and we did Bach cantatas. It included members of
the Minnesota Orchestra and the St. Paul Chamber Orchestra as well as local free-lancers.
We did it for people who liked to play Bach.
During my St. Paul years I played a lot of Bach
such as the St. Matthew Passion; also Mozart
and Haydn, and very challenging contemporary
music as well. The contemporary music was all
new to me, such as: Berio: Chemins IV, (with Berio conducting) for oboe and strings, composed
in 1975; Penderecki: Capriccio for orchestra
composed in 1967; Krenek: Kithiraulos for oboe,
harp and small orchestra composed in 1971.
Besides playing different kinds of music I also
listen to many different kinds of music. When I’m
driving, I love to listen to country music. Some of
the words are profound. I don’t exclude anything
because it is all a part of life.
It would be nice to retire at sixty-five (which
would be in 2003). I would like to fish more, play
the cello for a change, and read a lot more. But it
does seem a bit silly because I take such pleasure
in the variety of what I am doing now!
So for now I will enjoy every student and every
lesson and even making a reed or two and playing
a little Bach or Sam Adler. I do get to fish and to
play the cello, even though it is not often! ◆
This article fi rst appeared in Scrapes Magazine.
ARTICLES
Picture from 1986/87 shows my teacher Robert Bloom (in the middle) who also taught my predecessor Robert Sprenkle,
who is on the right. At that time I had taught at Eastman for four years, Sprenkle had taught there for 45 years and
Robert Bloom for one.
102
KNOW PAIN? - RETRAIN.
Know Pain? - Retrain.
Stephen Caplan, DMA
Henderson, Nevada
ARTICLES
T
he cliche “no pain, no gain” is usually wellintended advice, meant to encourage and
inspire someone. Perhaps it’s linked to the
long-standing democratic ideal that anyone who
works hard at something - puts their “blood,
sweat and tears” into it - can achieve the American dream. While this cliche may resonate in
certain situations, musicians should steer clear
of it. “No pain, no gain” may be meaningful for
weightlifters, but pumped-up muscles are not
needed to play a musical instrument. Tremendous
muscular coordination and flexibility are needed
for making music. Flexibility and coordination
are severely compromised when pain is present.
Some common places that double reed players feel pain are lips, fi ngers, wrists, jaw, throat,
neck, back and abdomen. Many double reed players learn to live with these pains. Some think this
is the price one must pay for being a musician.
Some feel if you “work through” the pain, then
you become a better player (better endurance,
faster fi ngers, etc.). Other oboists and bassoonists just give up playing altogether.
Feeling pain should be understood for what
it is - a signal from your body that something is
wrong. In some cases, pain is the result of a medical problem that must be treated by a medical
professional. Musicians who are in pain should
always seek the opinion of a qualified medical
specialist. However, in many cases pain results
from habitual misuse of the body. Once you discover the cause of the pain, you can replace your
old pain-provoking habit with a new habit based
on freedom and ease of movement. If you work
with your body, not against it, you can play without pain.
And you should play without pain. Not only
is it more enjoyable but it can also be the means to
greater physical freedom, improved technical facility and more musical expressiveness. So if you
know pain, you should retrain.
But how do you go about retraining? One
possibility is a somewhat new technique which
is proving to be tremendously beneficial for many
musicians. It not only helps musicians who
play in pain, but also helps any musician who
wants to improve performance. It is called Body
Mapping. People who teach Body Mapping are
called Andover Educators. They generally teach
through two means: (1) a course entitled What
Every Musician Needs to Know About the Body,
which introduces basic concepts of Body Mapping; and (2) privately, acting as a personal coach
to help the musician incorporate Body Mapping
principles into their own performance. Although
Body Mapping can go much more quickly with
the help of a teacher, the beautiful thing about
it is that a great deal of the work can be done
without a teacher. This is one of the things that
set it apart from Alexander Technique or Feldenkreis Method, two other methods of retraining
that have helped many musicians. The teachers
of Alexander Technique and Feldenkreis Method play a crucial role in guiding the student and
providing sensory feedback. But the student of
Body Mapping can achieve quite a lot just by
attending a course and/or reading a book, and
then honestly assessing their own performance
in light of the information presented.
Barbara Conable, with cellist Bill Conable,
developed Body Mapping. Barbara Conable is a
highly respected Alexander Technique teacher
who has helped hundreds of musicians improve
their performance, and who has saved many
musical careers. Body Mapping is the result of
a lifetime of research, observation and hands-on
work with a wide variety of musicians (Conable
is retiring January 2006). Barbara Conable’s
book What Every Musician Needs To Know
About the Body is a good starting point for the
study of Body Mapping. She also has written a
wonderful book about breathing for musicians
called The Structures and Movement of Breathing. There are also excellent books on Body
Mapping now available for pianists, flutists, and
conductors.
So what exactly is Body Mapping? It is based
on the discovery that each of us has a representa-
THE DOUBLE REED
examine the language we use as teachers and students, since words are often an important way of
accessing how someone actually uses their body
to create music.
Many people have studied Body Mapping because they were playing in pain. Through Body
Mapping they have learned to work with their
bodies instead of against them, and have begun
experiencing what a pleasure it is to make music
pain-free. Why did I study Body Mapping? I did
not come to Body Mapping because I had suffered
an injury from playing the oboe, nor did I have
any pain when performing. I simply wanted playing to be easier. As a professional musician I was
performing at a very high level, yet I felt playing
the oboe was much more difficult than it had to
be. Like so many others, I was told the oboe was
“the most difficult instrument to play,” so I was
making it that way. After reading one of Barbara
Conable’s books, I knew Body Mapping was the
path that could bring greater ease and freedom to
my playing. I received a sabbatical from my teaching job and began studying privately with Barbara Conable. I am now a certified Andover Educator. I teach a college level course and give master
classes and private lessons based on Body Mapping. Body Mapping has improved my oboe playing in just about every way. I have more control
and consistency, I can double-tongue faster. I can
play phrases much longer without feeling tired.
I’m even making better reeds! Most important,
I feel better when I play - because I have learned
how to make oboe playing easier by increasing
my awareness and understanding of movement.
The exciting thing for me is that I’m still discovering new things about how to improve technical
and performance skills as an oboe player.
One reason I’ve written this article about
Body Mapping is because I understand fi rst-hand
how powerfully this information can transform
a musician’s performance skills. It is a relatively
new field so it doesn’t have the name recognition
of other outstanding methods of re-training such
as Alexander Technique or Feldenkreis Method,
which have been around for decades; or Yoga
and Tai Ch’i, which have helped people for centuries. Having studied all four of these other disciplines in varying degrees, I’ve discovered that
Body Mapping enhances one’s study of these as
well. To fi nd out more about Body Mapping or
to study with a teacher in your area, there is a
website: www.bodymap.org.
The main reason I’ve written this article is
ARTICLES
tion in our brain of how our body is put together,
called the body map. This conception of how our
body organizes itself actually governs the quality
of our movements. If we happen to have a body
map that is accurate, we move well. But when
the body map is slightly off, then movement suffers. If the body map is completely off base, then
movement can be awkward and injury producing. An analogy can be made to a road map. If
you’re traveling to a new place, you’ll want to
fi nd an accurate map so you’ll arrive where you
want, when you want. If you’re given an inaccurate map, you’re liable to get lost. Our body maps
guide us in a similar way. The good news is that
we are not stuck with our body maps. If someone’s body map is inaccurate, it can be changed.
Body Mapping is the process of accessing what
your personal body map is, and then learning to
correct any problems that may exist in your body
map, so that movement is improved.
What does all this have to do with playing a double reed instrument? Everything. The
quality of movements a performer makes affects every aspect of performance. Although on
the surface, double reed players don’t appear to
move as much as other performers - we don’t use
our arms to make the overt movements of string
players and pianists, our feet don’t move in the
ways that organists’ and timpanists’ feet have to
move - however we are constantly making fantastically intricate and coordinated movements to
produce beautiful sounds. In fact, without movement there would be no sounds. We move our
fi ngers and our arms, the muscles of our face, the
tongue. We move at hip joints and ankle joints.
And then there is the movement of breath, which
involves moving ribs and moving muscles of the
abdominal wall and pelvic floor coordinated with
a gathering and lengthening spine. Double reed
players actually move a lot.
Unfortunately traditional teaching has done
a poor job of addressing issues related to movement. Body Mapping aims to put music education
on a fi rm somatic foundation. Misconceptions
about how the body actually works in movement
are rampant in the music world. Making matters worse are the many phrases commonly used
when teaching wind players, such as “breathe
from the belly” or “column of air” or “play with
an open throat.” These phrases are not based in
reality and in many cases cause students to do
counterproductive and sometimes harmful things
to their bodies. Body Mapping asks us to closely
103
104
KNOW PAIN? - RETRAIN.
simply to get across this message: no double reed
player should play in pain. Unfortunately, I’ve
met many that do. The phrase “no pain, no gain”
must lose meaning for musicians. If you know
pain - retrain! ◆
SOME BODY MAPPING RESOURCES:
Conable, Barbara. What Every Musician Needs
to Know About the Body. Andover Press,
2000. The starting point for any musician
who wants to increase body awareness in
performance.
Conable, Barbara. The Structures and Movement
of Breathing. GIA Publications, 2000. Written for singers, this information is clearly presented and invaluable for wind players.
ARTICLES
Conable, Barbara. How to Learn the Alexander
Technique. Andover Press, 1995. Includes an
excellent description of Body Mapping, as
well as its specific applications.
Jordan, James. Evoking Sound. GIA Publications, 1996. Jordan actually has a series of
works for conductors based on Body Mapping, including a video, and his latest, Learn
Conducting Technique with the Swiss Exercise Ball.
Mark, Thomas. What Every Pianist Needs to
Know About the Body. GIA Publications,
2003. This includes some of the most detailed
and useful information about hands.
Pearson, Lea. Body Mapping for Flutists. Flutibia, 2000. This book gives double reed players
much to think about.
www.bodymap.org: Includes articles, book recommendations and a list of certified Andover
Educators around the world.
ABOUT THE AUTHOR:
Stephen Caplan is professor of oboe at the University of Nevada, Las Vegas. He is a certified
Andover Educator and offers lessons and master
classes based on Body Mapping. An active performer, Caplan is presently principal oboist of the
Las Vegas Philharmonic and the Sierra Winds.
His acclaimed recording of American music for
oboe and English horn, A Tree In Your Ear, is
available on Musicians Showcase Recordings.
An Artist for Rigoutat, Paris, Caplan has degrees
from Northwestern University and the University
of Michigan.
THE DOUBLE REED
105
A Bassoon Lite, Please...
News At Ten
Alan Goodman
Bedford, Wyoming
“Y
waving, pointedly choosing my John Wayne over
Orville’s.
The business card stapled to the cover said,
“Luke Lalapalooza/ Educational Consultant/
Historical Perspective Books/Topeka, Kansas.”
“You’re a long way from Kansas, Mr. Lalapalooza,” I said.
“Yup, I’m here to make a presentation to the
Bedford school board. Maybe you could direct
me to their building. Thought they might like to
see our history books as offering a logical alternative to Darwin’s dubious Theory of Evolution.
The logic of ‘Intelligent Design.’ You ever hear
of it?”
“Yes, I believe so,” I said, wondering if Luke
Lalapalooza had noticed that there was only one
building in Bedford, the one we happened to be
standing in. “You know, I used to play the bassoon for a living. I wonder if the Intelligent Designer designed a better bassoon than Darwin?
You think there’s an intelligent bassoon fi ngering
chart in your book?“
“Hell, you say!” Old man Clap was on his
feet again. “I seen more baboons than you’ll ever
shake a stick at. Me Tarzan. King of the jungle!
Channel Eight! Right after news at ten!”
“I never heard of a bassoon,” Luke Lalapalooza said, edging closer to me. “What’s it look
like?”
“Goddamned, ain’t you got ears!” Clap was
still standing. “Big hairy things. Swings from
trees. Me and Jane talk ape to ’em and those
other monkeys! Elephants too! Damned if I don’t
talk gorilla too!”
“Here,” Luke Lalapalooza said, handing me a
hefty textbook. “Take a look. It tells you all you
need to know about how life is too complicated
to have evolved into its present condition through
trial and error. In order to get where we are there
had to be an Intelligent Designer to kind of direct
things.”
“You mean, God?” I asked.
Luke Lalapalooza winked. “No, no, no! We’re
ARTICLES
essir, we’re all the product of Intelligent Design. This book has it explained
down to the last scientific fact.” The
slightly obese man wore a fedora, the kind you
see in 1940’s gangster movies. You could tell he
was a stranger since most of the male residents
of Bedford wear a hat that says something like,
“Elmer’s Chaw” or “Berkie Construction” over
the bill.
The six inch by three inch door protecting my
mail box from big city intruders - should they ever
fi nd Bedford, Wyoming - stood halfway closed.
Halfway open if you’re an optimist.
“Who in hell are you?” Orville Clap jumped
up from his resting place in front of the woodburning stove. Orville had lost his wife to cancer
when the leaves had last turned color. Ever since,
several hours of each day passed with his eyes
staring at the Post Office fi re box while he wrestled with the past through a haze of Alzheimer’s.
“Just passing through,” the stranger said to
Orville. “Name’s Luke Lalapalooza. Saw you
sitting here staring off into space and I thought,
‘Luke, there’s an old boy that could use a reminder about the Bigger Plan in life.’”
I pulled mail out of my box and eased around
Mr. Luke Lalapalooza hoping to get through the
door unnoticed.
“And you, my friend, You are??” Luke Lalapalooza’s hand swung out to greet me.
“I’m John Wayne,” I said figuring the odds
on remaining anonymous long enough to get to
my truck.
Orville Clap’s eyes focused. “The hell you
say!” he hollered, standing up and snapping off a
salute in my direction. “I’m John Wayne. I fought
at the Alamo. Just last night on Channel Eight.
Goddamned if you use my name! Fought in Bataan too last week. Channel Eight!” Then he sat
down and resumed staring at the fi rebox.
“Ever wonder how you got here, what the plan
is?” Luke Lalapalooza was slightly taken aback,
but turned and handed me the book he had been
106
A BASSOON LITE, PLEASE...NEWS AT TEN
ARTICLES
not selling religion here. This is proven scientific
fact we’re dealing with. God is another issue. I
can help you there too if you’re interested, but
right now I’m concentrating on promoting scientific facts over evolutionary fiction.”
“Revolution! By God, you talk revolution!!
Across the Potomac!! George Washington. Channel Eight!” Clap was waving an imaginary sword
at the wood burner. “Concord! Lexington! Channel Eight! Betsy Ross! Freedom! Down with King
George!”
We waited until the General resumed his seated vigil by the wood stove.
“Any idea how the Intelligent Designer
planned our General Washington’s mind?” I
asked, nodding at Orville’s now still figure.
“The Intelligent Designer moves in mysterious ways,” Luke Lalapalooza said sliding a foot
closer to the door.
“I thought it was God who moved mysteriously, and this other Master Planner who designed intelligently?”
“God! God! Yur lookin’ at Him! I parted the
Red Seas. That bastard, Pharaoh. Right in front
me he was on Channel Eight! Movie at seven!
News at ten!” Clap stood to face the Red Sea. We
witnessed the safe passage of his people before he
smiled and sat his camel.
“Well, the details aren’t all revealed just yet,”
Mr. Lalapalooza continued. “But with further
scientific research it’s only a matter of time that
the Intelligent Designer’s grand plan will reveal
itself to us. Until that time there’s no question
we’re right on this issue.”
“Well,” I said, hefting the book. “I look forward to reading all about it. I’m going home and
looking up ‘bassoon’ in your book. Darwin sure
loused up the bassoon. No question about bad
planning there. Maybe this Intelligent Designer
sells one with decent fi ngerings.”
“It’s a stampede!! Gettoutta there, Jane. Run
for your life!! Them baboons have gone plumb
crazy!!”
I wished Mr. Lalapalooza luck on his trip,
pointing out the closest board of education about
seventeen more miles down highway 89. I reached
my truck just in time to hear Tarzan voice one
of his trademark bloodcurdling yells. Luke Lalapalooza immediately charged out of the Post Office followed by a chunk of fi rewood.
“I’ll stop ‘em baboons, Jane!! Quick, hand me
another spear!! Channel Eight! News at ten!” ◆
THE DOUBLE REED
107
The Historical Imperative
Alan Goodman
Bedford, Wyoming
“A
You know, if you don’t return that book soon,
I’m not gonna’ be able to let you keep on making
discoveries in the book mobile. You’ll have to go
pay your fi nes into the main library, and make
all your discoverin’ over there.”
“Sherry, you’ve got to cut me some slack.
I’m working on an article for the International
Double Reed Journal. I’m a personal friend of
Ron Klimko, the editor. He promised me a onehundred page article when I told him I had some
unbelievable technical stuff about the bassoon.
Told him I’ve been working in the research section of one of the country’s fi nest libraries.”
Sherry stared at her wristwatch. “Well,
at least that last part’s true,” she said looking
down the aisle of the thirty-foot long bookmobile. “This here’s the best bookmobile you’ll fi nd
anywhere in Wyoming, that’s for sure. And we
got the best mystery section in all of Bedford.”
Sherry’s rather a large-type lady, although
when she started driving the bookmobile eight
years ago the local folks tell me she could slip
behind the wheel of the bookmobile much more
fluidly.
“Yeah, that was before ‘Marie’s Eats’ was
added to the list of stops for the bookmobile,”
Corry Rorry, the bartender at ‘Dads Bar and
Grille’ told me one evening when I was researching his establishment for signs of important historical bassoon activity. “Heard the library had
to order a new bookmobile with double-wide
doors last year. Either that or break in a new
driver.”
“Say, Corrie, does that whiskey bottle have a
picture of a bassoon on it, or is that my imagination?” I was leaning as far over the pitted mahogany bar as I could manage pointing in the
direction of a wall of half-empty bottles.
“This one here?,” he said following the aim
of my index fi nger. “Looks more like a wild turkey to me.”
“Yeah, but those things can be hard to tell to
an untrained bassoon-eye. Give me that bottle,
would you? And while you’re at it pour me a
ARTICLES
m practicing my newly acquired bassoon
despite earthshaking rumblings from
millions of bison. Merriweather Lewis
out searching to see if river we named the Judith
(after my bassoon teacher back east) leads west
as hoped…..”
I discovered this tantalizing excerpt recently
in the archives of the Bedford Bookmobile.
“Yup, yup,” said Sherry Miller, the librarian
who drives the bookmobile. “It sure looks like
old stuff, even if it is crumpled into this ‘Harry
Potter’ book.”
Only after this verification by one of Bedford’s
best experts did I allow myself to get excited. Here
was an apparent page from the Journal of Lewis
and Clark that had been torn from the moorings
of its rightful place in history. Could it be that
the bassoon was the fi rst orchestral instrument to
fi nd its way overland to the Pacific Coast? Another scientific clue to my growing body of historical
bassoonology?
“This could be the most momentous discovery in Bedford since beer.” I held the old page
up to the light coming through the drivers-side
windshield.
Sherry squinted through her narrow-profi le
bifocals over my shoulder. “Yup, yup. Looks like
you got another bassoon discovery there. Well,
you gonna’ sign it out for the week, or just stare
at it? I got to get the bookmobile over to ‘Marie’s
Eat’s’ in Etna or them hunters’ll get the best parking spot.”
“Are you kidding? Sherry, this document
could be worth a lot of money!”
“Only if you don’t return it on time. Like that
whatchamacallit you discovered in the children’s
book section last month.”
“You mean the original copy of the Guttenberg Bible?”
“Yup, yup, that’s the one. You said it was
worth a lotta’ money too. Especially since it had
a long description about Guttenberg’s playing the
bassoon. Funny how that part about the bassoon
was the only section written by a word processor.
ARTICLES
108
A BASSOON LITE, PLEASE...THE HISTORICAL IMPERATIVE
sample of the contents. Might be some bassoon
clues there that only a bassoon researcher’s taste
buds can detect.”
To the untrained eye the figure on the bottle
could easily have appeared to be a turkey. But
you don’t study the bassoon an entire lifetime to
be fooled by the obvious. Ever since moving to
Bedford from the big city I’ve worked on research
that would contribute to the greater body of historical bassoon-o-philia without which authentic
bassoon performance would wither and die. I
used to think playing well was the ballgame, but
it’s only the tip of the double-reed iceberg. Research is where it’s at.
“I don’t know, Corrie. This here turkey appears to be standing on a bassoon. Could be a
significant historical discovery here. How old do
you think this bottle is? Maybe I better take it
home for closer inspection. The proof is in the
details.”
Klimko warned me that any article contributed had to be properly researched. “Now, look,
Al,” he said, “None of that off-the-wall crap you
make up. You give me a seriously researched
piece that contributes to the profession and I’ll
give you all the space you need. Something that
makes people read for the genuine educational
value. Readers appreciate authenticity, sincerity, scholarship, minutiae, enthusiasm and a few
well-spelled words. You think you can do that?”
Sure enough. The turkey was standing on a
bassoon. I had to empty the bottle to be sure, but
there it was plain as the lamplight shining through
the label. If this wasn’t proof that the bassoon
was there at the founding of our country’s fermenting, than nothing was. The next morning I
carefully spelled every word on the subject for the
article on the historical bassoon.
“It took a while, but it’s fi nally ready,” I was
telling Ron Klimko. The editor had come over to
Idaho Falls to play bassoon with the symphony.
They would have asked me, but the dog had
eaten my bassoon. I brought my manuscript. It
was much too valuable to trust to the US mail.
We were in the Colonial Theater, backstage
where Ron was about to perform in Stravinsky’s
Octette.
