2015 AYO Music Camp The Hush CD Project Forbes Double Reed

Journal of the Australasian
Double Reed Society Inc.
Certificate of Incorporation No. A0035497R
March 2015 / VOLUME 18 / Issue No. 1
I n
th i s
i s s U e:
2015 AYO Music Camp
by Celia Craig
The Hush CD Project
by Diana Doherty
Forbes Double Reed Event
by Justin Screen
Joshua Oates Plays Mozart
by Peter Webb
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cane – to ensure a professional sound
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complete consistency every time.
All reeds are hand finished and tested
by Bernie Girard (a professional oboist
and reed-maker) to ensure 100%
perfection. Available in all strengths to
suite all stages of development.
Complete satisfaction guaranteed.
$20* each
Made in Australia
Email: [email protected]
Ph: 0412 119 756 or 07 3315 5689
*Mention this advert and receive this
discounted price (20%) on your 1st order
(up to four reeds). Usual price is $25.
Fine double reeds
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Baroque Oboe d’amore | Cor Anglais
Wolf Kinderoboe | French System Bassoon
I use solely French cane, mostly Alliaud and Rigotti.
Re-caning of used staples in batches of six or more (I
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after one use, and it is cheaper). Bulk rates available
for 10 or more. Baroque staples made to order.
Agent for Don Cartwright’s
Recorders, Baroque Oboes and Flutes
Alan Greenlees
43 Faraday Street | West Hobart | Tasmania 7000
Phone (03) 6231 9130 or 0421 707 754
www.oboereedsatyecrossedhoboy.com.au
march 2015 / Volume 18 / Issue No. 1
THE ORGANISATION
7
2015 ADRS Conference – Brisbane
by Joanna Musson
8
From the President
by Richard McIntyre
9
Concert Diary
THE PEDAGOGY
10 AYO Music Camp 2015
by Celia Craig
13 Josh Oates Goes to New Zealand
by Josh Oates
14 In A Hundred Words or So – Teaching new music techniques to oboists
by Peter Veale
THE PROFESSION
15 Hush CD Project
by Diana Doherty
17 In A Hundred Word or So – The cor anglais solo in Maurice Ravel’s piano concerto in G Major
by Alexandre Oguey
18 Review: Mark Gaydon Concert
by Caryl Lambourn
THE COMMUNITY
19 Forbes Double Reed Event
by Justin Screen
20 Joshua Oates Plays Mozart
by Peter Webb
20 Letters to the Editor
STATE BY STATE
21 ADRS South Australia
21 ADRS Western Australia
23 ADRS Queensland
23 ADRS New South Wales
23 ADRS Northern Territory
24 NZDRS New Zealand
PUBLICATIONS
26 Review: Derek Moore Morgan – Bassoon Sonata
by Anne Henderson
28 New Releases
29 The Editor’s YouTube Favourites
A MISCELLANY OF WISDOM
29 In A Hundred Word or So – Double Reeds at the Core
by Graham Abbott
BUSINESS & TRADE
Publisher
The Australasian
Double Reed Society Inc.
PO Box 3127
West Hobart TAS 7000
editor
Josie Hawkes
IT/DESIGN
Charles Klein
sub-editor/
distribution
Caryl Lambourn
graphic design
Anna McKenzie Graphic Design
supporters
Woodwind Repairs Australia
Ozwinds
Musson Bassoon Reeds
Girard Reeds
Alan Greenlees
Richard Craig Woodwind
Lorée
Püchner
Oboe Central
K. Ge Reeds
ABRSM
ABI Music
Marigaux
IRMT
contributors in
this issue
Peter Webb
Celia Craig
Peter Veale
Diana Doherty
Alexandre Oguey
Graham Abbott
Justin Screen
Anne Henderson
Caryl Lambourn
Joanna Musson
FRONT COVER
Vivian and Monty Wain,
2014, Salamanca Markets
Image courtesy of Josie Hawkes
30Classifieds
3
march 2015 / Volume 18 / Issue No. 1
L-R: josie hawkes, charles klein and caryl lambourn.
f rom th e
e ditorial t e a M
Welcome to the New Year and
we hope that you are already
diving into the musical
maelstrom of double reed
activities planned across
Australia and New Zealand.
Perhaps some of you are
already planning to travel
further afield to the IDRS
Conference being held in
Japan during September.
Don’t forget to put the
national ADRS conference
being held in Brisbane in
September into your diary!