“Can you hurry this along, Al. I’ve got to
warm up.”
The manuscript blew a breeze into our faces
as I thumbed my way dramatically through the
pages. “This will turn the bassoon world on its
ear. Discoveries and more discoveries. And I
threw in a lot of technical information too, just
to balance the human interest with boring stuff.
And I spelled everything pretty good, too. Just a
couple of words I made up when I had to rush my
conclusions at the end.”
Klimko took the manuscript. “Great. Can
you go now, please? I have to warm up.”
That was several weeks ago. I recently spoke
to Klimko by phone and things are looking
promising.
“When’s it going to print?” I asked.
“I don’t know,” he said. “We have a couple of commitments before yours for an article
about newly discovered bassoon concertos by
Beethoven.”
“But, this could mean a Pulitzer to the Journal. My insights are hot. I mean, who cares about
Beethoven when you can have Guttenberg?”
“Well……….. We’ll see. I’ll call you when
we’re ready. I think I hear my kettle calling me.
Gotta’ go.”
So, it’s just a matter of time. Everything you
need to know about the bassoon from a historical
perspective to make you play better. Don’t believe
me? Just ask Lewis and Clark. ◆
THE DOUBLE REED
109
Eyeballing Mehta
Alan Goodman
Bedford, Wyoming
I
wandering around backstage in the Tokyo Concert Hall during the intermission. The Ives was
scheduled to follow the break.
The personnel manager approached, Walter
Ritchie in tow. “Mehta wants to see you two in
his dressing room.”
“What for?” We asked.
“Only ten minutes left to the intermission.”
The personnel manager ignored the question
and looked pointedly at his watch.
We found the Maestro‘s dressing room and
knocked. “Come in!” Mehta, sat hunched forward on a luxurious sofa. His body bent over a
coffee table and the large orchestral score that
lay open upon it. He stared at the manuscript
and appeared deep in thought. We stared at the
back of his head. No one said a word.
“You wanted to see us?” Walter said into the
void.
Mehta stabbed at a spot near the top of one
of the pages. A half-inch-deep crater appeared
where his fi nger touched down. “THIS! THIS
PLACE!! Where the bassoons come in together at the beginning of the second movement.
RIGHT HERE!”
We looked at each other and then, back at
the crater. “What about it?” Walter said.
Mehta turned from the score. His head tilted
back. I could barely make out his eyes beneath
the hooded lids. “Not good. Not good at all!”
“Zubin,” I said. We’ve played it at least forty
times this season. Not once have we missed it.
What’s not good?”
“Yeeeeeeeeeees, yes, I know,” Mehta’s words
slid slowly towards us. “But you miss the point.
You LOOK as if you’re going to miss it. You
should be watching ME, not the music.”
Our voodoo curses brought furtive glances
from the clarinet, oboe and flute section while
the orchestra played the fi rst movement around
us. We calmed ourselves for the opening of the
second movement -- the all-important “LOOK”
Concerto by Charles Ives for two bassoons
and symphony orchestra. At the pause before
ARTICLES
never met the gentleman, but musical informants tell me Charles Ives was a pretty successful insurance salesman. I did have an opportunity to meet his First Symphony, however,
and while traveling in Japan this work inspired
my re-evaluation for the meaning of life.
If you’ve performed Ives First Symphony,
you are aware that the second movement begins
with two bassoons. This entrance, delicately and
precisely made, sets the mood for whatever Ives
decided best follows the sound of two mournful
bassoons holding a sustained two-note chord.
The Los Angeles Philharmonic Orchestra, after perhaps a month of rehearsals, performances
and recording sessions under the baton of Music
Director, Zubin Mehta, had performed the work
without so much as a glitch from the bassoon
section in the coordinated attack of the exposed
passage. The feat represented admirable consistency during perhaps as many as forty or so
opportunities.
One evening after the fortieth performance,
Walter Ritchie, my bassoon partner, turned to me
and said,
“We’ve played this damned entrance perfectly
for over two months now. Absolutely perfectly.
Not even a bobble. Now, tell me why in hell Mehta has been giving us nothing but dirty looks?”
“Habit,” I ventured.
Later in the season the orchestra undertook
a two-week tour of Japan. Several more performances of Ives First Symphony in the Orient gave
us the satisfaction of continuing our perfect record of starting the two-bassoon opening without incident. Except for watching Zubin Mehta
glare down from the podium, it offered a rewarding sense of achievement.
“Why’s he making faces?” Walt whispered after another triumphant bassoon entrance.
“Maybe he’s allergic to the bassoon,” I suggested. “Should we ask?”
We decided that enjoying a drink at the hotel bar after the concert afterwards was a more
productive plan of action. The next evening I was
ARTICLES
110
A BASSOON LITE, PLEASE...EYEBALLING MEHTA
the downbeat we concentrated on Mehta’s face.
When his baton rose up, our four eyes rose up.
When his baton moved purposefully downwards,
our four eyes moved purposefully downwards.
When his two eyes met our four eyes and our
four eyes met his two eyes, it was an eye-for-aneye-ballet. Overwhelming eye contact screamed
success! Happiness! Coordination! Joy! Eternal
bliss!
And then …. the bassoon section coughed
into action like gasoline engines turning over on
a cold-morning Diesel hangover. In a fl ick of a
baton it was Muffsville.
Mehta smiled ever so slightly at our perspiring frustration. One hand cupped to his mouth,
he leaned forward and whispered over his musical score, across the violas, past the oboes, and
up the risers to the bassoon section, “You SEE
what I mean!”
Somewhere in the pre-dawn hours, I awoke
to a soft thud against the wall and then footsteps
padding away down the hallway outside my hotel
room. “I’m going to kill the bastard. I swear, I’m
going to ……” The steps were uneven. The voice
thickly familiar, faded.
Walter and I recovered a certain negative perfection through the rest of the tour when our bassoon engines coughed for each performance with
unfailing consistency. It was a failure that met
with perverse approval.
“So, now he’s smiling,” Walt observed.
“Only because we’re watching him.” ◆
THE DOUBLE REED
111
The ‘Flow’ State of Music Performance
The Theory of ‘Flow’ and Practical Methods of Application for Musicians
Eve Newsome
Melbourne, Australia
E
musicians and in the teaching studio with students in latter secondary high school and tertiary
level.
Through his ongoing research Csikszentmihalyi isolated seven elements of the ‘Flow’ experience. Three of these are characteristics of activities that promote ‘Flow’, and the remaining
four are experiential states commonly reported in
‘Flow’ experiences.
CHARACTERISTICS OF ACTIVITIES THAT
PROMOTE ‘FLOW’:
1. Clarity of goals and immediate feedback.
Feedback is not delayed like it is in everyday
life. It is clear how well you are doing.
2. A high degree of concentration on a limited
field of stimuli. In other words, not trying to
concentrate on too many things at once. In-
“The metaphor of ‘flow’ is one that
many people have used to describe
the sense of effortless action they
feel in moments that stand out as
the best of their lives. Athletes refer
to it as ‘being in the zone’, religious
mystics as being in ‘ecstasy’, artists
and musicians as aesthetic rapture. Athletes, mystics and artists
do very different things when they
reach flow, yet their descriptions
of the experience are remarkably
similar.”
This article will introduce
some of the theoretical background to the ‘Flow’ state and
then provide techniques to consciously increase the ability to
reach higher levels of ‘Flow’ in
practice and performance. These
techniques can be applied to all
Figure 1: Balancing challenge and skill for maximum flow.
ARTICLES
very musician has experienced at some stage
deep feelings of exhilaration and freedom
when immersed in playing their instrument.
Playing the instrument feels easy, you feel confident and when you look at the clock you may
discover that an hour has passed in an instant.
This experience is referred to as ‘Flow’. It was
fi rst documented in a study by the psychologist
Mihaly Csikszentmihalyi in 1975 when visual
artists were asked to describe the state of absorption they felt whilst engaged in their art. They described it using various terms including ‘continuous flow’. Csikszentmihalyi became fascinated
with the characteristics of this altered mind state
and began to research with rock climbers, composers, dancers and chess players. He found that
although these activities all differed from each
other, the state of flow experienced through these
activities was reported to be very similar.
Csikszentmihalyi (1997 p.29)
provided this defi nition of flow:
112
THE ‘FLOW’ STATE OF MUSIC PERFORMANCE
truding stimuli must be kept out of attention.
3. A balance between ability/skills and challenge. ‘Flow’ tends to occur when a person’s
skills are fully involved in overcoming a challenge that is just about manageable. Optimal
experiences usually involve a fi ne balance
between one’s ability to act and the available
opportunities for action. If challenges are too
low relative to one’s skills, one gets relaxed
and then bored. If challenges are too high
one gets frustrated, then worried, and eventually anxious. If both challenges and skills are
perceived to be low, then one feels apathetic.
When high challenges are matched with high
skills then the deep involvement that sets
‘Flow’ apart from everyday life is likely to
occur.
ARTICLES
EXPERIENTIAL STATES (PERCEPTION) OR HOW
YOU FEEL WHILST IN ‘FLOW’:
4. A sensation of heightened control. You are in
control without consciously controlling. You
are also not worried about losing control.
5. An effortlessness of action. You are highly active but there is no strain.
6. An altered perception of time. Minutes can
seem like hours or hours like minutes.
7. A melding together of action and awareness.
When you are in ‘Flow’ you have no dualistic
perspective. You are aware of your actions as
a whole.
‘FLOW’ IN PRACTISE.
To enable the state of ‘Flow’ to be brought on
deliberately during performances and for musicians to have the control of their mind state, they
need to learn to practice with ‘Flow’ techniques.
Andreas Burzik, a psychologist and violinist from
Bremen, Germany, has devised a system based on
Csikszentmihalyi’s theory that outlines the process required to activate the ‘Flow’ state in musicians. The following information has been developed from Csikszentmihalyi’s literature and also
from lectures and demonstrations given by Andreas Burzik on his 2003 Australian tour. These
are combined with my personal experiences and
observations with ‘Flow’ as both performer and
teacher.
THE ‘FLOW’ WARM-UP.
The way to begin to experience ‘Flow’ is with the
‘Flow’ warm-up. This can be done at the start of
every practise session and before every performance. The principles of the ‘Flow’ warm-up are
based around awareness of the elements of touch,
ease, sound and body-integrated movement. The
‘Flow’ warm-up consists of going around the
cycle of Touch/Ease/Sound using questions to
increase your awareness and become more subtly attuned to your instrument. It is important to
keep your body gently moving so that the body
can absorb information for you. The instrument
gives you all the information you need and as you
become more deeply aware of the sensory nature
of your playing, you will begin to naturally fall
into the state of ‘Flow’. You will be drawn in to
the intimate experience of joyful and effortless
music making where the spring of all musical impulse arises.
TOUCH:
The body takes in information through touch.
This is the starting point in terms of ‘Flow’. We
can begin by identifying the sound-producing
contact points. That is to say, where the body
meets the instrument in order to produce the
sound. For the oboe and bassoon these contact
points are:
1. The pads of all the fi ngers and the pads of
the thumbs that operate key work
2. The lips where they meet the reed
3. The tongue where it meets the reed
4. The airstream where it meets the reed
Start by playing slow, easy notes at a comfortable dynamic level and concentrate on feeling
the contact of the pads of your fi ngers with the
instrument. Just play any notes you like. It is not
necessary to play a piece you know, you can just
make up something simple. You will notice that
there is a lot to feel, such as the shape of the keys;
the coolness or warmth of the keys; the vibration
of the instrument and the air as it comes out of
the keys or tone holes. Play slowly so that you
can really feel every note and the subtle differences between notes. You are using your senses to
gather information about your instrument. When
you are ready, begin to feel the contact of your
THE DOUBLE REED
113
lips with the reed. Allow yourself to play slowly
enough to concentrate on feeling each note individually with your lips. Keep playing easy notes
at a comfortable dynamic level. As you continue
you can begin to become more aware of the contact points where the tongue meets the reed and
the air stream meets the reed. As you do this you
will be concentrating on feeling and relating intimately to your instrument in a deeply absorbing
way.
Ask yourself the following questions as you
play:
1. Do I really feel my instrument?
2. Am I in contact with each and every
note?
3. Am I in contact with each and every
movement?
EASE:
MOVEMENT AND BODY-INTEGRATED
LEARNING:
As you feel the contact points with your instrument, gently move your body and become aware
of the quality of ease in your playing. You can
then begin to address the quality of sound. You
may have already noticed that your sound has
changed as you have become more focussed on
the sensory experience and the ease of your playing. Now, as you play slow, easy notes at a comfortable dynamic level, listen to the quality of
your sound.
play:
1. Can I hear the quality of my overtones?
2. Are the overtones rich and strong?
3. Do I like and enjoy my sound as I play?
4. Do I really feel the texture of my sound?
SOUND:
‘FLOW’ WITH REPERTOIRE
Many musicians want to know how they can learn
repertoire more efficiently and with a higher level
of quality. Orchestral players in particular have
large amounts of repertoire to learn in short time
frames.
Once you have become comfortable with the
‘Flow’ warm-up you can begin to look at repertoire using the same principles of Touch/Ease/
Sound and body-integrated movement. In the
‘Flow’ warm-up you will have been improvising,
just playing any easy notes you liked at a slow
tempo and a comfortable dynamic. You may have
noticed that your body knew which notes to play
without you consciously instructing it.. When
ARTICLES
The body absorbs information best when it is
functioning in a body-integrated or whole body
way. In terms of ‘Flow’ for musicians, this means
that if we begin to gently move in a body-integrated way as we play, we can respond more easily to the sensory information we are gathering
through the contact experience. This allows us to
learn more deeply and efficiently and retain the
information in our bodies so that it can be released at will whilst performing.
While you play, fi nd a relaxing whole-body
movement that can be continued with minimal
effort. It is better to keep your feet on the ground
so that you are in a stable position. If you are
unsure how to begin, fi nd a gentle swaying movement. Your instrument should be included in the
movement so that you begin to ‘dance’ with it. It is
important that you keep moving because a static
or frozen position can bring about a rigid feeling,
anxiousness and too much thinking. When you
move in a body-integrated manner, you can feel
the music in your body and then anxiousness and
over-analytical thinking naturally dissipates.
play:
1. Am I dancing with my instrument?
2. Am I using a gentle whole body movement as I play?
3. Does the movement have a quality of
ease?
This is a crucial part of the ‘Flow’ experience.
Continue to play slow, easy notes and feel the
contact points again. Keep a gentle body movement going. As you introduce the concept of ease
you will begin to feel a wonderful freedom and
yet be completely focussed on your playing.
play:
1. Do I feel comfortable?
2. Does the feeling gained from the awareness of contact have a quality of ease?
3. Can I really feel every note and is the
feeling deeply comfortable?
114
THE ‘FLOW’ STATE OF MUSIC PERFORMANCE
ARTICLES
you use ‘Flow’ with repertoire, the concept of exploration or improvisation is also very important.
Make sure that you maintain an attitude of playfulness as you explore.
There are three main ways of using the principles of ‘Flow’ with repertoire.
1. Begin to play through your repertoire.
When you notice a lack of ease, slow
down, explore and improvise around the
relevant challenge. Use the principles of
Touch/Sound/Ease and body-integrated
movement to reduce the challenge and increase your skills through gathering information through the senses. Play through
the material again. Repeat this process
as necessary. Remember to use flexible
rhythm and tempo and avoid mechanistic practise. You can change the dynamics
and articulation to fi nd a greater comfort
level. Later you can re-integrate them
whilst maintaining the comfort level. You
can play any notes in any order that help
you to understand the material more fully-they need not only be the notes on the
page! Allow yourself to improvise with
the material and enjoy the process. Just
take your time to playfully explore your
piece!
2. Using improvisation, create a rhythmic
loop based around any specific element
in the repertoire that needs attention.
The loop should be rhythmically symmetrical by nature and be short enough
to repeat with ease. Keep repeating the
loop that you have created whilst adjusting for Touch/Ease/Sound and any other
elements such as intonation. If necessary
reduce the technical challenge. The aim of
the rhythmic loop is to assist in the reduction of the challenge level and to build the
skill level on specific issues that you have
identified.
PERFORMING WITH ‘FLOW’.
Practising with ‘Flow’ greatly increases your ability to bring on ‘Flow’ in performances. If you are
in performance and start to feel a lack of ease,
experience anxiety or hear that your playing is
not at the standard you would desire, immedi-
ately put into practise the principles of ‘Flow’.
Feel your instrument, get more comfortable, enjoy your sound quality and ‘dance’ with your instrument. Become actively engaged and absorbed
in the inherently sensual experience of your own
playing and you will experience the exhilaration
of the world of ‘Flow’. Spontaneous musical impulses will arise effortlessly and you will just go
with the ‘Flow’! ◆
REFERENCES:
Csikszentmihaly, M, 1997. Finding Flow: The
Psychology of Engagement with Everyday
Life. New York: BasicBooks.
Eve Newsome is Lecturer of
Woodwind at the Victorian
College of the Arts in Melbourne, Australia. She has 23
years experience performing
on oboe, oboe d’amore and cor
anglais with major orchestras
within Australia, including the
Melbourne Symphony, the Sydney Symphony,
the Australian Chamber Orchestra and Orchestra Victoria. She has won numerous grants and
scholarships that have enabled her to pursue
overseas study in Europe and England. In recent years she has featured as a soloist on oboe
and oboe d’amore with the Southbank Players of
Melbourne. Eve is well known as an oboe teacher having taught many of Australia’s foremost
young oboists.
In 2003, Eve turned her pedagogical focus to
the exciting area of ‘Flow’ in music. She is one
of only several experts in this fi eld in the world
and is in demand for lectures, demonstrations
and private lessons on ‘Flow’ for all instruments.
Eve lectured on ‘Flow’ at the IDRS conference
in Melbourne (2004) and recently became President of the Australasian Double Reed Society.
THE DOUBLE REED
115
Order Out of Chaos:
A Tale of Perestroika, Part 2
(Order Out of Chaos was originally published in the August-September 1990 issue of Columbia University’s
Harriman Institute Forum. Since then, much has changed. The Soviet Union no longer exists. Along with
many other composers, the Raskatovs emmigrated to Western Europe during the tumultous early 90s. To
the best of my knowledge Sasha and Olga are currently living in Hamburg, Germany. The oboe concerto was
apparently published by Peters some time ago, although because I eventually gave up the oboe, I have not
purchased a copy. Ted and Karen continue to play in the Montreal Symphony, when they are not on strike.
Ironically, the escapade described in Order Out of Chaos probably would have proved impossible today because in post-Soviet Russia, as in America, money rules and none of us could have afforded to pull it off.)
Tony Rothman
Princeton, New Jersey
VI. ROUND TWO: INTERMEZZO
W
ARTICLES
e now had $1000 and four stipulations
from the NEA: Baskin had to attend precisely a festival, he must give a seminar or
master class, the NEA must be acknowledged in
the program and, if possible, an American work
should appear on the concert. Of course Baskin’s
schedule also had to be met. The Montrealers
play forty-odd weeks out of the year and the orchestra was scheduled for a month-long tour to
Asia in autumn 1989. Those were the Western
requirements.
Meanwhile, Moscow: Raskatov had concluded the Moscow Autumn Festival was a disaster,
the festival orchestra worthless and under no
circumstances was his concerto to be performed
by them. Acting on his own he contacted Salius
Sondetskis, a highly regarded Lithuanian conductor, who agreed to premiere the work at the
Tchaikovsky Concert Hall in Moscow with his
Vilnius Chamber Orchestra. Sondetskis gave us a
choice of dates in June 1989; Baskin accepted the
17th; Susan Feder telexed VAAP with a request
to help organize the concert and an explanation
of the NEA’s requirements. Was this a festival? I
hadn’t the faintest idea. I raise my goblet to joint
ventures. There, now it’s a festival.
A phone call: Classical Artists International
has been informed that Tony Rothman is a renowned authority on Russian music. Would he be
willing to write the program notes for the Ossipov Balalaika Orchestra’s Carnegie Hall appearance…? Ossipov Balalaika Orchestra…?
Some time after our telex is launched into
the ether confi rming Baskin’s intent to play with
Sondetskis, VAAP cables a reply: “The dates you
suggest are inconvenient for maestro Sondetskis.” “Whaat?!” will approximate my screech to
Susan over the telephone. But of course Susan
has no more information; the dates are inconvenient for maestro Sondetskis, that’s all. An
apology? Behold, I will send you Elijah: Ya ne
vinovat, the most popular phrase in Russian, “I
am not guilty.” Susan then gracefully signed off;
Schirmer would play no further role in this affair, we were on our own.
The mystery was illuminated (somewhat)
in April when this miserable sinner traveled to
Moscow for Scientifi c American and, during my
fi rst night in the Big Onion, suffering from jet
lag and an inflexible tongue, I met Sondetskis at
Raskatov’s apartment. We spoke to him for three
hours, trying to fi nd a way out of the impasse. I
understood nothing, a fact I blamed on my presence in the wrong space and time zone and the
16-month gap in my Russian. But Sasha’s Russian was in perfect condition and he had not understood anything either. That worried me.
Sondetskis was willing to conduct, could request a hall, but official and even local arrangements for foreigners (for instance hotel accommodations) would have to be handled through
Gosconcert, the state concert agency, and that
would take an unimaginable amount of time.
In any case, since the new laws allowing some
private enterprise went into effect a year ago,
everyone (notably conductor Gennady Rozhdestvensky) was defecting from the thieves and
bandits at Gosconcert to new cooperative agencies and the concert world structure was sublimating like the rest of the Soviet Union carrying
with it all possibility of comprehension. What it
boiled down to was that Sondetskis had received
116
ORDER OUT OF CHAOS: A TALE OF PERESTROIKA, PART 2
an invitation to conduct in London during June
and took it.
ARTICLES
VII. ROUND THREE: BANDWAGON WALTZ
Few are lonelier than an exhausted and defeated
man hailing a cab to his hotel at 2:00 A.M. on
Gorky Street. But I had been traveling to the Soviet Union for 10 years and had suffered every
conceivable indignity except deportation – and
that had been threatened. By now I viewed the
concerto as a form of revenge. I had come by the
sword and would die by the sword, not otherwise.
There was a last hope: a letter in my pocket from
the mysterious Lisa Sonne, rider of the glasnost
bandwagon. Listen attentively.
At some stage word of our endeavor had
reached an acquaintance of mine, George Olczak, who runs a small, San Francisco-based
“Arts and Sciences Productions,” and he decided
the project would make an interesting documentary. Through Olczak word reached Lisa Sonne,
a producer who had been responsible for Sheffield
Labs’ “Moscow Sessions” (the fi rst recordings of
an American conductor in Moscow) and she resolved to capture the world premiere of the great
concerto live.
Inequities of the artist’s life! An American
composer might wait years for a concerto to be
performed, yet alone recorded: to be enshrined
by celluloid is beyond imagination. An American
writer might receive 150 rejections to get a novel
published, only to fi nd it remaindered in Barnes
and Noble three months later. Yet here were two
producers clamoring after a Soviet composer totally unknown in the United States to record on
disc and fi lm a work no one had ever heard before. Alas. I agreed only to write up for George a
synopsis of the odyssey to date, with biographies
of Baskin, Raskatov (more telexes) and myself,
but my limits were approaching exponentially
and I would leave documentaries and digital recordings in other hands.
I did not get off so easily. Sonne, through her
work on “The Moscow Sessions,” knew Dmitri
Kitaienko, the conductor of the Moscow Philharmonic and she spoke to him about the project
while he was in the US. Apparently he had shown
interest and I received a letter from Sonne’s office
to Olczak advising me to phone Kitaienko should
I be in Moscow. Now I was in Moscow and two
days after facing a deserted Gorky Street at 2:00
A.M., with a clearer mind but not much confi-
dence I phoned Kitaienko at his home.
“Gospodin Kitaenko?”
“Yes?”
A few words of introduction. “I understand
that you viewed some of Olczak’s productions
and showed interest in premiering the concerto
for a possible documentary.”
“I showed no such interest. I left the cassettes
behind in America. But if you’d like, come by my
office tomorrow after the rehearsal and we’ll talk
about it.”
At the appointed hour Sasha and I walked into
Kitaienko’s office in the Tchaikovsky Concert
Hall and were met by the orchestra manager. Are
you Russian? No, I had been denied that privilege.
Born here at least? No, I am afraid not. I’m just
the oboist who commissioned this piece. Oboist?
My colleague. He extends his hand. I teach oboe
at one of the musical institutes. Pleasantries over.
He explains that the orchestra is booked for 18
months. “Do you know what’s going to happen
in eighteen months? I don’t know what’s going to
happen tomorrow.” The conversation is reminiscent of the evening with Sondetskis: the Moscow
Philharmonic couldn’t fund any concert, since the
next season is already scheduled, and the country
was sublimating from amorphic solid to gas so
that approaching Gosconcert was probably hopeless. That we already know.
Eventually Kitaienko himself appeared,
sweating from the rehearsal but in a good mood,
and he repeated what the manager had already
told us. The crusade appeared to be over, no dishonor; Sasha and I exchanged glances and made
ready to depart. At that moment, which will be
remembered in the annals, Kitaienko asked offhandedly, “What is the concerto scored for?”
“Oboe and fi fteen strings.”
“Oh, then you don’t want the full Philharmonic, you just want our chamber ensemble.”
“Of course.”
“Why didn’t you say so?” exclaims the manager, “I’d have told you the same thing myself.”
“The chamber ensemble is conducted by our
concertmaster Valentin Zhuk. Why don’t you
talk to him.”
Then a miracle occurred.
Valentin Isaakievich Zhuk walked through
the door.
And once more into the breach. It so happened, Zhuk told us, that in November he was
planning a concert for which he’d like to do the
Concerto for Oboe and Harp by Schnittke, per-
THE DOUBLE REED
Philharmonic agreed to pay?”
“The season is already scheduled.”
“This is entirely different. The concert isn’t
part of the Autumn Festival.”
“What if it were?”
“Then maybe something could be arranged.”
“All right, if Zhuk agrees, there will be Zhuk
and Zhukov.”
Zhukov was the conductor of the festival
orchestra and, by all accounts, not a good one.
If Sasha’s remark had been calculated to ignite
Dmitriev, it did.
“Sasha, this is really offensive. Tony here is
our friend. It’s not proper to talk like this…”
“All I meant was they’d both be conducting
at the festival.”
“Well, Zhuk’s group is of course very good
but it isn’t the festival orchestra. In any case, the
program would have to be changed, since we’re
only interested in modern music. What else is on
the program?”
“I don’t know. Probably standards.”
“Anyway, we’d have to change the Schnittke,
since he already has a piece in the festival. We’d
also have to look over your concerto.” A pause.
“But I think we would almost certainly accept
it.”
This was the Dmitriev who, almost exactly
one year ago, had himself guaranteed the concerto’s premiere at the 1988 festival. Sasha, barely
containing his temper, asks what needs to be
done, and Dmitriev delivers a fi nal blow:
“Go to England, have a good time. Visit Tony
in the States. I signed all the documents.”
So that was it. After one or two attempts to
clarify what connection the Autumn Festival has
with Sasha’s attendance at a London music festival or an invitation I had recently obtained for
him to visit me in Princeton, the guillotine falls.
“Let’s put an end to this. Write me what you need
in a letter.”
Sasha left the Composers Union in a fury,
claiming that Dmitriev hated anyone who composed better than himself and he vowed never
again to submit a composition to the Moscow
Autumn Festival or let one be performed. I was
not so upset, having had my life ruined by such
types often enough before. The lesson here,
though, was an exceptional one. Americans, living in a crystal, have the peculiar notion that the
Soviet Union being (until recently) a totalitarian
state, is a structure even more tightly bound by
laws. In the past, any Soviet laws protected the
ARTICLES
formed once in the Composers Union auditorium
nearly twenty years ago and not since. There
was also an open slot on the program. If Baskin
would agree to play both concertos, it was entirely possible something could be arranged. Zhuk of
course would need to look over Raskatov’s score
and I would have to check with Ted. A few days
later, Zhuk approved the concerto.
As is said in strategic circles, we were cautiously elated. All that remained to be done was
to fi nd enough rubles for a week in a hotel. No
hard currency was involved, only Monopoly
money. Only. Even Soviet organizations must
pay five times the nominal rate for foreign guests.
Philharmonic expenses were already allotted
for the season, so Zhuk suggested we contact
the Composers Union. Two Moscow composers
would be featured on the program and it was the
duty of the Moscow Composers Union to propagandize Moscow composers. What could be
more natural?
A few weeks later Raskatov and I sit next
door to his condemned apartment house in an office lined with posters, dominated by two concert
grands, and face across a conference table the
head of the Moscow Branch of the Soviet Composers Union, Georgi Dmitriev, who a year earlier had been my pleasant charge in New York.
Now I saw the face of a bureaucrat, or perhaps a
medieval lord at the center of his fiefdom.
The comedy began when a secretary poked
her head in to ask whether Dmitriev planned to
attend a Party meeting that evening. “Yes, I suppose,” he answered before turning to me with an
embarrassed apology. “I’m not a member of the
Party, you understand, but because of my position I have to go to these meetings.”
The conversation went downhill from there.
When the question of the premiere was raised,
Dmitriev fi rst accused Baskin of breaking last
fall’s agreement and Sasha of voluntarily withdrawing the concerto; the Composers Union was
not guilty of anything. I objected that Baskin had
not agreed to come while the question of travel
expenses had not been settled, and Sasha defended himself by saying there was no choice in withdrawing the concerto – there was no soloist. In
any case, we had come merely to fi nd out whether
the Composers Union was still willing to pay local expenses. Two Moscow composers were on
the program.
“You shouldn’t look at the Composers Union
as a source of money. Why hasn’t the Moscow
117
ARTICLES
118
state from the individual, exactly contrary to the
Western notion of law. These laws prohibited the
individual from doing anything and so were ignored. Others have said that in the Soviet Union
for every law there is an antilaw. In either case
the result is equivalent to no law. If the Composers Union promotes certain Uzbek and Armenian
composers it is because certain functionaries,
under the influence of cognac, promote them. If
certain talented composers go unrecognized it is
because certain functionaries obstruct them. The
Composers Union, like the Soviet Union itself,
is turning into a gas and so is not run by deterministic laws. When causality is absent anything
is permitted. The new Supreme Soviet is passing
laws to induce a phase transition to a more ordered state.
Although Sasha was despondent, it occurred
to me that in the age of reformation, orthodoxy
might be the answer. Perestroika has seen the
birth of innumerable cooperative cafes, restaurants and factories – and several cooperative Russian orthodox choirs. The conductor of perhaps
the fi rst of these was an old friend and I put the
question to her business manager. “Nothing to
it. Raskatov should invite Baskin as a personal
guest. It’s easy enough now; about two months
are needed to process the documents.” That was
good news. In the past it took a year and you
never got a visa.
So there we were. We would bypass all official
obstructions, the internationally renowned oboist would sleep on Sasha’s couch and we would
extend Dmitriev a personal invitation to the concert. The realization of our success gradually descended upon me. Only one who has been defeated time and time again by the Soviet Union can
imagine the absolute joy, the rapture, the ecstasy
which at that moment came with the knowledge
I had almost single-handedly outwitted the most
monstrous bureaucracy on the face of the earth.
No other feeling quite approaches it.
On May 2, after the cinders of May Day fi reworks has darkened, I flew into the sunset with
confidence in my heart and a set of beautiful
parts to the concerto, copied by the best scribe
in Moscow, paid for by the Composers Union.
Glory to Socialist Labor!
VIII. DIES IRAE
Rapture, of course, can be premature.
For a time all signs remained favorable. Ted
agreed sight unseen to play the Schnittke (a decision I am sure he came to regret permanently),
Zhuk agreed to send a score and oboe part post
haste, an official letter of invitation scheduling
the concert for November 25 was on its way from
the Moscow Philharmonic, Sasha confi rmed
that to invite Ted as a personal guest would be
straightforward.
The auspices began to turn only with the
seasons. A month went by, six weeks, no sign of
score or part, or for that matter a letter of invitation. It was now June, only five months away
from the concert. Sasha assured me an invitation
from Zhuk was in the mail. But the music? The
Russian penchant for miracles was at work here.
What if the Schnittke turned out to need a year
of preparation? Did they expect Ted to learn it in
a month?
My patience ran out – I would have to fi nd
a copy in the West. My fi rst attempts are fruitless: it is unavailable, never published; no says
Laurel Fay, the score is in my hands, published
by Universal twenty years ago; yes says the Minnesota distributor, but to backorder it will take
months. Finally, Laurel sends me a perusal copy
from Schirmer’s.
One glance at the score and – I am annihilated. Apart from Berio’s Sequenza, was anything so
difficult? Flutter-tonguing, multiphonics, glissandos, every trick in the p*ss-and-f*rt school of music. All of which Ted hated and struggled to avoid.
Not a moment to lose; Federal Express whisks off
an enlarged xerox of the score and two days later
I phone Karen expecting psychic destruction.
“No problem,” she shrugs. “He has August
off.”
To rely on Ted’s supernatural powers was to
expect a miracle of the second kind, to rely on the
Soviet Union was to expect a miracle of the fi rst
kind. Official letters of invitation did eventually
arrive and another copy of the Universal score
– but no oboe part. By now Ted was convinced
a concert was possible and the real work (absent
from this chronicle) began. I saw him during his
August retreat, when he spent five hours a day on
the concertos, and with each new flutter-tongue,
second thoughts insinuated themselves further.
Ted complained bitterly that the Schnittke would
be impossible to learn properly without a part.
Either he had one within two weeks or he would
refuse to perform it. Besides, neither Schnittke
nor Raskatov showed off the oboe in its best
traditional manner. We should substitute the
THE DOUBLE REED
set off for the consulate and requested a visa application, explaining that Ted was being invited
as a personal guest. No, we cannot help you.
Such an invitation requires an official letter from
Moscow; without one the application cannot be
processed. Despite my pre-trial pep talks Karen
was despondent, never having faced the Soviet
bureaucratic barrier before. Perhaps I should
have phoned the consulate myself (M-F, 10:00
A.M.-12:00 noon) but anyone who has ever tried
to penetrate the Soviet busy signal in Washington
knows better. Instead I stupidly told Karen to get
two visa applications, have them notarized anywhere and send them off with photos to Moscow
via DHL. A week later – Disaster. Without the
idiotic consular stamp OVIR refused to accept
the application. By now it was mid July and Sasha frantic. The plan had been for Ted to leave in
mid October on the Symphony’s Asian tour, then
fly direct from Seoul to Moscow on November 17
for the concert. Foreseeing at least one consular
blockade was no act of prophecy and I had told
Sasha that Ted must have a visa by early September. I lied.
Unaware of my deception, Sasha’s father, a
member of the Writers Union, took matters into
his own hands and lay siege to the very Ministry
of Foreign Affairs. This concert is an important
one, the US State Department is supporting it, the
soloist is internationally recognized. If I had indeed stormed a US State Department surrounded
by a layered defense of functionaries, guards and
unlisted phone numbers, then you would have
some idea of the extremity of the senior Raskatov’s action. He failed in his mission to extract a
visa, but he did persuade them to telex the Montreal consulate, authorizing them to stamp a new
set of visa applications.
We repeated the entire process. In early August, dashing from the consulate to the airport
for a week’s stint at the Hollywood Bowl, Karen
dropped a second set of forms into the post box
and I DHL’d them to Moscow. Gospodi pomilui.
In retrospect, the visa struggle turned out to
be a skirmish. Late August also saw the convergence of serious problems. Sasha and Olya arrived in mid-month for a three-week visit and,
while their stay proved to be more pleasant than
not, some of my most deeply-rooted fears came
true. It is written that the Russe are past masters
at upping the stakes and for ten years I have unsuccessfully searched for the limits. My eternal
naivete in this matter never ceases to amaze me;
ARTICLES
Vaughan Williams for the Schnittke and reschedule Schnittke for a later date. He would pay travel
expenses. And furthermore, we must add a Vivaldi concerto to the program.
Rocks and hard places surround me. I relayed
Baskin’s ultimatum to Raskatov, who with his
wife was by that time visiting me in Princeton.
No, Schnittke is the country’s most famous composer and will serve as the drawing card. Ted
must perform the concerto. A midnight phone
call to Zhuk confi rmed the worst: Some time ago
a Russian oboist had walked off with the music
and never returned it. A part did not exist in the
Soviet Union.
Death and fatality! Zhuk would copy out the
part by hand and send it to Baskin in September
when the Moscow Philharmonic was on tour in
Germany.
“But what conductor schedules such a concerto when he doesn’t have the music?”
“We can only apologize for our countrymen,
but really, am I guilty? This is not my problem.”
I was in the mood for a part, not apologies,
and did what I should have done months earlier:
phone Universal in Vienna. No, the part is not
published, yes we have a rental copy. Would you
be so kind to send a xerox to Baskin? Bill me.
Certainly, with pleasure. A week later Ted had a
copy in hand. He was happy, I was charged $10.
A toast to Austrian efficiency!
But the battle for the music turned out to
be merely a skirmish. Tales of Soviet visas are
more numerous than mosquitos in a New Jersey
swamp and less pleasant. This one is exceptional;
I recount it hoping the next generation will exterminate them all. In a letter written only a few
days after my departure from Moscow, Sasha
outlined clearly the procedure by which he could
invite Baskin: Ted should send him two visa applications, notarized in the Soviet consulate in
Montreal. Sasha would submit them to OVIR,
the Department of Visas and Registration, and in
four to six weeks he would receive Ted’s visa and
mail it to him. The procedure made slightly more
sense than the White Sea Canal but it was at least
well-defi ned.
The White Sea Canal is usually frozen but,
as I’ve said, the Soviet Union is sublimating and
informational links do not extend the distance
from one end of a cafeteria queue to the other; it
was unreasonable to assume the Montreal consulate would respect procedures laid down by
OVIR, 6,000 kilometers away. Karen innocently
119
ARTICLES
120
otherwise I can only conclude I harbor masochistic tendencies. In terms of the current comedy,
from the start Sasha’s correspondence was dominated by a practical element; once in America the
dragon’s teeth bore fruit.
Uppermost in his mind was Olczak’s documentary, Sonne’s recording and a determination
to get an invitation to teach at an American university. “Olczak should use our presence here to
his advantage and interview us now.” The fact
that Olczak had failed to interest any sponsors
and was without the half million dollars needed
to produce his fi lm made no impression on Sasha whatsoever. Neither did the impasse between
Baskin and Sonne: Ted refused to allow her to
record the concert live on the grounds that a live
recording of the Schnittke was insane, and Sonne
refused to make a studio recording on the grounds
that it cost too much. “But this would be such an
advertisement for Baskin,” Sasha maintained.
The next question was whether I had begun
to think about the American premiere.
“Sasha, we haven’t even accomplished the
fi rst step.”
“Yes, but it is time to start thinking about the
second.”
“I am not an impresario, I am not connected
with an orchestra. The conductor of the Princeton Chamber Symphony has agreed to give the
premiere here in two years. That is all I can promise you.”
“Two years! That’s a long time. Besides,
Princeton is a small town, it wold be better for
Ted to do it in Montreal.”
“Sasha, the fi rst thing you must understand is
that America is not waiting for you. I have done
everything in my power to get this concerto performed. I cannot do any more.”
“I think we’ve all done what has been
necessary.”
So arrogant are the Russians that they yield
nothing even to one another; they constantly strive
for place and, on that account, often become involved in altercations. As a result of this altercation, I was ready to punch Aleksandr Mikhailovich Raskatov in the mouth. My mood became
uglier. By August I had left Scientifi c American
and because (for reasons which are at this moment incomprehensible to me) I was scheduled to
spend autumn in the Big Onion on the National
Academy of Sciences-Soviet Academy of Sciences
exchange, I had neglected my own travel plans.
But the reliable days of stagnation, when every
Russian was frozen at home, are over and days
of restructuring have seen Russian scientists becoming globetrotting juggernauts; everyone who
has not left wants to. At the usual last minute the
Soviet Academy refused to accept me because my
colleagues had vanished. Attempts to reschedule
the visit or re-station me at the Shternberg Astronomical Institute failed: by now the country
was in such chaos that the NAS telexes went
unanswered.
Expecting my official trip to fall through, I
mentioned to Sasha that I might need a personal
invitation. He balked. Time was getting short
and “it would be a lot of trouble.”
“Yes, it would be a lot of trouble.” I said and
walked away.
Later Sasha expressed surprise that I could
possibly have gotten the idea that he was not
willing to do anything in his power to invite me.
“Perhaps you don’t understand the subtleties of
Russian. To have the concert go on without you
would be stupid.” Sasha and I have since made
some sort of peace, but the August conversations
marked for me a turning point. I would no longer
put on this concert for him, for adventure, for obligation, for pleasure, for revenge. I would put it
on for the music, for Ted and to get it over with.
Internal philosophical quandaries are important but unmeasurable on the external world’s
Richter scale. It was Karen who fi rst noticed the
crack that turned into an earthquake. In Zhuk’s
initial letter of invitation, the concert was scheduled for November 25; in the second letter, which
came from the orchestra management, it was
scheduled for November 26. Ted had agreed to
the 25th, but the 26th – impossible. He had to
be back in Montreal on the 27th for a rehearsal.
When was the concert?
The 26th. The Tchaikovsky Hall had been
commandeered on the 25th for the Verdi Requiem and the Verdi Requiem, lachrymose,
would not submit to rescheduling. Zhuk claimed
that when I fi rst wrote to him in May, Ted had
agreed to the 24th through the 26th, so he had
not thought twice about rescheduling the concert. I do not remember the detail. But possible
mistakes notwithstanding, history was repeating
itself. Last year the Composers Union scheduled
a concert without verifying that funds were available; this year, some six weeks after agreeing on
the 25th, Zhuk rescheduled a concert without
contacting Baskin. A miracle did not occur. The
Montreal Symphony management refused to re-
THE DOUBLE REED
IX. ROUND FOUR: TRIUMPHAL MARCH
Zhuk has defected. Those were Raskatov’s words.
Whether one can actually defect in the age of perestroika is a question best left to television analysts. Only one thing was clear: when the Moscow Philharmonic returned from its European
tour, it returned without Zhuk. He had stayed behind. In Amsterdam. More even his wife did not
know. Weeks later, we were told he had remained
in Amsterdam with the Philharmonic’s harpist to
audition for the Concertgebouw Orchestra. With
the harpist! They were undoubtedly fleeing the
Schnittke.
And God said: Let this endeavor fail, let this
concert not happen. It was enough to make me
fi nd religion. Yet this time Sasha’s mood was
upbeat. A new orchestra, under the baton of
Mikhail Yurovsky, conductor of the Stanislavsky Opera Theatre and Principal Guest Conductor of the Dresden State Opera Orchestra,
had agreed to take over the concert. It would be
centered around Ted who would play the Brandenburg No. 2, a Vivaldi concerto of his choice,
the Raskatov and the Schnittke. As a bonus the
program would be repeated for television. There
was a catch – the Philharmonic had given away
the Tchaikovsky Hall on January 3rd and to keep
it the concert would have to be rescheduled for
December 22, 1989.
At that moment I was struck dumb and incapable of comprehending what had happened.
Later Sasha recounted that as soon as the Philharmonic management heard of Zhuk’s defection, they cancelled the concert. Sasha was outraged. There were other conductors in Moscow,
why did the concert have to be cancelled? He got
no clear answer; without Zhuk the chamber ensemble of the Moscow Philharmonic apparently
ceased to exist. Sasha called them bastards, an
expression you do not use in Russian unless you
expect consequences.
To add injury to decapitation, the Philharmonic management expected Sasha to inform Ted
of the cancellation. “I’m only the composer, you
scheduled the concert. You write him.” The debate
over guilt went on until Sasha pointed out that the
official letter of invitation came from the Director
of the Moscow Philharmonic. At that point the
general manager capitulated but still asked Sasha
to bring over Baskin’s address because “it was too
much trouble to fi nd the letter” and there was no
more time to discuss it by phone.
ARTICLES
lease Ted for the 27th and in an instant, all our
plans collapsed.
A week of midnight phone calls to Moscow
and Montreal resulted in a resurrection date:
January 3rd, 1990. Our nerves were frayed, we
had wearied of the endeavor. We agreed it would
be the fi nal attempt, the true resurrection. It was
Ted’s vacation, it was the Russian Winter Festival. Nothing could go wrong now.
Really, three months is too long to avoid
negative miracles. A potential (as opposed to actual) disaster capped the tale of the Baskin visa.
In October Karen received from Raskatov what
he claimed was Ted’s visa. But my latent skepticism got the better of me (I refused to believe even
the Soviets would require visas to be sent through
Soviet post) and I asked Karen to describe the
document. She puzzled out the Cyrillic letters. I
interrupt. Is there a photo? No. Whatever this is,
it is not a visa. Raise the consulate.
Indeed, it was a visa voucher. A visa was ours!
(in principle). Except the consulate was closing at
noon and the orchestra was to leave for Asia the
next day. Impossible to get. Only the rescheduling of the concert for January 3 prevented potentialities from becoming actualities: Ted no
longer needed the visa before the tour; Karen
would snatch it up upon the orchestra’s return in
November. And thus did two disasters annihilate
each other.
The past is prelude, never forget it. I had anticipated much, had averted less, but never in my
darkest socialist nightmares did I imagine what
was to come next. When the NAS telexes to the
Soviet Academy continued to go unanswered,
I nearly gave up the idea of attending the concert. Time was now too short for Sasha to invite
me and I no longer wanted him to. But Ted was
threatening not to go without me. The importance of being stuck…From my April business
trip to Moscow I knew that if VAAP or the Moscow Philharmonic telexed me an official invitation, I could have a visa within two days. VAAP
had tired of me long ago, but perhaps the Philharmonic…I phoned Sasha to see whether an invitation would b issued.
“The Philharmonic will not issue an invitation because the Philharmonic is not playing the
concert.”
“What are you saying?”
“Zhuk has defected.”
121
ARTICLES
122
While in the Philharmonic office to deliver
Baskin’s address, Sasha overheard the name
Yurovsky, a conductor who had performed several of his works before.
Not two months earlier, in the chaos of perestroika, Yurovsky had formed his own chamber
ensemble, with members of the Opera Theatre
orchestra and the Moscow Philharmonic, and he
agreed to take over the concert.
Yurovsky’s group, so new that it did not even
have a proper name, was listed with a fledgling,
independent concert agency, Sovinart, itself under a new umbrella organization Muza (Muse).
At fi rst Muza showed no interest in sponsoring
the concert, but Yurovsky pointed out that they
would be advertised along with America’s National Endowment for the Arts and the chance
of such immense publicity converted them to the
cause. Furthermore, Sovinart had a professional
manager – and (miracle of miracles) a fax machine – who would contact Baskin directly, leaving me out of it.
When I hung up the phone, in a complete state
of shock, I did not know these details; I knew
only that “the concert has been saved” by some
Yurovsky and his orchestra and that the new,
professional manager should have already contacted Baskin. But how could they have contacted
Baskin? He was playing Bizet somewhere in the
Far East. What if December 22 was unavailable
to him? What if he refused to play with an unknown orchestra? They might be amateurs. The
Soviet side, in a fashion which should by now be
recognizable, had not asked the soloist whether
salvation was acceptable to him. I concluded that
the concert had yet to be saved and phoned Ted’s
mother to put her on alert. “When Karen returns
this weekend, the fi rst thing you tell her is: thou
shalt not freak out.”
Karen did not freak out. A manager did call,
not from Sovinart or Muza, but from a new international consortium Interbyte, which was apparently the organization planning to televise the
concert. She gave Karen a fax number to which
she could refer questions.
The week of December 22 Ted was only
scheduled to play the Messiah (Halleluia!) and
because he had performed that duty seven years
in a row, management released him.
Then a miracle did not occur.
The faxes from Montreal went unanswered.
By now Thanksgiving had come and gone, little more than three weeks remained before the
concert date, and Ted still knew nothing about
the conductor, the harpist, the orchestra or the
rehearsal schedule. Worse, skeptical that the
concert would be resurrected, he had let the
Schnittke and Raskatov lie fallow on the Asian
tour and there was no longer time to get them in
shape. “It’s just too late,” said Karen.
Another miracle.
Interbyte suddenly pulled out of the endeavor
but faxed Yurovsky’s home telephone number;
Yurovsky spoke English and I urged Ted to phone
him. He did. Suddenly, on Friday morning, December 1, word came from Montreal that all systems were go. Sunday was the deadline for airline
bookings. Karen would book a fl ight today.
But I still had no official invitation and without one a visa would be impossible to obtain.
And yet another.
That day, while lunching in New York with my
ex-colleagues from Scientific American, I learned
that a telex had been received at Schirmer’s and
would be sent over to the magazine offices. An invitation from VAAP awaited. According to Raskatov, the VAAP officials initially refused to issue
one on the grounds that they did not want to be
responsible for me in Moscow, but he threatened
to defect to a new cooperative agency unless they
relented. Five hours after I received the telex a
fl ight was booked and a visa application was on
its way to Washington. The phone bill registered
7.9 on the Richter scale.
X. APOTHEOSIS
We flew into the sunrise with string parts for the
Vivaldi on December 17th. One other unfortunate coincidence took place: three days earlier
Andrei Sakharov died. It happens that I had become friendly with Sakharov through work on
his memoirs and I desperately wanted to attend
the funeral, which was to be held the morning of
our arrival. Despite frantic last-minute efforts, it
was impossible to book an earlier fl ight and we
missed the ceremonies. I did ask Yurovsky to dedicate the concert to Sakharov’s memory. He had
been thinking along the same lines, had already
added Albinoni’s famous Adagio to the program
in memoriam and agreed to consider my request.
After that, no miracles occurred and none
THE DOUBLE REED
Interbyte did not fi lm the program because
the manager had left the country without passing on instructions and none of his subordinates
would take responsibility. Whether the concert
was actually part of the Russian Winter Festival
is debatable; whether the Russian Winter Festival
actually existed outside a program booklet is also
debatable. Ted was interviewed by Radio Moscow, Soviet Culture and Soviet Music, though I
haven’t seen the results. The same Moscow Philharmonic official who canceled the concert after
Zhuk’s defection overheard Ted practicing and
immediately invited him to perform the Mozart
Oboe Concerto with the orchestra next season.
Expenses paid. The trio from Tishchenko has yet
to arrive. As he writes “the wagon hasn’t moved.”
Nothing happened with a Moscow production of
my play. Raskatov received his invitation to an
American university; he has promised me a trio.
Yurovsky became Principal Conductor of the
Dresden State Opera Orchestra and emigrated to
Germany; he has asked me to help fi nd him an
invitation to conduct in the States. Kitaienko has
evidently defected to the West.
The cost of the concerto was of course much
more than the initial $500, in dollars, in time, in
blood. Was it worth it? Probably not; my main
feeling at concert’s end was one of relief. When
we reflected on how it had all come about, Sasha’s
answer was succinct: “four Jews.” It never would
have occurred to me. I prefer to think nature
abhors a vacuum. Under Brezhnev the endeavor
would never have gotten underway. Under perestroika causality is absent, everything is permitted. With myriad forces working in random
directions, all attempts to prevent the concert
cancelled out. A vacuum was created and we were
poised. Then a miracle occurred.
And, truly, who would not marvel at this? ◆
ARTICLES
were needed. The next days were full of rehearsals, which proceeded (smoothly). The Brandenburg concerto No. 2 features a solo piccolo
trumpet, but the trumpeter became ill. A second
– and better – version exists for corno de caccia.
The horn player did an excellent job – until he
was in an automobile accident and his horn was
smashed. An official at the Composers Union tore
down a poster Sasha had hung up on the grounds
that permission had not been requested.
The concert took place at the Tchaikovsky
Concert Hall, the Soviet Union’s equivalent of
Carnegie Hall, on December 22, 1989, just as
fighting broke out in Bucharest. I do not know
how many people attended the revolution but
about 800 came to hear an evening of oboe music.
Yurovsky announced the concert was dedicated
to the memory of Andrei Sakharov. The program
listed Ted as oboist with the Ottawa Symphony.
The horn player performed the Brandenburg on
an ordinary horn with acceptable results and a
bloody lip. Sasha’s concerto turned out to be an
excellent work, both modern and accessible, and
was well received. I still hope to perform it. With
Ted’s ornamentation the Vivaldi C major proved
to be one of his 500 concertos not written with a
stencil. About fi fty people walked out during the
Schnittke. Ted was reasonably satisfied with his
own performance. Other musicians said they had
never heard such an oboist. For his labors Ted received 200 rubles ($33) and transportation to the
airport at 5:00 A.M.; this proved critical when
three solid hours of phoning for a cab produced
only a busy signal at the dispatcher.
123
124
ADMINISTRATORS WHO PLAY BASSOON, OBOE, AND/OR ENGLISH HORN
Administrators Who Play Bassoon,
Oboe, and/or English Horn
Terry B. Ewell
Towson, Maryland
The following list was developed through dialogue on the IDRS List in Spring 2005. My apologies in
advance if your name does not appear on the list. Deceased oboists/bassoonists were not included
ARTICLES
BASSOONISTS
NAME
TITLE
INSTITUTION / ORGANIZATION
Robert Barris
Co-Chair of the Department of Music
Performance
Northwestern University
Jon Beebe
Former Coordinator of Music Theory
Hayes School of Music at
Appalachian State University
Diane Bishop
Box Office Manager
Orlando Philharmonic Orchestra
William Davis
Associate Director
University of Georgia
William Dawson
President-elect
Performing Arts Medicine
Association
Terry B. Ewell
Chairperson, Department of Music
Towson University, Maryland
Judith Farmer
Director
USC Thornton School of Music,
Los Angeles
Julie Feves
Assistant Dean,
Director of Instrumental Performance
Cal Arts
Michael Finn
Associate Dean of Performance
Activities
The Juilliard School of Music
Neville G. Forsythe
Chair ITM Management Committee
and other administration positions
Hagley Community College,
New Zealand
Arthur Grossman
Former Associate Dean
University of Washington, Seattle
Charles Hansen
Woodwind Chair
University of Northern Colorado
Yoshiyuki Ishikawa
Winds Area Chair
University of Colorado, Boulder
Phillip Kolker
Chair of Orchestral Instruments and
Organ
Peabody Conservatory of Music
Ed Lacy
Former department head
University of Evansville
Leslie Lashinsky
Director
American Federation of Musicians,
Local 47, Los Angeles
John Lindberg
Chairman
Department of Music, Minnesota
State University, Mankato
THE DOUBLE REED
125
NAME
TITLE
Jim MacKay
Chair of the Department of Music
Performance Studies
Don Wright Faculty of Music at the
University of Western Ontario
Jill Marderness
Manager
Quintessence
Michael McCraw
Director of the Early Music Institute
Indiana University
Robert Moore
Former Coordinator of Woodwinds
College of Musical Arts,
Bowling Green, Ohio
Joseph Polisi
President
Greg Quick
Personnel Manager
Syracuse Symphony
Carl Rath
Coordinator of Undergraduate Studies
University of Oklahoma
Jesse Read
Director
School of Music at University of
British Columbia
Will Roberts
Former Personnel Manager
Dallas Symphony
Orlando Philharmonic Orchestra
Peter Schoenbach
Former Dean
SUNY Fredonia
Marsha Schweitzer
Secretary/Treasurer
Local 677 American Federation of
Musicians, Honolulu, Hawaii
Marsha Schweitzer
Administrator
Spring Winds
Maralyn Sommer
Dean
Ellis College at Henderson State University, Arkadelphia, Arkansas
Doug Spaniol
Woodwind Area Coordinator
Butler University
Keith Sweger
Coordinator, Woodwind Area
Christopher Ulffers
Assistant Director for Administrative
Support
East Carolina University
Steve Vacchi
Woodwind Chair
University of Oregon
David van Hoesen
Former Chair of Winds
Eastman School of Music
Kim Walker
Dean
New South Wales Conservatorium
of Music, Australia
Steve Young
former President
American Federation of Musicians
OBOISTS / ENGLISH HORNISTS
NAME
TITLE
Jeanne Belfy
Graduate Program Coordinator/Director and Manager of the Boise
Chamber Music Series
Department of Music, Boise State
University
John Bentley
Coordinator of Woodwinds
College of Musical Arts, Bowling
Green, Ohio
ARTICLES
David Schillhammer Executive Director
ARTICLES
126
ADMINISTRATORS WHO PLAY BASSOON, OBOE, AND/OR ENGLISH HORN
NAME
TITLE
Richard Blair
Former Administrator
University of Texas
Stephen Caplan
Executive Director
Sierra Winds
Julie Combs
Chairperson
University of Wyoming
Donna Conaty
Associate Director, Former Chair
Performance Studies
Ohio University
Alexandra Pohran
Dawkins
Head of Woodwinds and Graduate
Student Advisor
University of Victoria
Doris DeLoach
Chair of the Instrumental Division
Baylor University
José Diaz
Interim Associate Dean of the College
of Arts and Humanities
California State University at Fresno
Elaine Douvas
Chair of Woodwinds
Nancy Greene
Farnetani
Academic Council Representative of
the Wind Department
Conservatorio di Musica in
Perugia, Italy
Marc Fink
Associate Dean
University of Wisconsin, Madison
Andrea Gullickson
Chairperson
University of Wisconsin, Oshkosh
Herman Keahey
Former Director
School of Music at University of
Manitoba
David Ledet
Former Administrator
Andrea Lenz
Administrator
University of Nevada, Reno
Barbara Levy
President
Orlando Concert Band,
Orlando, Florida
Dwight Manning
Woodwind Area Chair
Patricia Nott
Administrator
New World Symphony
Leslie Odom
Graduate Music Coordinator
University of Florida
Dewayne Pigg
Coordinator of Double Reeds
Assistant Director
McLean School of Music
James Prodan
Chairperson
University of Delaware
Victoria Racz
General Manager
Oregon Chamber Players
Roger Rehm
Administrator
Central Michigan University
George Riordan
Chairperson
Middle Tennesee State University
John Rojas
Head of Woodwinds
Beau Soleil Music Centre, Cape
Town, South Africa
Martin Schuring
Woodwind Area Coordinator
Arizona State University
THE DOUBLE REED
127
NAME
TITLE
Barret Seals
Coordinator of the Coast Guard
Bands Chamber Music Series
United States Coast Guard
Sally Slocum
Former Executive Director
Helena (Montana) Symphony
Greg A. Steinke
Former Administrator (20 years)
Kelly McElrath
Vaneman
Wind Area Chair
Petrie School of Music, Converse
College
David Weiss
Chairman
Music Advisory Board for the Young
Musicians Foundation (Los Angeles)
Jill C. Westeyn
Administrator
USAF Band in Washington, DC
ARTICLES
128
THE DOUBLE REED
Reviews
THE DOUBLE REED
Bassoon
RECORDING
REVIEWS
REVIEWS BY RONALD KLIMKO
McCall, Idaho
Franz Danzi, Johan Baptist Vanhal:
Bassoon Concertos
John Heard, bassoon, assisted by Taras
Osadchiy, bassoon; Camerata Kiev, Alexander
Ostrowski, conductor.
Kleos Classics, a division of Helicon Records Ltd
(7 New York Ave., White Plains, NY 10606)
KL51365
mine) is once more taken too fast. Sure, both bassoonists have no problem with the technique of
it all. The problem is with the listener. What the
audience loses is the beauty and sonority of the
two bassoons, at times in harmony - at others in
counterpoint - with one another. One of the fi rst
recordings of this work, years ago, was by a pair
of young Scandinavian artists, and I recall being
blown away by the loveliness of the two bassoons
together in their beautiful, slower rendition of
this fi rst movement. Moderato is the operational
word to me for this movement. A very nice cadenza by Richard Hervig concludes this movement.
The gentle second movement of the work,
however, is beautifully played in every way, with
warmth and lovely interpretation throughout.
There are some disputable accidentals (between
the original version and the Musica Rara edition
by Ronald Tyree – I personally favor the original
myself), but these do not distract from the overall
beautiful performance. A nice interpretation of
the all-too-short fi nal movement brings this lively
performance to an end.
The fi nal Concerto is back to Danzi (#2 and
still in F Major!). I liked this one overall better
than the fi rst. It seems a bit more well-developed
and interesting musically. The opening theme to
the fi rst movements is lyrically pleasing and sets
a nicer tone for the technical manipulations that
inevitably have to follow. The second movement
Andante is another lovely Danzi ABA melody,
with a middle section once again in a minor key
and a nice “attacca” to the last movement. Despite the fact that I found the fi nal movement
ended a bit abruptly, I still found this Concerto
#2 more musical overall than #1.
Playing on his Fox 601, John gives us a lovely,
clear and clean sound throughout, with a nice
warm vibrato and solid technique as well. I do,
however, wish he would protect the middle register notes of a, b-flat, b and c better with venting
in the staccato passages. (Once again, it is clear
that the adoption of the Weisberg octave system
would be a savior for these problematic notes!)
John’s partner in the Vanhal, Taras Osadchiy,
also does an excellent job - the rapid exchanges
between the two bassoons always matching up
very well. The recording quality, similarly, is very
good throughout as well, with a nice concert hall
quality and balance between the soloist (or soloists) and the orchestra. As with John Heard’s recordings of the past, this is a fi nely executed CD,
REVIEWS
Bassoonist John Heard teams up with the Camerata Kiev Orchestra of Russia to give us nice
readings of two lesser known bassoon concerti:
Concerto #1 in F Major and Concerto #2 in F
Major by Franz Danzi (1752-1821), a composer
who is perhaps most well known for his wind
quintets. Sandwiched between these two works
is Johan Baptist Vanhal’s more well-known Concerto for Two Bassoons in F Major, where John
is joined by Russian bassoonist Taras Osadchiy.
The result is a musical “feast”, all in the key of
F Major!!
The opening Danzi offering is, one must admit, pretty “standard” fair for the bassoon, featuring a lot of scale runs in the fi rst movement,
and a typical Rondo fi nale, also displaying pretty
straight-forward “flashy” bassoon figuration
throughout, The saving grace of the work, however, is the lovely Andantino middle movement,
where the bassoon sings a beautiful melody over
an essentially string accompaniment, followed
by a g minor “Drang” section. But all is well
as the gentle opening theme returns. John also
provides his own interesting cadenza in the fi nal
movement.
The Vanhal Concerto for Two Bassoons that
follows is a fun piece and a personal favorite of
mine. Here the two bassoonists match up very
well, (one on a Fox, one on a Heckel). Personally,
however, I feel that, as with many performances
I have heard of this piece lately, the fi rst movement, marked Allegro moderato (underlining
129
130
REVIEWS
and I am happy to recommend it to you.
Rating; 2 ½ Crows
REVIEWS
Music for Per (Per Hannevold and Friends
Play Music by Maslanka, Lassen and Westby)
Per Hannevold, bassoon; Torleif Torgersen,
piano; Bergen Chamber Ensemble.
Albany Records (915 S. Broadway, Albany, NY
12207; Tel: 518.436.8814; Fax: 518.436.0643;
Website: www.albanyrecords.com) TROY 784
This is a brand new CD by one of the leading bassoonists of the present generation, Scandanavian
Per Hannevold, assisted by Torleif Torgersen,
piano, and the Bergen (Norway) Chamber Musicians. The recording contains three major works,
two of which were composed specifically for the
artist, and a third that fits him “like a glove”.
When I heard that Per Hannevold was going to play a brand new Sonata for Bassoon and
Piano by David Maslanka at the Texas IDRS
Conference last June, I went to the Trevco Music
display and bought a copy of it. In the past I had
the pleasure of playing two of David Maslanka’s
Wind Quintets and had been highly impressed
by his music - a kind of combined minimalist/
Americana musical style that absolutely thrilled
me. However, after hearing Per perform this new
composition, I was somewhat disappointed. It
seemed to me that the composer had gone off into
some medieval/religious style with this work. But
hearing it again beautifully performed on this CD
has helped me to restore some of my earlier more
favorable impressions of the composer. The composition is in four movements, the fi rst three of
which I still found to be too disjunct and patchwork-like on this recording, however. That is not
to say that there aren’t some beautiful moments
in them, like the beginning of the second movement, which if, I feel, had continued to defi ne the
movement, would have been wonderful. Instead
the movement sectionalizes into less interesting
places, only to hint at a return to the lovely fi rst
section melody towards the end - a pity. Ah, but
the last movement is fantastic! It is fast, furious,
and completely captivating. Needless to say, Per
and accompanist Torleif Torgersen perform it to
perfection. But I have said enough about this ex-
tensive 24 minute work. I urge you to get the CD
and judge for yourself. It certainly is a thoughtprovoking composition.
In the second work, Per is joined by the Bergen Chamber players in Portrait of a Family for
bassoon and chamber ensemble, a very nice, tonal, five movement work describing a family consisting of (according to the program notes) “…a
cheerful and optimistic father, a serious and even
gloomy mother, a happy-go-lucky fi rstborn son, a
romantic and dreaming daughter and resourceful
baby brother.” Each movement describes a family
member. The result is an interesting 24+ minute
musical showpiece for the many “moods” of the
bassoon (from melancholy-to-jazzy-to-etc.) with
a nice string accompaniment.
The fi nal composition is by American bassoonist/composer James Lassen, who along with
Per, is co-principal of the Bergen Philharmonic
Orchestra in Norway. Jim brings a rather unique
background to his compositions as a performer,
composer and jazz and rock musician. This work
is an 11 minute piece in two movements composed
for Per entitled Strange Interlude No. 3. The fi rst
movment begins somewhat impressionistically
with the bassoon and piano creating a dreamlike mood that eventually gives way to a middleeasternish exotic atmosphere. The dreamy mood
returns briefly at the end of the fi rst movement,
which connects to the fi nal movement. Once
again this movement initially creates an exotic
and middle eastern mood, before gradually giving
way to a jazz/rock showcase fi nale for both bassoon and piano. All in all this is a very interesting
composition by a very imaginative composer.
All and all as well, is the excellent quality of
this fi rst-rate CD. The recording technique is very
“concert-hall” quality throughout and, except for
a few times that the piano buries the bassoon’s
musical line in the Maslanka (more the problem
in the composition rather than the players), the
balance is also very good. I strongly recommend
this beautiful recording to you. It is a gem.
Rating: 3 Crows
THE DOUBLE REED
Voice for Bassoon
Dorian Cooke, bassoon; Pauline Oostenrijk, oboe; Murk Jiskoot and Chris Leenders,
percussion.
The Delphi Ensemble
STORMWORKS EUROPE (Zuidwal 98a, 2512 XV
The Hague, The Netherlands; Tel: +31 (0)703653308; Fax: +31 (0)70-3653508;
Email: [email protected] or
[email protected];
Website: www.stormworks-europe.com)
The fi nal selection on this recording is a spirited work for bassoon and percussion by Theodor
Burkali with the curious name of Trainsport. It is
dynamic, fast moving, almost jazzy at times and
overall very interesting musically. The biggest
problem with it is that it was not as well recorded
as the previous selections. The recording level
sounds very distant, thin and “buzzy”, compared
to the rest of the selections. However, if one listens “beyond” these recording shortcomings one
fi nds a very interesting, exciting, and vital work
for bassoon and percussion. The live applause at
the end of this selection helps explain the striking difference in recording technique for this fi nal
work - it is a “live performance” recording.
Except for this fi nal work, however, the recording technique for the rest of this CD is excellent, with a nice, “concert hall” sound and balance to it. And despite the fact that this recording
is a little “short” on musical selections, (only 40
minutes total), and is horribly lacking in program
notes, I still feel it is worth getting because of
Dorian’s (and Pauline’s) beautiful and expressive
playing throughout. Also if one is looking for interesting new music to play, it is worth investigating most of the selections on the CD. I recommend it strongly.
Rating: 2 ½ Crows
Capricho
Dorian Cooke, bassoon; Pauline Oostenrijk,
oboe; Valerius Ensemble.
STORMWORKS EUROPE
(Address previously given).
In Dorian Cooke’s second CD, works performed
are all newly composed ones, two of which, were
composed specifically for her. The disc is entitled
Capricho and gets its name from the 18+ minute
work of the same name for bassoon and string
quintet by Dutch composer Kees Olthuis. The
composition is a fi ne-crafted piece in greatly expanded tonality (but without pointillism), which
gives ample opportunity for Dorian to display
both her dramatic and technical creativity, including soaring dramatically all the way up to
high e2, among the skills required. It was originally composed for Gustavo Nuñez, principal
REVIEWS
Netherlands bassoonist Dorian Cooke is a young,
bright new star on the bassoon horizon. As a former student of Brian Pollard, Klaus Thunemann
and Frank Forst, Dorian is currently principal
bassoon of the Rotterdam Philharmonic Orchestra and the Netherlands Wind Ensemble. In two
new CD’s she displays with impressive skill and
technical and musical artistry that, indeed, she
has arrived on the scene.
In her fi rst solo CD, Dorian Cook begins
with a spirited Concerto for Bassoon and Wind
Ensemble, written for her by Hungarian composer Frigyes Hidas. The three movement work
is tonal, warm, and very “flashy” for the bassoon
throughout. One is almost reminded of the musical style of movie composer John Williams in the
accessibility of this music.
Voice for Bassoon and Percussion by American composer Stephen Melillo, which follows
is an exciting composition which would require
multi-tracking, because the bassoon has to play
two parts for certain sections of the work. After a
slow start, the work really gets going and covers a
lot of fiery “ground”, musically, in seven minutes.
This is an interesting work that should reach a
larger audience.
Composer Frigyes Hidas returns in the next
composition, this time with a Double Concerto
for Oboe, Bassoon and Wind Ensemble, a single-movement 11 minute work. Here, Dorian is
joined by Dutch oboe artist Pauline Oostenrijk,
who was the 1991 winner of the IDRS Gillet
Oboe Competition, and who has emerged as one
of the leading oboists worldwide.
In contrast to the Bassoon Concerto, this
work has a lovely, lyrical beginning which fi nally
gives way to a capricious and playful fi nal section. Again the style is very tonal, warm, and almost “Hollywood” in its musical conception. It
would be fun to perform.
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REVIEWS
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REVIEWS
bassoon of the Royal Concertgebouw Orchestra
of Amsterdam, and was performed by Dorian at
the Texas IDRS Conference. This is a nice work
and a favorable addition to the modern bassoon
repertoire.
This CD next contains a brand new Sonata
for Bassoon Solo in three movements by Harrie
Janssen, which was composed in 2005 and dedicated to Dorian. The work draws heavily on the
physical techniques of a Baroque composition,
while retaining a modern widely expanded tonal
musical style. Following a flowing fi rst movement, the second movement Fantasia is particularly beautiful and expressive. A more polyphonic and dynamic staccato style permeates the fi nal
movement.
Following this is another new work for bassoon, strings and percussion by Vincente Moncho
entitled Un Retrato de Dorian y Ben (A Portrait
of Dorian and Ben) - a work commissioned by
Dorian’s husband Ben Cruiming. The 11+ minute
single movement composition is written in a somber, atonal style, often containing pointillistic
outbursts as well. Despite being reasonably coloristic with both the string and percussion instruments, the work has a somewhat disjointed quality to it - almost containing too much material
of a non-related nature, which seems to wander
around and never arrive anywhere. Its more-orless “universally atonal” style is one of my least
favorite 20th Century musical styles.
Di Mi Pais, a Milonga for bassoon and string
quintet by Victor Scuavuzzo is the next selection,
also a single movement work about five minutes in
length. With its expressive Latin American style
and minor/major key tonality, it was a welcome
relief from all the essentially non-tonal music that
had preceeded it. It is a lovely, exciting, highly
rhythmic composition that deserves to reach a
large audience.
In the fi nal selection, Dorian is joined once
again by the lovely Dutch oboist Pauline Oostenrijk, in a beautiful composition for oboe, bassoon
and piano by Theodor Burkali: After the Rain.
In its simplicity and gentleness it strikes a lovely
balance, along with Di Mi Pais, after the “seriousness” of the fi rst three compositions. The 5+
minute is linked programmatically to a period of
rejoicing in Salzburg, Austria, after an extended
period of rainy days.
All in all Capricho is a nice CD, well recorded and certainly well performed by Dorian
Cooke, and containing a lot of new music that
again might be of interest to performers looking
for new compositions to play. Albeit, Dorian provides all these works with excellent interpretations throughout. I recommend the CD strongly
to you as well.
Rating: 2 ½ Crows
Trio Continuo
Jan Willem van der Harn, bassoon; Wiek
Hijmans, electric guitar; Ernst Glerum, bass.
Distributed by ToonDist (www.toondist.nl)
WLJWC01
Ah yes. Here is a CD of modern music. Some of
it is of the “squeek/scratch/silence” tradition of
60’s pointillism (as is the “mercifully short”, 56
second opening work “What’s up, doc?”). Others, like #2 draw heavily on the “klangfarbenmelodietechnik” (tone-color-melody-technique)
of Anton Webern. Still others borrow from cantus fi rmus “chorales”, jazz impressionism and
improvisation, and Purcell themes (as in Eiland)
stuck between two rather obnoxious sections on
a sustained low B f. The inevitable bassoon multiphonics make their fi rst appearance in the 6th
track Movimenti. A few works, like J W Lok even
start out rather beautiful, before gradually turning pretty ugly, only to return gradually to the
beautiful at the end. Trucker’s Delight, however,
takes the grand prize for being the “most obnoxious composition”, hands down! The CD fi nally
ends with a nine minute Blues (at close of day),
which begins quietly before a long improvisation
by solo bassoon again turns to rowdiness, gradually giving way to “funky”.
As hesitant as I was about reviewing this CD,
especially after the opening “squeek/scratch/silence” work, I found that I got to enjoy the obnoxiousness and audacity of their music making,
give or take a few pretty annoyingly noisy sections. The ensemble is a rather unique one: bassoon, electric guitar and string bass and their music making - all their own compositions, though
not totally original, is certainly imaginative!
Without program notes, however, there is not
much else I can tell you about the music or the
performers, although the recording technique is,
THE DOUBLE REED
I must admit, “ear-splittingly” good throughout.
So if you enjoy wild, modern musical stuff, (or
maybe you want to annoy your houseguests with
this as “background party music”!), then this CD
can do the job for you!
Rating: 2 ½ Crows
Woodwind Quintets by Hétu, Iannaccone,
and Steinmetz
Camerata Woodwind Quintet (Andrea Redcay
Graves, flute; Michael Ericson, oboe;
Eric Ginsberg, clarinet; Randal Faust, horn;
Douglas Huff, bassoon)
Crystal Records, Inc. (28818 NE Hancock Rd.,
Camas, WA 98607; Tel: 360-834-7022; Fax:
360-834-9680; Email: [email protected]
Website: www.crystalrecords.com) CD756
is less dark and considerably ‘warmer’ overall.
Comparable between the two works, though, is
the sense of drama that they both contain. Based
on the poems of Hart Crane, the movements are
subtitled The Bridge, The Harbor Dawn, and
Atlantis; and the total length is the piece is 22
and a half minutes. The music is at times very
“programmatic” in an impressionistic way in its
depiction of the character of each poem. With a
spirited and exciting fi nale, the piece creates a
solid, dynamic slice of “Americana” in its style
of expanded tonality. It is published by Tenuto
Publications.
Interestingly enough the “Bridge” of Crane’s
poem is his “beloved Brooklyn Bridge”, and the
“Harbor”, no doubt, that of New York-characterizations of the Eastern United States. The fi nal
quintet on this CD draws its ‘inspiration’ from
the opposite side of America - the color and character of the West Coast! In six colorful movements and a Prelude and with an overall length
of 24 minutes, John Steinmetz’s Quintet (1984)
is all about color and mood, and a conveyance of
a sense of “space” and “expansion” in a highly
impressionistic and minimalistic musical manner. Following a short Prelude, which features
the reiteration of a single note constantly re-orchestrated throughout the rest of the texture, the
second movement: Andante, Vivace, Andante
employs “klangfarbenmelodie” techniques in the
Andantes and minimalism in the short Vivace in
the middle. The second movement features chant
melodies over sustained pedal tones of everchanging timbre. It creates a marvelous “archaic”
mood of neo-modal musical character. What a
beautiful movement! With a series of trills this
second movement then attaches directly to the
third movement Intermezzo. Here the mood is
one of a slow processional accompaniment over
a lovely, gentle melody mostly in the flute in the
low register. Again this movement attaches to
the Adagio which follows - still processional, but
now sad and funereal. Once more a single note
attaches to the fi fth movement Canon which is
based on a highly hocketed melody, creating the
impression of a kind of minimalistic ‘machine’
starting up, moving on, and eventually slowly
coming to a stop over a chorale-like ending. It is
a beautiful effect. Again, the single note connects
to the absolutely gorgeous Poco Adagio Choralelike melody that ends this work…fading into the
single pitch which predominated in the fi rst move-
REVIEWS
The Camerata Woodwind Quintet is ensemble-inresidence at Western Illinois University and a fi ne
one at that. They have a long reputation for fi ne
performances in the past, including the popular
Music Minus One series for Coronet and Opus 1
Records. Here they provide us with three excellent 20th Century wind quintets - two by Americans and the excellent Quintette, Op. 13 (1967)
by Canada’s well-known composer Jacques Hétu,
the work that begins this CD.
If I had any criticism of the Hétu Quintette,
it would be that is isn’t long enough. The music
is somber, dark, and hauntingly beautiful. The
variety of tempos in the composition create a
large canvas of colorful moods and flavors within
this overall serious character of the work. In four
short movements: (Adagio, Allegro molto; Vivace; Adagio; and Lento, Allegro con brio) this
remarkable composition is a mere 11 minutes in
length throughout, and leaves the listener excited and wishing for more. Fortunate for quintet
“buffs” the work is published by Doberman.
The second work on the record is by American composer Anthony Iannaccone: Woodwind
Quintet No. 2, Scenes after Hart Crane. (With a
composition date of 2003 it actually qualifies as
a 21st Century work, rather than 20th Century!)
Like the Hétu, it is also excellently composed for
the wind quintet, full of interesting, varied, and
rich timbral coloration. Here, however, the mood
133
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REVIEWS
ment and persisted throughout the entire quintet.
Lovely ending. Defi nitely “West Coast”.
I really love the music of John Steinmetz! I
wish I had known of this beautiful work when I
was still active with the Northwest Wind Quintet. If you are a serious quintet member, then you
will be glad to know that it is now published by
Trevco Music.
Highest marks to the Camerata Quintet for
giving us such stellar performances of these three
great new pieces. I give this wonderful CD my
very highest recommendation and throw in a few
“Bravos” to boot!
Rating: 4 Crows(!)
REVIEWS
Anton Reicha: Woodwind Quintets, Volume 5:
Opus 91, Nos. 3 & 4; Westwood Wind Quintet
(John Barcellona, flute; Peter Christ, oboe;
Eugene Zoro, clarinet; Charles Kavalovski, horn;
Patricia Nelson, bassoon)
Crystal Records, Inc. (Address previously given.)
CD 265
This recording is the second release of the Westwood Wind Quintet series of recordings of all of
the Reicha Wind Quintets. The fi rst release (Volume 6) was released earlier and will be reviewed
in a future Double Reed. This particular CD contains the Quintets of Opus 91, No.3 (in D Major)
and No. 4 (in g minor, mistakenly identified as c
minor in the program notes!).
As an added bit of information, the complete
score and parts to these and all Reicha quintets
are available free of charge to all IDRS members
at the IDRS website thanks to the efforts of IDRS
member Charles-David Lehrer. Also most of the
program notes in this recording are Lehrer’s excellent analyses of these works.
Being true to the music, the ensemble plays
each composition with all the repeats and gives
each one an excellent and effective interpretation.
It is always a challenge to record a wind quintet effectively, especially in the area of balance.
Here, however, the balance works very well, and
although the concert hall (Crystal Chamber Hall,
Camas, Washington) is quite “live”, the overall
balance and clarity are very effective and well
done.
Each quintet is in the standard format of a
four movement “Classical Symphony” for wind
quintet. Simularly, both the D Major quintet and
the g minor have lovely Scherzos (a la Beethoven)
rather than a third movement Minuet (which are
still marked Menuetto however). But most of all
the two works provide excellent contrasts to each
other: the light, airy, easy-going D Major gives
way to the more serious and extensive g minor
composition which follows. Other contrasts also
occur. The fi rst movement of the g minor is a very
extensive 16+ minute sonata form with a serious
slow introduction, in contrast to the light-weight
10 minute opening movement of the D Major.
(The g minor also contains some excellent quintet writing in both the fi rst and last movements. I
especially liked the theme “hocketing” back and
forth between all five instruments, sometimes
on single notes.) Moreover, the extensive and
complex fi nal movement, at 11+ minutes of the
g minor is quite impressive, contrasted to the five
and a half minute fi nale of the D Major. Finally,
in terms of interest, excitement, and “quirkiness”, the g minor quintet wins big over the more
straightforward approach of the D Major Quintet. I am surprised that the g minor Quintet isn’t
performed more often.
On a personal note, the hornist in this recording, Charles Kavalovski, is a very old friend of
mine and also the very best hornist I have ever
performed with. Listening to his excellent playing
once again brought back fond memories of our
school quintet gigs many years ago as members of
the Spokane (Washington) Symphony, at the start
of Chuck’s career before he went on to glory as
principal horn of the Boston Symphony for many
years under Ozawa’s baton. Even back then he
was a real remarkable horn player, and one knew
he was destined to do great things. In this recording it is a pleasure to hear that he still is the best!
This is an excellent recording of two fi ne, less
performed Reicha Quintets and a must have CD
for all you quintet buffs like me!
Rating: 3 ½ Crows
THE DOUBLE REED
Concerti Virtuosi
Tafelmusik Baroque Orchestra, Jeanne Lamon,
conductor (John Abberger, oboe and oboe
d’amore; Dominic Teresi, bassoon)
Analekta Records (www.analekta.com)
AN 2 9815
soloists makes for a winner all around. Early
music buff or not-I strongly recommend this nice
recording to you.
Rating: 3 Crows
Bassoon
MUSIC
REVIEWS
REVIEWS BY RONALD KLIMKO
McCall, Idaho
MUSIC FROM DIABOLICAL GENIUS
RECORDS AND PUBLICATIONS
130-A Boulder In, Manor TX 78653,
Tel: 512-468-3525,
Website: www.diabolicalgenius.com
The music is also available from TrevCo Music,
www.trevcomusic.com, and possibly Forrests
Music in the future.
(Editor’s note: Most of the works reviewed below
are available in a nicely produced CD entitled
Backlight by the Backlight Bassoon Ensemble
for $10.00 from Music from Diabolical Genius
Records and Publications. If you decide to order
any of the works below I would recommend
getting the CD as well for nice interpretations
of the works. Only the final two works reviewed
are not on this CD. Also, all of these editions
from Diabolical Genius are beautifully printed
in a large, clear musical program, making them
very easy to read and interpret - a real plus for
essentially contemporary music.)
Peter Stopschinski:
Danse Sweet #2 for two bassoons and contra
($10.00)
This is an interesting, short, three movement work
written in a neo-classical style of expanded tonality.
The total length of the three movements is only
REVIEWS
This is a very nice CD for any period instrument buffs. Conducted by Jeanne Lamon, this
Toronto based ensemble perform beautifully in
pure Baroque style on period instruments, which,
in this recording, feature concerti and concerto
grossi for various instruments. Of particular interest to double reeders is the spirited opening
Concerto in A minor for 2 oboes and strings
K536 by Vivaldi; the Bach Concerto in G Major
for oboe d’amore (After BWV 100, 170 and 30);
and the three movement Concerto in C minor for
bassoon, 2 oboes and strings by Johann Friedrich
Fasch (1688-1758), along with other works by Pietro Locatelli (1695-1764), Leonardo Leo (16941744) as well as G. F. Handel.
Following the opening two oboe Concerto
(I can’t fi nd the identity anywhere of the second
oboist!) that begins the CD, oboist John Abberger, follows with a lovely performance of the
Bach oboe d’amore Concerto. The slow middle
movement Adagio is particularly beautiful on
this unique instrument, which to me combines so
nicely the more treble tone of the oboe with the
more nasal quality of the English horn.
The Fasch Concerto for bassoon, 2 oboes
and strings, however, is the highlight of this very
nice CD. It features California bassoonist Dominic Teresi, a gifted performer on dulcian, as well
as baroque and classical bassoon. Following as
it does a series of concerti all in a major key, the
C minor dialogue for the solo bassoon (with the
two oboes more of the ritornello ensemble). The
virtuoso passage work in the solo bassoon sections is very ably and musically handled (no pun
intended) by Dominic in a lovely, veiled and covered quality that I liked a lot. The piece is in three
movements, with a slower middle movement in
E f Major, where the bassoon gets a chance to
demonstrate a nice, lyrical, essentially non-vibrato musical line before ending with a spirited C
minor fi nal movement.
This is a very nice, very beautifully executed
recording. The “concert-hall” quality of the recording technique, combined with spirited interpretations and excellent performances by all the
135
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REVIEWS
about 5’30”- the first two movements are quite
brief while the last is a bit more extensive. The
first movement, “The Dragon”, is written in mixed
meters with 7/8 and 5/8 predominating, creating a
fast rhythmic introduction to the clean and clear
style of the composer. The second movement:
“The Cockrel”, is a slow one in a prodding
staccato style with an all-too-brief contrasting
lyrical middle section only two measures long.
The third movement: “The Rat” is again an
allegro with some elements of ragtime jazz-like
ideas interspersed in the thematic material. The
ending, however, is quiet and somewhat quizzical
after the high activity of the rest of the movement.
The difficulty level of the piece is in the III+ range
and centers on the rhythmic complexities rather
than extremes in range and technical demands. It
is overall a nice, interesting work. It would have
been nice, however, to see more development of
ideas in the first two movements as is present in
the third.
REVIEWS
Sean Craypo:
Backlight for three bassoons
($15.00)
This is a single movement extended work in a
somewhat rhapsodic ABCDA form. Again the style
is neo-classical with a melodic/harmonic structure
that is fundamentally extended tonality. The
opening theme is a complex rhythmic idea in unison
rhythms, which gradually evolves into a lyrical
second theme with a bell-tone accompaniment.
The C section is once again in unison (but new)
rhythms and leads to a development-like D
section marked “quasi cadenza”. After a short
interruption by the C theme, the quasi cadenza
leads gradually to a decisive return of the opening
A theme. I like the contrasting drive-followed-bylyricism elements of this work. Technically it is
again a Grade III+ with the first and third bassoons
getting most of the work. (The low fast-tonguing
of the third part would require a solid player on
that part.) The top bassoon ascends only to high
d2, however. It is again the rhythmic variety that
conveys the strongest technical demand. This is a
nice, about 7+ minute work that I am happy to
recommend.
Sean Craypo:
Lionelha for three bassoons
($7.00)
Composer Sean Craypo has written this slow,
five minute work in a lovely lyrical neo-romantic
style at about a Grade III level. As with his other
works, however, this would require three players
of roughly equal ability, since, as is the composer’s
style, each player in turn gets their share of the
important musical material. The form is again
rhapsodic, beginning with a strict three part canon
that starts very slow and only gradually picks up
rhythmic impetus. The romantic and expressive
overall style is really quite attractive and, except
for again a somewhat too brief and enigmatic
ending I am happy to recommend it for your
bassoon ensemble consideration.
Rain Nox:
Drifting for three bassoons
($8.00)
This is a very nice, slow, lyrical-but-only-3 minutelong work in a often imitative neo-romantic style.
Sadly, however, it ends much too soon and too
abruptly for my taste. The difficulty level is about
II+ to III- and the range is only up to b flat2, so
it might be used with a student trio to work with
them for more romantic expression. I sure wish it
were longer though - maybe one could put a big
repeat in it toward the end…
Robert Finlay:
Palpitate for three bassoons
($10.00)
I really like this work! It is short, but very interesting
rhythmically, being based on motifs (as one might
expect from the title) of often-repeated notes and
note patterns. These are uniquely juxtaposed over
all three voices with occasional lyrical melodies
taking over and forcing the rhythms into an
accompanying role. It looks and sounds like a fun
piece to play, since it contains elements that are
both related to Latin music as well as minimalism.
Again the level is no more than III+, but it would
require careful practice to get the rhythms clean
and correct. Range is no problem, however; first
bassoon ascends only to c2. Once more the end is
a bit abrupt, but I can forgive the composer that
because I found the rest of the work so interesting.
THE DOUBLE REED
Laura Phelan:
Song of Enis-El-Jelis
and Nur-Ed-Din for three bassoons
($9.00)
This is a very tonal, very easy technical piece six
and a half minutes in length that consists of a series
of short, usually underdeveloped and unrelated
musical ideas. It is fairly slow-paced throughout
and, since the title is not explained in the score,
hard to make much sense of, beyond the fact that
the short sections are very listenable. This work is
an easy Grade II technically, with none of the parts
ascending higher than middle c. It could possibly
be effectively used by a young bassoon trio for
intonation and ensemble practice. Musically, it
leaves one with a rather bland impression.
Graham Reynolds:
Slow for three bassoons and contrabassoon
($7.00)
I wasn’t initially impressed with this work at first.
I felt it “under-used” the contrabassoon by having
it play in its higher register too much of the time.
However, at 4+ minutes in length and with its quite
slow pace, it made a better impression if it were
to be combined with the next piece by Graham
Reynolds, where it would make a nice “slow-fast”
combination. Alone it is a solid Grade III with the
first part ascending only once to a high d2 on the
last chord of the work.
Graham Reynolds:
Rockin’ for three bassoons and contrabassoon
($10.00)
extending the range up to high d2). I think the
combining of these two movements in performance
would be more effective, especially for the first
piece which I feel is weaker musically. But “in
unity there is strength” for both movements.
Anthony Burgess:
Nocturne and Chorale
(Two Pieces for Bassoon Quartet)
($14.00)
This is a nice, essentially conservative work in
expanded tonality. The Nocturne is an Andantino
in tempo in the key of C Major, and it expressively
develops a few motifs throughout in a kind of
fantasy form. The Chorale is just that - a chorale
a la Bach, with tonal chords on all the cadences,
but, like Stravinsky’s chorale in Le Histoire du
Soldat, the harmonies are stretched and expanded
in between these cadence chords. The two works
together are about four and a half minutes in
length and comprise a fairly easy Grade II+ to IIIin difficulty…They could work quite nicely with a
young junior high-to high school bassoon quartet
as a competition or recital piece.
Sean Craypo:
Andkatyssa for three bassoons
(Alyssa wanted to call this piece ANDKATYSSA
but I like my title better.)
($6.00)
This work is dedicated to Andrew, Katy and Alyssa
(hence the title of the work), who were all students
of the composer. It is a very slow, short single
movement work only 1 minute and 43 seconds
in length. It is written in the g dorian mode and
would work well for any ensemble at the Grade II
level or better. The first part only ascends to high
g1, and all three parts are in the bass clef. The only
shortcoming of the work is its brevity. Perhaps one
could put a repeat in it and play it twice to expand
it.
MUSIC FROM TREVCO
PO Box 4, Tallevast, FL 34270
Tel/Fax 941-907-6944
Website: www.trevcomusic.com
(Editor’s Note: TrevCo Music has been very active
REVIEWS
This is a real FUN piece! Based on a “rockish”
rhythmic ostinato, it really moves. There is also
a nice section in the middle in which the rhythms
are “hocketed” rapidly back and forth between
the bassoons and contra. Here the contra work
is excellent, with lots of rhythmic variety in both
the contra part and the three bassoon parts as
well. Combined with the slow-paced Slow for
three bassoons and contra already mentioned, I
feel it would make an excellent concert piece. The
technical level of this work is still a Grade III to
III+, with the range only up to high b2 in the first
bassoon (although there is a section from measure
69 to 72 where the first bassoonist takes the music
up an octave on the CD recording of the work,
137
138
REVIEWS
lately supplying us double reeders with excellent
new editions and compositions beautifully edited
and printed. The double reed community applauds
their efforts.)
MUSIC FOR BASSOON AND PIANO
REVIEWS
Chuck Holdeman:
Together and Apart for bassoon and piano
TCO 4306 ($18.00)
This work, originally composed for baritone sax
and piano, is presented here in transcription for
bassoon and piano by the composer. It is a work
fundamentally in d minor, about 10 minutes
in length, based strongly on the principles of
minimalist music, with many repetitive patterns
between the bassoon and piano. It begins with
couple of cadenza-like passages for both bassoon
and piano, interspersed with very slow melodic
sections. This then leads to rapid eighth-note
patterns hocketed back and forth between the
two instruments. Once this eighth-note pattern is
established, the bassoon takes up a lyrical duple
metered melody over the triple metered pattern
of eighth notes in the piano. Following more
cadenzas in both instruments, the music accelerates
back into hocketed minimalist gestures in eighthnote patterns, but now in duple meter. Again the
bassoon takes up the slower, lyrical duple-metered
melody, finally returning to rapid eighth-note scale
patterns over tone clusters in the piano. A brief
flourish ends the work in d minor.
This is a nice challenging work of modern
music that would no doubt be very appealing to
a general audience. The range is not too extreme,
ascending as it does no higher than high a2. It
would still be a strong Grade IV technically,
however, primarily because of the cadenza-like
patterns, which tend to be non-tonal in their
conception. The minimalist gestures, mostly in d
minor, are much less problematic technically. I like
this piece, however, and recommend it strongly to
a good bassoonist looking for credible minimalist
modern music to play.
Loren Glickman:
Lalo’s Scherzando transcribed for
bassoon and piano
Loren Glickman Edition TCO 4410 ($8.00)
This is a lovely “show-off” piece for bassoon:
perfect for an encore or a flashy pre-intermission
spot on your next bassoon recital. The work is in
rapid 3/8 meter Allegro Molto with the eighthnote at mm.150. The range is up to high d2 and e
flat2 in a trill together, but the work is not overly
difficult, only a Grade III+ to IV-overall. The
hardest aspect would be the interpretation of the
frequent flamenco-like ritardando and rallentando
spots in the true Spanish style and flavor. That is
where the real “showing off” in this beautiful
work would really take place. It certainly looks
like a fun piece to play and interpret. I recommend
it strongly.
MUSIC FOR THREE BASSOONS
Antonio Vivaldi (arranged by Loren Glickman):
A Vivaldi Frolic for three bassoons
Loren Glickman Edition TCO 4405 ($10.00)
This is a wonderful addition to the bassoon
trio repertoire. It is a transcription of the first
movement of the Vivaldi Concerto in g minor for
2 cellos. Here, Loren has kept the original key and
the original cello parts and has put the original
ritornello parts from the strings into the trio as
well. Also, to make the workload easier for all three
bassoons, he shifts the solo cello parts between the
three voices, giving each player a chance to rest
from time to time. (I have played this work with
a fellow bassoonist and orchestra, and since it is
typical cello figuration, i.e. no rests, endurance is a
bit of a problem with the original.) The final result
is a convincing, fun piece of Baroque music that,
at a Grade III+ level, can be a nice “show-off”
work for a talented bassoon trio. I recommend it
strongly to you.
F.J. Haydn (arranged by Daryl Durran)
Zwölf Cassationsstücke for three bassoons
Daryl Durran Edition TCO 1056 ($)
When this piece arrived in the mail, I had just
agreed to play a charity event as background music
with my fellow bassoon colleagues John Reid and
Janelle Oberbillig. So we immediately put these
nice, short, easy trios of dance-like music (minuets,
polonaises, etc.) to good use sight-reading them at
the event. They worked perfectly as background
music in the lovely setting of a park next to a
lake.
They could also work well as training pieces
THE DOUBLE REED
for a youthful bassoon trio at their Grade II+ skill
level. Only the first bassoon part is in tenor clef,
so one could also use them effectively with the
teacher on the first part and students on the lower
two parts. Again, I strongly recommend them to
you as very useable music.
MUSIC FOR FOUR BASSOONS
AND BASSOON ENSEMBLE
Franz Schubert (arranged by Daryl Durran)
Grab und Mond, D. 893, for four bassoons
Daryl Durran Edition TCO 1057 ($)
This is a direct transcription of the lovely male
quartet original by Franz Schubert of The Grave
and the Moon. The poem in German is included in
the score, but not in the parts. The somber poem
speaks of moonlight shining down on a grave and is
in the key of a minor in the A section and Af minor
(!) in the B section. (Fortunately Schubert used
the key signature of Af major with only four flats
and added flats to the parts when needed, rather
than inflicting seven flats on the performers!) The
lovely “barber-shop quartet-like” harmony results
in a beautiful, sonorous quartet for four bassoons.
I could envision a possible performance by an all
male bassoon quartet that first played the work
and then SANG it following. Either way it would
be a nice work on a bassoon ensemble concert.
Charles Holdeman:
Verdi a piacere for four bassoons
TCO 4308 ($12.00)
John Steinmetz:
The Monster that Devoured Cleveland (1980) for
bassoon ensemble.
TCO 1542 ($15.00 for score and 6 performance
scores)
Oh boy! This work is a whole bag of fun tricks.
Essentially it is an improvised work, based upon
a made-up story from the composer’s youth
about a fictitious movie. It is composed as a
supposed “sound track” including swamp music,
a city council meeting, monster attack, etc., etc.
Beginning with a low tone cluster in half-steps
for six-way bassoons, the players are instructed
through a variety of noise making effects on the
bassoon, including “elephant sounds”produced
by sucking with pursed lips on the end of the
bocal, rubber gloves over the end of the bocal in
and out, and “Swan farts” achieved by sucking
the air out of the bassoon (with the rubber gloves
over the end) through the bassoon reed and then
releasing the reed. Everyone plays from the score,
and the composer’s prolific program notes explain
all the effects, including the fact that it is best to
“warm the audience up” ahead of time for what
is to come by telling them the “story” behind the
music. All in all this could really be a “romp” finale
on a bassoon ensemble recital. I can’t wait to use it
myself in my next bassoon ensemble program!
MUSIC FOR DOUBLE REED CHOIR
AND WIND QUINTET
Johann Joseph Fux:
(Arranged by Michael Ericson)
Gloria in Excelsis Deo for double reed choir
(3 oboes, oboe d’amore, English horn, bassoon
and contrabassoon)
Michael Ericson Edition TCO 1044 ($12.00)
Michael Ericson has arranged this movement
from a Mass by J.J. Fux for a nice variety of
double reed instruments. The work is in the rich
key of D major and features both contrapuntal
and homophonic sections. By not being overly
difficult, technically, this composition would work
very well on a double reed concert as an opening
piece or possibly as an encore.
CONTINUED
ON NEXT PAGE
REVIEWS
This is a composition that is based on a theme
from Giuseppe Verdi’s Requiem. As composer
Chuck Holdeman notes, “mm.1-5 + one beat
plus two reprises: Giuseppe Verdi Requiem, the
rest: Chuck Holdeman”. The work was originally
composed for the Bassooner the Better Quartet
and dedicated to them. It is a not overly difficult
Grade III+ to IV- work with the first bassoon
ascending only to high d2. The work is in a single
movement and remains pretty much in the key of
c minor throughout. Composer Holdeman has
managed to capture the romantic spirit and style
of Verdi very well in the work - a nice addition to
the quartet repertoire.
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140
REVIEWS
Maurice Ravel: (Arranged by Frank Morelli)
Ma Mère l’Oye (Mother Goose Suite) arranged
for woodwind quintet.
Frank Morelli Edition TCO 6003 ($24.00)
Maurice Ravel: (Arranged by Frank Morelli)
Valses nobles et sentimentales arranged for
woodwind quintet.
Frank Morelli Edition TCO 6004 ($28.00)
REVIEWS
Who better to make such excellent arrangements
for wind quintet of these two delicate works by
Ravel than Frank Morelli, the complete soloist/
orchestral/ensemble musician? Indeed Frank
does not disappoint in either transcription. Both
are beautifully done for the quintet medium, all
the while taking into consideration the original
instrumentation and tonal color. For instance in
the 4th movement Dialogue Between the Beauty
and the Beast (Les entretiens de la Belle et de la
Bête) of the Mother Goose Suite, the beauty is
still represented by the clarinet, but for practical
purposes, the beast is now cast for the bassoonist
rather than the original contrabassoon, because
the bassoon must also perform various other
accompaniment duties in the rest of the movement,
making the switch to the contra impractical. (As
a bassoonist, I have always felt these should be
reversed: the “beautiful” being the contra and the
“beastly”, the clarinet!!)
Both transcriptions are very challenging and
would require a talented wind quintet to execute
properly. (Grade IV- technically overall) But for
the quintet “aficionado” looking for beautiful
and expressive music to play on the next recital,
I can happily recommend these two excellent
transcriptions by a very skilled and experienced
hand.
MUSIC FROM EditionsVIENTO
8711 SW 42nd Avenue, Portland, OR 97219
Tel/Fax: 503.244.3060
Website: www.editionsviento.com
Johann Baptist Vanhal: (Edited by Gordon Solie)
Concerto in F Major for 2 bassoons and orchestra
EV 903 ($75.00 for score and parts)
According
to
publisher
Gordon
Solie’s
accompanying letter with the review copy: “I got
tired of having potential customers asking me if I
publish this work. So I finally got it together and
published my own edition. Rather than someone
having to search the world over and pay $250 to
rent it, I thought I’d save them a lot of money and
provide them with a very readable copy. I hope
you agree.”
I certainly DO, Gordon! Having performed
this wonderful work a number of times and having
wasted costly rehearsal time correcting errors on
one edition or another, I am sure that you will find
a happy clientele for this very welcome edition.
For the few of you who might not be familiar
with this work, it is, to my mind, the very best
of the available Concerti for two bassoons, with
a handsome opening movement, a lovely slow
movement, and a sprightly, short and flashy finale.
Both bassoonists get to “show off”, and the work
never ceases to be a crowd pleaser. So grab that
second bassoonist, principal bassoonists, corner
your conductor and talk him into letting you two
solo on an upcoming concert - in welcome relief
to the usual milieu of pianist, violinist, vocalist, or
flute/clarinet solos. Both you and your audience
will really enjoy it!
Johan Georg Lickl (1769-1843)
Offertorium: Domine Deus, Rex Coelistis
for bass voice, solo bassoon (or cello), flute, 2
oboes, 2 trumpets in C, timpani and strings.
(Edited by James Mendenhall) EV 716
($13.50 for score and parts)
This is another nice “find” by bassoonist/
musicologist/library sleuth Jim Mendenhall.
From a manuscript found in the Musiksammlung,
̋ sterreichische Nationalbibliothek in Vienna, Jim
O
has edited this nice, fairly short-but-interesting
work featuring a bass voice and a solo bassoon
in equal solo roles, accompanied by a small
orchestra. It was obviously originally intended
for church performance by a relatively unknown
Austrian composer who spent the greatest portion
of his professional life as a kappelmeister at the
Fűnfkirchen Cathedral in Hungary (according to
the excellent program notes by the editor). The
work is in C Major and the bassoon part conveys
very idiomatic scale and arpeggio work throughout
at a comfortable Grade III level. The bassoon rises
no higher than a2, typical of the 18th century
instrument, and the bass voice part is not extreme
in any way either. There is some nice parallel duo
THE DOUBLE REED
writing between the bassoon and voice toward
the end of the work, with a contrapuntal dialogue
between the two soloists leading up to it. I like this
work. It would “fit” well on a recital or orchestral
program. I recommend it strongly to you.
Cherise D. Leiter:
Bassoon Quartet No. 1 “Fleet”
EV 437 ($10.75 for score and parts)
This is a nice, new bassoon quartet by Colorado
composer Cherise D. Leiter. It is in four movements:
Prelude, Dance, Interlude, and Finale. It originally
was composed for the Bassooner or Better Quartet
(two members of which have the last name Fleet,
hence the subtitle), and has an optional switch
to contrabassoon for the 4th bassoon part in
the last two movements. It is not overly difficult,
technically, HOWEVER, there is one ossia in the
1st bassoon part in the Dance movement which
would require a high f2, but this can easily be taken
down an octave without musical damage to the
movement. I particularly like the last movement of
the composition, which features some interesting
syncopated, “jazzy” counter-melody work over
a slower moving ‘cantus firmus’ type of theme.
The style is expanded tonality and the Grade
level, without the ossia, is a solid III. It is a nice,
colorful work for expanding the bassoon quartet
literature.
MUSIC FROM WEHR’S MUSIC HOUSE
Music may be ordered from website:
www.wehrs-music-house.com
One may use Paypal to pay for ordered music
through the website
This is a very easy Grade II arrangement from any
of the instruments listed above, including bassoon
and piano. The music comes with separate parts
for all of them. The bassoon part is totally in the
bass clef and goes no higher than a2. It could be
used by a student, or for playing at the mall, or
church, etc. I also discovered that one could play
one of the often dual phrases up an octave to make
it more interesting for the experienced player. At
any rate, this could be a very useful piece to have
around at Christmastime.
Joe Miserendino:
The Brook, the Bear and the Bird (A Trio for
Clarinet, Bassoon, and Piano)
WM #321 (#11.50)
This is a very straightforward, tonal trio in C
major and Af Major in roughly ternary form at a
Grade III- to Grade III level. There are a few mostly
slurred arpeggiated passages that might require
a bit of woodshedding in both wind parts, but
otherwise could probably be handled by a strong
high school and above ensemble. The bassoon part
is again in the bass clef throughout and ascends no
higher than a2. The three instruments would seem
to “represent” the object and animals mentioned
in the title, but there are no “program notes”, so
it is merely a guess as to which is which. Overall it
might make a nice competition piece or recital of
chamber music.
MUSIC FROM GERARD BILLAUDOT
14, rue de l’echiquier, 75010, Paris, France
Tel: 33 01 47 70 14 46
Fax: 33-01-45 23 22 54
Website: www.billaudot.com
Charles Koechlin:
2 Monodies pour basson seul (From the 12
Monodies for wind instruments, Opus 213)
Collection Gilbert Audin G7768B.
I am a big fan of the music of Charles Koechlin.
His Sonata and his Trois Pièces for bassoon and
piano are beautiful pieces that are a joy to perform.
These two works are a bit more simple and
straightforward, however, having been composed
as sight-reading exercises for students of the
Saint-Etienne Conservatoire. At one period in his
life, Koechlin became very interested in monodic
writing, according to the excellent foreword
in French and English by Matthieu Samani and
Philippe Cathe, and the composer wrote a number
for works for unaccompanied instruments besides
these Monodies.
REVIEWS
John Jay Hilfiger:
Christmas Carol Suite (Oh Come, Oh Come,
Emmanuel, What Child is This?, Joy to the World,
Good Christian Men, Rejoice, Away in a Manger)
for solo bassoon (or flute, alto sax, horn,
trombone) with piano.
WM #318 ($11.50)
141
142
REVIEWS
Both movements are quite short. The first
is a 2 minute 45 second Andante con moto in c
minor/Ef Major, and is a lovely example of simple
but beautiful melodic writing. The second is a
bit more difficult Allegro moderato in C Major,
two minutes in length, with greater rhythmic
variety and accidentals. Neither, however exceed
a technical level of Grade III in difficulty (French
intermediate Grade 5) with the bassoon range no
higher than c2. They could be very useful as either
sight-reading pieces or as a nice, gentle diversion on
a recital program. The printed edition by Billaudot
is absolutely gorgeous and, combined with the
music, makes the work highly recommendable.
REVIEWS
Antonio Torriani:
Divertimento on themes of Lucia de
Lammermoor by G. Donizetti
for bassoon and piano
(Edited by Carlo Colombo)
Collection Gilbert Audin G7804B
As one of Italy’s most famous bassoonists of the
19th Century, Antonio Torriani (1829-1911) often
performed solo recitals and concerto engagements.
This work, a potpourri based on Donizetti themes
from Lucia de lammermoor was one such piece
that he wrote to show off his own considerable
bassoon technique. The work begins and ends in
C major, but many of the themes briefly visited
throughout the nine and a half minute work are
in related keys, both slow and fast. The edition is
Graded in the French system as: “difficile (7)”. To
be sure it requires a lot of technical “bravura”. But
it is of the same tonal variety as, say, the Weber
Andante and Hungarian Rondo, so I would place
it as about a Grade III+ to IV- in overall difficulty,
with the range extending no higher than high c2.
The work has a wonderful Brilliante ending, and,
combined with its luscious Italianesque belle canto
lyricism, it would make a fun work on a recital
program for a talented bassoonist. I recommend
it strongly.
Luigi Orselli:
Réminiscence de “La Traviata” de G. Verdi for
bassoon and piano
(Edited by Carlo Colombo)
Collection Gilbert Audin G7803B
Less well known than Antonio Torriani, the
Italian bassoonist Luigi Orselli (?-1879), is
probably more remembered for his compositional
and pedagogical publications than for his playing.
This Réminiscence is one of his more successful
artistic endeavors. It is less technically demanding
than the Torriani. Rated at the French degree as:
moyenne difficulté (6), it nevertheless is a lovely
work in Ef Major, also with a lot of “bel canto”
throughout and a prestissimo ending. I would put
it at Grade III+ level with a range only up to high
B flat2. Again, the technical demands are tonally
orientated scales and arppeggios, so it possibly
could be used by a talented college-level student
(or above) as an effective recital piece.
Just a word about the editor here, Carlo
Colombo, who is also principal bassoon of the
Lyon, France, Opera Orchestra and the professor
of German bassoon at the Conservatoire Superieur
Nationale in Lyon. As one of the leading Italian
bassoonists of the 20th-21st Century, he is
certainly qualified to edit these lovely editions. The
editing is beautifully done, with the articulations,
phrasing, etc. all beautifully and idiomatically
presented. Bravos also to French bassoon artist
Gilbert Audin for his continuing efforts thru
Billaudot Publications to provide us with exciting,
new works for the bassoon literature. Keep up the
good work, gentlemen! We applaud your efforts.
FROM ACCOLADE MUSIKVERLAG
Guffertstrasse 18a, D-83627 Warngau, Germany
Tel: 08021-506646; Fax: 506647;
Website: www.accolade.de
J.S. Bach:
Italienisches Konzert (Italian Concerto)
BWV 971 (Arranged for four bassoons by
Mordechai Rechtman)
Collection Mordechai Rechtman ACC.R050
Here is another super transcription by Mordechai
Rechtman for bassoon quartet. This time it is
Bach’s immortal Italian Concerto beautifully
arranged for a talented ensemble of bassoonists in
the marvelous and innovative way that has become
the trade mark of Mordechai’s arrangements. The
bulk of the “work load” is generally shared in the
fast first movement by the first and second bassoon
parts, but with occasional flourishes in the third
and fourth parts as well, so that every part “gets
into the act”. This is even more true of the presto
THE DOUBLE REED
third movement where all four parts share the
important, highly contrapuntal thematic material.
The slow second movement gives both the first
and second bassoonist ample opportunity to show
the lyrical side of their playing. Overall, I would
rate this work as a Grade IV-, and emphasize that
it would require a talented bassoon quartet with
four players of more or less equal advanced ability.
It is a beautiful transcription, however, and I hope
to perform it myself in the near future with some
of my colleagues. I recommend it strongly to all
talented bassoon quartets or ensembles.
FROM DOBLINGER MUSIKVERLAG
Dorotheergasse 10, Postfach 882, A-Wien,
Austria; Tel: (01)51503-0
International Tel: (+431)51503-0; Fax: 51503-51
Website: www.doblinger.at
Gerald Resch:
Passagen für Fagott solo
(Passages for Solo Bassoon)
Doblinger 05 508. (Price unknown)
than this piece.
Gerald Resch:
Nebeneinanderlinien: vier Stücke für zwei
Fagotte (Lines Next to Each Other:
4 Pieces for 2 Bassoons)
(11,50 Euros for 2 Playing Scores)
This too is an interesting work. It is almost like
a ‘companion’ piece to Resch’s Passages for Solo
Bassoon in that it explores many of the techniques
of the latter work, but at a totally improvisatory
and free rhythmic level, which technically makes
the playing of it less difficult. Whereas the
Passages is carefully notated throughout Lines
Next to Each Other can be free of strict rhythmic
structure and, with both parts present in each of
the playing scores, one player can “play off” the
other in performing the four short movements.
According to the program notes, (here mercifully
in both German and English), the work was
part of a project of Barbara Loewe entitled New
Music for Young Bassoonists (also published
by Doblinger: #05 509) to bring contemporary
musical techniques within the grasp of younger,
less experienced bassoon students. Consequently,
it would be fun to work out a piece of this nature
with one of your talented students as a kind of
“primer” for contemporary techniques on the
bassoon that are within the capacity of a young
student. If this prospect intrigues you, you might
consider buying both new editions for your
pedagogical and personal musical use.
FROM MMS PUBLISHING
www.drumshtick.com/mikecurtis
Mike Curtis:
33 Bassoon Duos (with a playalong CD)
$20.00 music and CD
I feel that Oregon bassoonist/composer Mike
Curtis is one of the most creative composers
around. In the past he has given us fine collections
of solo works for oboe and bassoon, duos for
oboes, bassoons, and combinations thereof,
Klezmer and regular trios for oboe, English horn,
and bassoon, his well-known A Klezmer Wedding
($20.00) for two oboes, English horn and bassoon
or in the wind quintet version ($25.00), etc., etc.
He has also written a New Millennium Method
REVIEWS
Now this is a challenging new work! Young
Austrian composer Gerald Resch (born 1975)
has collaborated with Austrian bassoonist Robert
Buschek to create a thoroughly contemporary,
thoroughly
demanding
single
movement
composition for the gifted solo bassoonist. With
three pages of program notes, consisting mostly of
multiphonic, trill, and glissandi fingerings, followed
by eight printed pages of increasingly complex
printed music, this composition would not be for
the “faint of heart”. Technically, I have to rate it
at the highest Grade IV+ (maybe even V!), right up
there with the circular-breathing Berio Sequenza
for solo bassoon, about as ‘tough’ as a work
can get. Everything you can imagine is required:
pitch bending, quarter tones, flutter tongue, key
claps, improvisation, etc. etc. It is a true “tour de
force”. One caution to the non-German speaking
advanced bassoonist. You will need a dictionary
to translate the German into your language, since
the preface and all the instructions in the music
are in technical German and untranslated. Even
with my rudimentary German, they were hard to
follow at times. But if you have the time to work
on the piece and are looking for a challenging
work for your next performance, look no further
143
144
REVIEWS
and 26 Progressive Duos for Bassoon ($20.00)
which impressed me greatly, as I noted in an
earlier review. All these are composed by Mike in
a variety of ethnic and nationalistic styles, from
jazz to Latin American, from Mexican to Klezmer.
His repertoire is endless and highly creative
throughout.
Now Mike has come up with a new collection
of bassoon duos, but with a ‘twist’. Accompanying
them is a nicely recorded CD consisting of the
“other” part of the duo, so that a lonely bassoonist
stuck in, say, Antarctica, or the Sahara, or even
a practice room, can find a “partner” (Mike,
himself!) to play these duos with. Both the upper
and lower parts of each duo have been carefully
recorded by Mike (and engineer Lyle Dockendorf)
on separate tracks-66 in all-so that one can
happily play along on whichever part the “live”
player desires. Great idea! The collection consists
of 25 new duos of varying difficulty up to Grade
IV- and a range up to high b2, followed by a reprinting of his Seven Jazz and Ethnic Duos for 2
bassoons, for a total of 32 duos in all. It is a great
collection - great for sight-reading with students
or great for “wailing on” (especially on the last 9
or 10 duos) in your bassoon practice room, when
your only companion is a CD player. I recommend
this excellent publication to all: teacher and/or
performer. Enjoy!
FROM CAMERIDA MUSIC
Address Unknown
REVIEWS
Blake Stevenson:
Fantasia for 2 bassoons, harpsichord and string
bass (2002)
I am sorry I cannot give you an address for obtaining
this work. It is dedicated to bassoonist and IDRS
member David Schreiner, who, by looking up his
address at the IDRS website, can perhaps give
you information on obtaining a copy. What I can
tell you is that it is a very interesting composition
written for an equally interesting combination of
instruments. The musical style is modal, almost
impressionistic. The opening section, in four
sharps, has a decided “oriental” flavor to it. The
following sections, in a variety of different key
signatures, retain a kind of impressionistic neomodal quality as well. It is quite challenging both
musically and rhythmically, although the range for
the essentially equal (technically) bassoon parts is
not overly extreme (up to high d2). It looks like
it might require a fair amount of practice to get it
to work, however, so I would rate it at a possible
III+ to IV- level of difficulty. Nice piece, though.
If you are intrigued, contact David Schreiner for
more info on obtaining a copy.
FROM BERNARD GARFIELD:
87 Wayside Lane, Haddonfield, NJ 08033
Bernard Garfield:
Eighteen Etudes for Bassoon.
($15.00)
Since retiring from his position as principal
bassoon (with distinction!) of the Philadelphia
Orchestra, it would seem that IDRS Honorary
Member Bernard Garfield has turned his
attention more and more toward composition
for the bassoon. Recent issues of the Double
Reed have twice printed etudes by him based on
practice preparation pieces for playing Strauss’
Til Eulenspiegel and Stravinsky’s Rite of Spring.
Now, Mr. Garfield has put together an excellent
Etude collection consisting of 18 advanced studies
that are less about the orchestral literature and
more about technical and musical development
of the bassoonist, as well as amply showing
off the creative skills of the composer. These
Etudes, however, are not “progressive” (ie.
easier to harder), in any way. They are “harder“
throughout! The bassoonist tackling them must
have a pretty advanced technique even before
beginning work on these pieces. For one thing, he
or she must have facility all the way up to high e2,
a requirement which is frequently called upon in
these works. However, they are not about the high
register only - the low register must also be solid
technically as well. These pieces, therefore, are a
solid Grade IV to IV+. Don’t be scared off by these
realities, however. More important is the fact that
the works are beautifully written and fun to play.
So if you are in the process of developing your
advanced skills, then these challenging Etudes
might be right up your alley.
The set contains a wonderful variety. I love
No. 2 “Milde Remembered”, which is very loosely
reminiscent of the first Etude of the 50 Etudes
Opus 26(Book 1) by Ludwig Milde - a work
THE DOUBLE REED
that virtually every bassoonist has encountered
at one time or another. Some of the Etudes are
given loosely programmatic titles like “Longing”
for No. 5, “Breezy” for No. 6, “Dreaming” for
No. 10, and “Celebration” for No. 14 which
are helpful hints to interpretation. Number 13 is
a “Theme and Variations on a Friendly HomeMade Tune”, and “The ‘Right’ Etude” (based on
the Stravinsky excerpt) is No. 16. But the most
important quality of this collection is the fact that,
like Milde’s Etudes, these are also fun, challenging
works to play where one can feel that they are
“getting better”, both musically and technically,
as one works his or her way through them. Buy
them! At $15.00 for a future “classic”, how can
one go wrong?
Oboe
RECORDING
REVIEWS
REVIEW BY ROGER WIESMEYER
Nashville, Tennessee
How The Light Gets In (AG-118)
Marianne Osiel, oboist/English hornist
Robert Barrows (pipe organ)
Denman Maroney (prepared piano)
Jordan Rudess (synthesizer)
John Simon (piano)
Released: June, 2005
I found it a real pleasure to review Marianne
Osiel’s new CD of oboe/English horn improvisational duets with keyboard. In taking on the job
of “official reviewer”, it encouraged me to take
my job as listener more seriously. It has led me to
think again and again about the choices that were
made, both the spontaneous ones with collaborators, as well as the slower, more deliberate ones,
of editing this beautiful offering called, How The
Light Gets In*.
As I write this, I’m listening to How the Light
Gets In for the fi fth time, each time fi nding new
things to appreciate. When I fi rst hit the play
button, I had no idea what to expect. I guess if I
were to freely associate on the phrase “oboe improvisation CD”, I would imagine oboe and wind
chimes, with lots of whole tone and pentatonic
scales that would encourage my brain to make
beta waves as I sat in the lotus position, letting
go of a thousand minor tensions at the end of my
week. While the tempo and mood of much of the
album might, in fact, be suitable for a yoga class,
How the Light Gets In is such a bouquet of surprises as to keep me constantly wondering where
I will be lead next and how I will get there. How
the Light Gets In is not air pudding. It is real music and it is delightful.
When I fi rst met Marianne, she was performing as tenured second oboist in the Nashville
Symphony, and as a member of the community
of singer-songwriters that is Nashville’s quiet gift
to the musical world. I recall her beautiful oboe
tone, and then how impressed I was when I fi nally
got to hear her sing some of her original music.
My jaw dropped, and in the middle of the fi fth
listen now, I am still slack-jawed at the beauty,
daring, and even humor conjured with her musical co-conspirators.
My favorite aspect of the album is how this
music constantly shifts moods. Each of the partnerships with the four keyboardists (Robert Barrows, Denman Maroney, Jordan Rudess, and John
Simon) brings out different aspects of Marianne’s
musicianship. Playing with Robert Barrows (pipe
REVIEWS
I would like to share with the readers of The Double Reed the gratitude I feel to the editor, Dan
Stolper, for being so open to featuring a kind of
musical experience different from the norm. It is
because of this openness that some “light” can be
shed on the music and the art form - improvisation - thereby making it more available to listeners and players, literally and figuratively in their
own lives. I did know Dan to be an extremely
kind, helpful, and patient instructor whom I was
fortunate enough to study with at the Interlochen
Arts Academy and Music Camp many years ago.
This time I had the distinct feeling I would be giving Dan yet one more opportunity to further test
his patience as a teacher and guide. Quite to the
contrary, I found him to be just as I remembered
- encouraging, inquisitive, and even nurturing in
the process of bringing to light (on paper) this
sonic “newborn”. Thank you, Dan, for all the
kindness you have shown me and other oboists,
now, and over all these years. - Marianne
145
REVIEWS
146
REVIEWS
organ) was my initial favorite,
perhaps because when I was a kid,
I wanted to play the pipe organ.
Or perhaps it’s because of fond
memories I have of improvising
with an organist friend of mine.
Or perhaps it’s because organists
are trained and expected to improvise “classically”. No matter
- there is surely a deep grandeur
to the expression that is very moving, with an epiphanic quality to
the modulations, as if new vistas
appear by the deft use of chromatic inflection.
Just when things might have
Marianne Osiel
gotten a little too heavy on the
album, Marianne presents this lovely, easy dancing, “Unraveling” with John Simon at the piano
- a reference to the joyful, harmonic buoyancy
of Ravel. There is always an essential clarity and
groundedness about the playing with Mr. Simon.
I Hear You Now is the closest to a ballad on this
recording - a sweet three-part song that, even
with its slightly off-the-beaten-path “B” section,
could easily fi nd a second life in a “pop” setting.
I love the placement of I Hear You Now in
the album order. Immediately before it, “Peace
Chant”, another collaboration with organist Robert Barrows, gives the impression of return and
closure of the fi rst section. We are transported
from a mood of ecclesiastical mystery to a feeling
of watching two accomplished songwriters sitting in the living room, connecting, playing, and
seeing what comes out. This piece then, serves as
the perfect foil for Never Turning Bach, the least
traditional offering on the album.
Never Turning Bach is the most abstract of
the seven collaborations, with “hyperpianist”
(prepared piano), Denman Maroney. There is
something uncomfortably funny about it. From
the word “go” appears the bending pitch of the
prepared piano, followed by the fi rst “non”-entrance of the oboe (striking the nerve of every
oboist who has gone for a note, only to be met
with a “Dean Martin”). There are a couple of
lovely Baroque-sounding fragments with Marianne’s characteristic gorgeous tone, then she cavorts in her altissimo tessitura accompanied by
a cimbalom effect, fi nally putting a tag of an E f
major chord on the end. Never Turning Bach is
the musical equivalent of a Dali dreamscape.
Even in the more transparent
pieces, she pushes the envelope in
unexpected ways, like the nondiminuendo on the last note of
Ode to a Black Widow. Instead
of a traditional taper which is
in abundance throughout the
album, she lowers the signalto-noise ratio until the note is
drowned in hiss. I imagine this
could be one (or more) of these
possibilities - an homage to the
jazz greats for whom this was a
common device, or thumbing her
nose at classical convention and
stuffi ness. Then again it could
be an allusion to the fragility of
what we do and how the tone we create, no matter how hard we work at it, are only just a few
micro millimeters/seconds/weeks from not being
there at all….
In some respects, the musical meetings with
Jordan Rudess (synthesizer) are the most immediately pleasing. They have a “new age” quality which serves to help ground this album after
some of the more opaque fl ights of fancy.
I like how the fi nal track, Offering, ends the
album with a simple gesture. This is paradoxical,
as it is the only track that involves over-dubbing
(three oboes, English horn, and John Simon on
the piano). The tones that are played with sound
much like the fi rst stanza of Wachet Auf by J.S.
Bach (is she exhorting us to awaken after the
dream she has given us?). I love how, even though
it starts in E f and ends up a major third higher, it
actually feels more settled. No mean feat … how
did these musicians do that?
I highly recommend this album created by
Marianne Osiel and these other dextrous and
creative musicians as an “alternative” for the listener who has played and listened to everything
else, and who fi nally wants a walk on the wild
(yet still beautiful) side.
Roger Wiesmeyer, English hornist
Nashville Symphony Orchestra
*Reference to the chorus of the song by Leonard
Cohen, Anthem
To order copies of this CD, see ad in back of this
issue, or write Marianne directly, at:
[email protected]
www.marianneosiel.com
THE DOUBLE REED
Oboe
MUSIC
REVIEWS
REVIEWS BY ROBERT J. KRAUSE
Canyon, Texas
Ludwig von Beethoven:
Cadenza for Trio, Op. 87, for Two Oboes and
English Horn by Marc Fink
A special cadenza in tribute to the Australian
hosts of the 2004 IDRS Conference,
Melbourne, Australia
Published by TrevCo Music
This eighty-eight measure cadenza was written
to follow measure 297 in the fourth movement
of the Opus 87 trio. Although Beethoven did not
write any cadenzas for this trio, Marc Fink has
written a very clever interlude featuring all three
players, that can add a bit of interest and diversion for the listener. He has included quotes from
Beethoven’s Fifth Symphony, including the fi rst
movement cadenza and, with “tongue in cheek”,
plays with the Pop Goes the Weasel melody. The
ranges for the oboes are c1 to g3 and c1 to f3.
The range for the English horn is c#1 to c3. The
level of playing difficulty coincides with that of
the trio.
Adding this cadenza to a performance of the
Opus 87 trio can add something very delightful
for the listener and players. It is certainly worth
trying for anyone planning a performance of the
piece.
Donna Robertson arranged these American folk
hymns in the 1980’s for students at Mars Hill
College, in Mars Hill, North Carolina, in order
to provide prelude/postlude music for chapel services when the organ, over which she presided,
was nonfunctional. In 1999 Tres Vientos, the
faculty woodwind trio at Stetson University, included these arrangements in their recording Tres
Vientos, issued by Lakeside Records.
O Thou in Whose Presence (tune: Davis; 1813)
Flute range – eb1 to f3
Oboe range – f1 to c3
Clarinet range – small g to e2
Key(s), Time signature, and tempo marking –
F major/F minor/ Bf major;
Alla breve; half note = 92
This cheerful hymn melody is presented in three
sections: (1) in a quasi “hocket” style with the
original instrument taking over an accompanying
role with the entrance of the next instrument; (2)
time signature changes to 4/4 (the quarter note
equals the previous half note) with a lovely dialogue between the oboe and clarinet in minor; (3)
an alla breve canon that is imitated at the octave
below (starting with the flute) and coming to a
cadence with another quasi hocket style.
II. Do Not I Love Thee, O My Lord (Tune: Detroit,
from “Supplement to Kentucky Harmony, 1820)
Flute range – eb1 to eb3
Oboe range – c1 to c3
Clarinet range – small f to a2
Key(s), Time signature, and tempo marking–
Basically F minor (key signature is 2 flats)
4/4; Plaintively
This melancholy melody is fi rst introduced by
solo oboe. The next statement is by the clarinet
playing an octave lower while, above, the flute
and oboe interweave with each other using more
rhythmically active lines. The fi nal section of this
hymn is treated like an improvisation for the flute,
while the oboe and clarinet add little comments
to help support the extolling flute melody.
III Postlude on “Spanish Hymn” (Tune: Madrid:
traditional Spanish melody, 1824)
Flute range – e1 to eb3
Oboe range – eb1 to b flat2
Clarinet range – small f to d2
Key(s), Time signature, and tempo marking G minor/C major/ Ef major; 4/4; half note = 88
“Madrid” is a lighthearted melody which Ms.
Robertson presents in a imitative style using sequential statements between the instruments with
somewhat distant, but effective, modulations.
All of the movements are technically of easy/
medium difficulty, with various measures that
may have some tuning problems (open fi fths and
REVIEWS
Three American Folk Hymns
arranged for Flute, Oboe (or 2nd Flute), and
Clarinet by Donna Robertson
Alry Publications, Etc., Inc.
I.
147
148
REVIEWS
fourths) for a younger player. These settings are
very nice and could be useful for church performance and for pedagogical purposes.
REVIEW BY JENNIFER PORCAS
London, England
REVIEWS
Virginia Aurora Scott
How the Song Grows for oboe d’amore
Available from the composer
How the Song Grows is a wonderful new piece
for solo oboe d’amore composed by Virginia Aurora Scott. Comprising about 25 minutes of music, player and listeners alike embark on a moving
and expressive journey.
The music is in three parts and is in the nature
of a loosely arranged improvisation with material
re-appearing in different guises. There are recurring figures, particularly ‘The Tear’ and ‘Blessing’. Moods and atmospheres change quickly,
with spikey interjections appearing unexpectedly
as gnomish influences are felt.
While she was working on the piece, Virginia’s father was unexpectedly diagnosed with an
incurable cancer. Her deep feelings for him, the
special time of expression and revelation with
him, along with her profound love for her native
Scotland all found their way into this song, which
grew and grew. The influence of the bagpipes is
present in the whole work, particularly in drone
effects, abrupt phrase endings and that figure
we know as the Scottish snap, as well as in the
pibroch style of florid ornamentation in the last
movement.
Opening with a call to the ancestors, the fi rst
part, entitled Nest of the Raven moves slowly and
gently in lullaby mood, the music weaving along,
searching for its song. A section, Remembering
the Dance is more lively and Part I ends with a
Blessing which is reminiscent of plainchant.
Part II begins and ends with the piper playing a tribute. Contrasting sections make use of
rhythms and melodic fragments from Part I.
The 3rd section, in Virginia’s words, amounts
to a great farewell. This movement is perhaps
the most overtly Scottish. Beginning with a slow
rhythmic dance, Tears and Blessings intermingle.
But the Farewell would not be complete without
a Jiggin, a crazy celebration of the Dance of Life.
The work ends with a gorgeous broad farewell
and blessing.
How the Song Grows is wonderful music
to play. It mostly lies well under the fi ngers and
there are convenient breathing places. Dynamics,
phrasing and note lengths, etc. are meticulously
marked. One needs to be able to concentrate on
small details without losing awareness of the long
lines which make up the whole.
I had the privilege of giving the fi rst few performances of this music, choosing to ask an actor
friend to read poetry between the movements in
order to provide a moment for ‘mopping out’ and
a release of tension for the audience.
I hope the song will continue to grow and
grow as more oboists fall under its spell and make
it theirs.
Readers interested in obtaining the music and
/or CD (of live performance) should contact Virginia who has some copies she’d like to give away.
Subsequently both will continue to be available at
a modest price.
The score can also be viewed/downloaded via
e mail PDF fi le.
Virginia Scott
6 Latimer Road
Llandeilo
Carms
SA19 6HS
REVIEWS BY LESLIE ODOM
Gainesville, Florida
Rolf Julius Koch
Technik des Oboenspiels/The Technique of Oboe
Playing: A collection of the most common practical exercises for mastering problems of wind
technique
Publisher: Schott
As quoted from the author’s Preface, “This book
should not be regarded as a teaching manual in
the conventional sense.... Its contents are confi ned to the four topics of breathing, scale technique, trills, and staccato.... This summary is
intended primarily for oboists who have already
made some progress on the instrument and are in
a position to work on their own and seek out new
ways of solving problems of technique. It is also
hoped that teachers will fi nd materials in this col-
THE DOUBLE REED
lection that will be useful in dealing with specific
problems encountered by their students”
CONTENTS:
I. Breathing technique
At the beginning of this chapter, the author writes
an excellent discussion on why and how oboists
should learn to inhale as well as exhale. Exercises are provided with specific markings to indicate
where to inhale or exhale. The music is mostly on
the staff, but the author indicates that these exercises may be played an octave higher than written. Metronome markings help gauge the speed
at which each exercise should be taken. Koch advocates learning to breathe in through the nose
as well as the mouth and includes a specific section of exercises just for that purpose. Although
they may start out very simple with mostly whole
notes, the exercises eventually move into eighth
notes and sixteenth notes in various keys. Melodically, the fi rst exercises move in half steps, with
some chordal outlines in all major key signatures.
At the end of the chapter, some melodic etudes
are provided. Koch includes additional work on
various articulation styles and transposition in
this section as well.
II. Scale technique
This section helps to develop proficiency in specific keys. The author wants all of the scales to
be practiced at least two octaves starting on C,
Cs or D f. Blank staves are included for players
to write out their own exercises. Various styles
of articulation are suggested so that one can
also practice this aspect while working on one’s
technique. There are several exercises covering
arpeggios.
IV. Staccato
Koch describes three different classifications of
staccato:
1. Cantabile or tenuto staccato
2. Diaphragm staccato
3. “Mozart” staccato
(a combination of the other two)
He recommends that one start slowly and
work up to a faster speed as one masters the technique. The exercises go through all the key signatures, with chromatic scales also included. All
ranges (low, middle and high) are utilized.
V. Six warming-up exercises for advanced
players
These exercises are mostly long notes. There is
some use of chromatic scales in varying rhythms.
Seven different sections are provided with varying examples from which to choose. Other topics covered are changes in articulation, chordal
outlines, scales, and key signatures. Three pages
of blank staves are included at the end for one to
write in one’s own studies.
VI. Six exercises after Paganini with variant
style of articulation
Intended mainly for work on technique, the exercises include scales, chordal outlines, arpeggios,
sequences, and work on articulations.
VII. How to practice properly?
Koch writes, “…. four basic and important principals emerge from the statements of famous
virtuosi and experienced teachers and musical
colleagues:
1. Practice slowly – more slowly than
you actually want to.
2. Concentrate while you are working.
3. Work in short spells, taking good
breaks for rest.
4. Practice at least once a day.”
Two examples from the repertoire are used
for demonstrating how to practice – “Annchen’s
Aria” in Der Freischutz by C. M. von Weber
and four bars from the second movement of the
Hindemith Sonata for Oboe and Piano (second
movement). The author does a thorough and
extensive explanation of how to practice specific
passages in these pieces. Many students will fi nd
this discussion very helpful as it truly shows the
work and effort one must dedicate in order to
“practice correctly”. Too often, students feel they
are practicing when they are actually “running
through” the music. Koch demonstrates how to
work through each and every aspect (notes, fi nger
clarity, rhythm, and articulation) to really learn
and master the music.
REVIEWS
III. Trills
Koch recommends using relaxed fi ngers and
hands. He strongly suggests that one use a metronome while working in this section. Although
trills between two notes are the primary focus,
there are also melodic sequences up and down the
scale.
149
150
REVIEWS
Overall, Koch provides very good ideas which
are written in clear, concise language. The prose
is in both German and English. This book may
prove helpful for teachers who need ways for verbalizing to students what these techniques feel
like as well as how they should sound. The methods described may also be especially beneficial
for students who want additional information on
how to improve specific aspects of their playing.
REVIEWS
Miroslav Hošek
Technical Studies for Oboe
Publisher: Broekmans & Van Poppel B.V.,
Amsterdam (nr. 1436)
Unfortunately, this book has no instructions or
explanations on how to use it. As a result, I’ve
had to make my own assumptions about the author’s intentions.
The primary book is organized by key signature, starting with C Major, then continuing
through all of the sharp keys, followed by all of
the flat keys (starting with F Major then adding
flats).
The exercises vary greatly in length. Some
are an entire page, while others are merely a line
long. Once the note pattern for an exercise is determined, that pattern could easily be transposed
to other keys as desired. The exercises cover all
ranges - some may be in a specific register (low,
middle - on the staff; or high), while some leap
from the highest range to the middle or lowest
range.
No tempo markings or metronome markings
are provided, which allows one to work at one’s
own speed. The odd part is that the C Major section has seventeen total exercises varying in length
and covers seven total pages. All of the other keys
only have four to six exercises spanning a mere
four to five pages. I cannot tell if the author wants
the player to focus primarily on C Major or if he
wants the player to transpose these exercises and
play them by memory in the other keys.
One could use these same exercises to practice
minor keys by using the parallel minor key signature. Harmonic or natural minor keys will be
fi ne with just a change of key signature. However
some thought and preparation would be needed
if one wanted to practice using the melodic minor
form.
Each new key signature begins with thirds
starting on the low B or B f (or As ) and continu-
ing up to high F regardless of the key signature.
These will help to extend one’s range and not restrict the player to just the basic octave or two
octave scale from tonic to tonic.
An additional supplement is included with the
primary book, entitled “Ways to Practice in Technical Studies”. Six different sections are provided,
each focusing on a specific aspect of playing:
A. Rhythm Studies
B. Phrasing Exercises (variations in
articulation)
C. Melodic Ornaments (mordents, turns,
grace notes, and trills)
D. Attack Exercises
E. Dynamic Studies
F. Tonguing Exercises
Combing the studies or exercises from the
supplement with the actual music of the primary book certainly covers every possible aspect
of playing. If one was diligent about working
through this book, I should imagine that one’s
technique would improve significantly. It is definitely tedious but would get the job done!
DRASTIC MEASURES:
New Oboe Music
REVIEWS BY LIBBY VAN CLEVE
New Haven, Connecticut
Tom Johnson
Contemporary Works for Oboe
Editions 75
At the last IDRS conference in Austin Texas, I
had the privilege of presenting a lecture/demonstration about my book, Oboe Unbound: Contemporary Techniques. This conference, my fi rst,
was an extraordinary opportunity to hear inspiring performances, learn about new instruments
and equipment, and - last but not least - reunite
with many friends, colleagues, former teachers and former students. Among those was Dan
Stolper, who suggested that I write about new
oboe music for The Double Reed. We expect to
present a regular column that describes and gives
background information about recently written
compositions.
Tom Johnson:
Tilework for Oboe (2002)
Rational Melodies (1982)
THE DOUBLE REED
Infinite Melodies (1986)
Eggs and Baskets (1987)
Narayana’s Cows (1989)
Movements for Wind Quintet (1980)
All scores are available through Editions 75:
75, rue de la Roquette, 75011, Paris.
Telephone: 01 43 48 90 57;
Fax: 01 43 48 85 74;
Website: www.tomjohnson.org
infinite simply in the sense that they could, and really should, go on forever….In order to give the audience time to grasp the logic, and to begin to predict the progressions, the pieces should be played
beyond the opening patterns written out here, and
should last at least three minutes. They can remain
vital much longer than that, if the performer does.”
These comments reveal the pleasure and difficulty
of these pieces for oboists. They are fascinating
to work on, but very challenging with respect to
endurance. Rational Melodies is a collection of
twenty-one short melodies along with an appendix that gives an explanation of their logic. Some
of these melodies are highly idiomatic for an oboist, fun to play, and aesthetically rewarding. Some
are droll, some provide an opportunity for showy
technique. They are interesting and unusual recital
pieces that could also be approached as technical
etudes. Tom Johnson met with mathematicians at
IRCAM in Paris while writing Tilework, and performers might find the numerical aspect of these
pieces intimidating. But Johnson writes, “…composers, interpreters, and listeners do not need to
know all this, just as we do not need to master
counterpoint in order to appreciate a Bach fugue.
As always, one of the wonderful things abut music
is that it allows us to perceive directly things that
we would never understand intellectually.”
Eggs and Baskets and Narayana’s Cows are
both written for instruments with a narrator, and
both demonstrate simple mathematical concepts
using musical pitches in a clever, almost comical
way. Eggs and Baskets is for any two instruments
in the same octave. It was written for grade school
children, who clearly enjoy it, but Johnson adds
that “we found out later that the piece is perhaps
more appreciated by adults.” Narayana’s Cows
could best be described as a score in three voices
with flexible instrumentation, octave doubling
permitted. Johnson notes that a chamber version
of Narayana’s Cows can be fine, but he prefers
larger ensembles. Both pieces begin with very short
phrases and end with long rhythmic rather virtuosic passages. The musical style would probably
be considered minimalist, while the performer’s
and audience’s pleasure will be maximalist. These
pieces could easily be performed by members of a
woodwind quintet and would certainly be lively
additions to a chamber music program.
Johnson’s woodwind quintet, Movements, includes the usual four musical movements, but also
physical movements for the performers: standing
REVIEWS
Tom Johnson (1939- ) was born in Colorado,
played an active role in the contemporary music
scene in New York City during the late sixties
and seventies, and has lived in Paris since 1983.
Johnson’s official biography notes that he is “considered a minimalist, since he works with simple
forms, limited scales, and generally reduced materials, but he proceeds in a more logical way than
most minimalists, often using formulas, permutations, and predictable sequences.” I would add
that much of his work has exceptional wit, theatricality, and compositional integrity. Johnson
wrote about new music concerts for the Village
Voice from 1971 to 1982, and these reviews, available in the book, The Voice of New Music, and
on Johnson’s website, document the wide range of
exciting musical innovations that occurred during
this dynamic and expansive period.
Tilework for oboe, Rational Melodies, and Infinite Melodies are solo compositions. Tilework is
written specifically for the oboe; while the other
two pieces can be played by almost any solo instrument. The subtitle for Tilework is “Three Crossings,” and each of the three movements consists of
two musical lines which cross rhythmically, giving
the oboist the intellectual challenge and artistic
delight of performing two voices at once. The second movement is scored on two staves, similar to
the appendix of “Fugue à troix vois” fom Dorati’s
Cinq Pieces pour le Hautbois. The piece requires
a skilled performer, but not necessarily a highly
sophisticated audience. I find Tilework enjoyable
and satisfying for both performer and audience.
Rational Melodies and Infinite Melodies are collections of solo pieces that can be transposed in
any key. Tempo, dynamics, and articulation are
left to the individual performer. One need not play
all the movements of either of these pieces. Infi nite Melodies consists of four melodies that unfold
in a logical sequence and could expand infinitely.
Johnson writes, “The four Infinite Melodies are
151
152
REVIEWS
up for solos, repositioning within the piece, turning pages simultaneously. All this moving about is
theatrical and amusing, but it is not gratuitous the actions highlight and accent the musical material. This piece was written years before the others
discussed here, and the compositional language is
less overtly minimalistic; however, it has a similar use of limited musical materials and sequential
passages.
Among the many recordings of Johnson’s music, two might serve to introduce his unique voice.
“Music for 88” on the XI label, written for the
eighty-eight keys of the piano, exemplifies Johnson’s mathematically oriented pieces; while the hilarious Failing, a very difficult piece for solo string
bass (from the Bang on a Can Live Volume 1 on
the CRI label) is one of Johnson’s most popular
theatrical pieces.
REVIEWS
Rainer Bischof
Reflexion for oboe and recitation (1997)
Michael Amann
Pan for oboe solo (1998)
Doblinger: Website: www.doblinger.at
Rainer Bischof, born in 1947, is the self-proclaimed
“grandson” of the second Viennese school, employing the twelve-tone method in his compositions. Reflexion (Reflection) includes a text by the
celebrated Viennese poet, Michael Guttenbrunner.
My interest was at once piqued by the interesting
possibilities of a piece for oboe with narrator and
the expressivity of the poem (in German) and craggy atonal melodies. The composer has included
several multiphonics, but there is no indication for
fingerings. He has also written some exceedingly
awkward tremolos. This piece demands an expert
performer who is willing to search for appropriate multiphonic fingerings and an audience open
to music without a tonal center or strong sense of
pulse.
Pan by the Viennese Michael Amann (1964 - )
vividly portrays the whimsical mythical creature.
The piece includes numerous extended techniques
such as multiphonics, quarter tones, tremolos,
double trills, glissando, and variable vibrato styles.
Towards the end, the piece is punctuated by silences - some are a few seconds long, some a bit longer,
then there’s a strikingly long twenty-one second
silence before the last gesture of the piece. Amann
includes an appendix that provides fingerings for
multiphonics and alternate fingerings. I presume
this piece was written for the Viennese oboe, but
almost all the fingerings worked on my Laubin. A
preface, written in German, defi nes some of the
unusual notation and gives performance instruction. The piece requires a highly skilled performer
and adventurous audience. It might be interesting
to program it along with Britten’s “Pan” from Six
Metamorphoses after Ovid.
Libby Van Cleve is an oboist specializing in contemporary music. Her work is featured on the New
Albion, CRI, Aerial, Centrediscs, Tzadik, New
World, OODisc, Braxton House, What Next?,
and Artifacts CD labels. Numerous compositions
have been written for her and have been commissioned by organizations such as the National
Endowment for the Arts, Connecticut Commission for the Arts, Canada Council, and Minnesota Composers Forum. She is the author of Oboe
Unbound: Contemporary Techniques (Scarecrow
Press,) and co-author of Composers’ Voices from
Ives to Ellington (Yale University Press.) Ms. Van
Cleve received her DMA from Yale School of Music, her MFA from California Institute of the Arts,
and her BA, Magna cum Laude, from Bowdoin
College.
If you would like to submit a piece to be considered for inclusion in this column, please send it to
Dan Stolper; Oboe Editor, The Double Reed; 7
Hermosillo Lane; Palm Desert, CA 92260-1605.
Bassoon
PRODUCT
REVIEW
REVIEW BY RONALD KLIMKO
McCall, Idaho
Pianist By Proxy: Accompanying PIANO parts from
the BASSOON repertoire
George Robert, piano. (Also included are performances of the Ravel Pièce en Forme de Habanera
and the Fauré Pièce by Artemus Edwards, bassoon, and George Robert, piano)
Available through the website:
www.cdbaby.com/artemus1 for Volume I and
www.cdbaby.com/artemus2 for Volume II.
$12.00 for each Volume.
THE DOUBLE REED
in a fast and a slow version, as mentioned earlier).
Therefore the bassoonist must have the part well
“in hand” before even trying to play with the accompaniment. In the program notes, however,
Artemus cites a few other uses for these discs:
1) as a study guide for a student accompanist, 2)
demonstrating the bassoon in schools, 3) making
music at home for fun or for the family, and fi nally, 4) for busking. (Artemus adds: “Who knows
how many bassoonists will be found in town
squares performing with George Robert!”).
Indeed the collection is a nice compilation
that could be very useful to the advanced bassoonist. My only “complaint” with the accompaniments is that they more or less “lock” one
into only a single interpretation of these various
works. For instance, it has long been a personal
“pet peeve” of mine that the second movement
of the Saint-Saëns Sonata has come to be taken
much too fast by modern bassoonists determined
to show off their technique at the expense of the
music, making diffused mush out of the beautiful
musical lines created by the composer. I, personally, would never perform that movement in the
tempo that George Robert sets in the accompaniment here. Also, I like to take the last section
of the Hindemith Sonate at a more leisurely pace
than the tempo of that accompaniment found
here. Generally, however, this is not a problem
most of the time in the other works, since the
compositions in both Volumes are performed at
the “standard and acceptable” tempi that one
hears for these works in most performances.
All in all, this is a wonderful compilation and
a worthy project. I am happy to strongly recommend it to you as another, perhaps more pertinent, version of the concept of “Music Minus
One”. ◆
REVIEWS
Distinguished bassoonist Artemus Edwards,
bassoon professor emeritus from the University
of New Mexico, Albuquerque, has just made
the second Volume of his two CD collection of
piano accompaniments to the bassoon literature available. This is a project which resulted
from a sabbatical leave by Artemus prior to his
retirement from the UNM. It was begun in the
1990’s in collaboration with his colleague, pianist George Robert, and resulted in the publication of Volume I back then. Volume I contained
the piano accompaniments to many of the most
well-known bassoon works, including the SaintSaëns Sonata, Op. 168; the Fasch Concerto in C
Major; the Hindemith Sonata (1938); the Mozart
Sonata k. 292 (the bassoon and piano version by
William Waterhouse), the Ferdinand David Concertino, Op. 12; the Milde Tarantella, Op. 20;
Romanza “una furtive lagrima” by Donizetti;
Tchaikovsky’s Valse from Symphony No. 5 (arranged by Sol Schoenbach) and the Senaillé Allegro Spiritoso. It is heartening to see that this
Volume is still available (now for the reduced
price of $12.00 for each Volume!) at the website
listed earlier.
Volume II, which is now available is subtitled
“Cellists’ Choice” since it contains works often
performed by cellists as well as bassoonists. The
literature for Volume II is: The Swan from “Carnival of the Animals” by Saint-Saëns; the Vivaldi
Sonata #5 in e minor for cello or bassoon; Vocalise Op. 34, No. 14 by Rachmaninoff; Ravel’s
Pièce en Forme de Habanera; Liebeslied (Love’s
Sorrow) by Fritz Kreisler; Sicilienne by MariaTheresia V. Paradis (in a fast and a slow version);
Gabriele Fauré’s Pièce; and the Sonate No. 5 pour
Basson ou Violoncelle by Boismortier. Finally,
Volume II also contains two performances of the
Ravel and Fauré Pièces by Artemus Edwards,
bassoon, and George Robert, piano. (Presumably
these were required to be added by the publishers,
Leduc, in order to get permission to use the accompaniment only version as well, according to
the program notes.
The most obvious use of these accompaniments is by the accomplished bassoonist. He or
she can benefit from practice with the recorded
pieces, even without a top-notch pianist at his
or her disposal. I emphasize the phrase “accomplished bassoonist”, because the tempos for all
these works is pre-established at concert performance level (except for the V. Paradis Sicilienne
153
154
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The Society thanks those who have given additional financial support by becoming
contributors. Their additional support is vital to the accomplishment of our goals.
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155
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156
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The Double Reed, Vol. 28 • No. 4 - International Double Reed Society

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