Check out the Concert Diary
and State By State to see the
calendar of events planned for
this year.
Enjoy reading feature articles
about 2015 National Music
Camp (January), Diana
Doherty and the Hush Project,
the Akaroa International
Oboe Summer School (NZ),
the Derek Moore Morgan
Bassoon Sonata and reviews
of a range of concerts and
community events, as well as
some fascinating short articles
under the heading of In A
Hundred Words Or So …
Once again we have enjoyed
the challenge of compiling the
material in this issue for your
musical edification … Bon
appétit!
Josie, Charles and Caryl
FRONT COVER:
Vivian and Monty Wain,
2014, Salamanca Markets
Brothers Vivian and
Monty Wain are well
known around Hobart as
bassoon and double bass
duo ‘The Growlers’.
Vivian, 19, is currently
studying bassoon
with Tahnee van Herk
at the Tasmanian
Conservatorium.
Monty, 16, has won a
double bass position
in the 2015 Australian
Youth Orchestra season
and both players are
active participants in
a variety of events and
ensembles – eisteddfods,
competitions, chamber
music, the Young
Symphonists program
and the Tasmanian Youth
Orchestra.
2015 R e e d i n g M at te r D e a d l i n e s
July issue due: 12th June | November issue due: 16th October
Please email all articles, events, concert diary dates and photos to: [email protected]
5
march 2015 / Volume 18 / Issue No. 1
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Telefon + 49 6152 6725
puchner @puchner.com
www.puchner.com
6
The Organisation
march 2015 / Volume 18 / Issue No. 1
individuals systematically united for some work
2 0 1 5 adrs co n f e r e n c e | brisba n e
By Joanna Musson (Queensland State Representative)
The 2015 ADRS National
Competition and Conference
will be held in Brisbane
for the very first time from
September 26th to 27th.
The Conference will be
preceded by a magnificent Gala
Concert at the Queensland
Conservatorium on the
evening of September 25th.
The Concert will feature
legendary French oboist
Maurice Bourgue and the
Munich Philharmonic’s
Principal bassoonist Lyndon
Watts, accompanied by the
Camerata of St John’s.
The Competition and
Conference will take place at
the stunning new Performing
Arts Centre at St Peters
Lutheran College, with special
guests including Georg
Klutsch, Professor of Bassoon
at the Musikhochschule
Cologne.
The Queensland branch
looks forward to welcoming
interstate visitors to this
exciting event. Full details
available soon.
Georg Klütsch – born in 1951
in Düren, Germany – studied
musicology and educational
theory at Johannes Gutenberg
Universität in Mainz and
bassoon with Prof. Helman
Jung at Nordwestdeutsche
Musikakademie in Detmold.
For many years he held a
position as Section Principal
Bassoon with the Bamberger
Symphoniker and with the
Sabine Meyer Woodwind
Ensemble.
Klütsch’s love for teaching
and genuine interest in
young musicians kept him
occupied as a professor at
the Hochschule für Musik
FRANZ LISZT Weimar and
within a short time he built
up a successful class. Since
2001, he has taught bassoon
and chamber music at the
Hochschule für Musik Köln
(Cologne) and he also gives
master classes internationally.
More than 50 of Georg’s
students have obtained
positions in orchestras around
the world including Berlin
Philharmonic, Bamberger
Symphoniker, Düsseldorfer
Sinfonikern, GürzenichOrchester Köln, Malaysian
Symphony Orchestra and
Queensland Symphony
Orchestra (Australia).
Georg first came to Australia
in 1997 for an Australian
National Academy of Music
Double Reed Program and is
very excited to be invited back
for the ADRS Conference in
Brisbane, September 2015. n
7
march 2015 / Volume 18 / Issue No. 1
f rom
th e
pr e sid e n t
Richard McIntyre OAM, Canberra
A belated Happy New Year
to all! I trust that most
were able to take some sort
of break from their usual
activities over the Festive
Season, and have now well
and truly launched into the
substance of 2015!
My personal thanks also
to Rhonda Jones for her
excellent work in the editorial
production of Reeding
Matter over many years – a
sustainedly fine job indeed,
and we all hope that you enjoy
a well-earned rest!
At the outset, I want to thank
and congratulate Reeding
Matter’s new editorial team,
Josie Hawkes, Charles Klein,
and Caryl Lambourn, on an
excellent job done with the
previous number (November
2014).
I particularly enjoyed the cover
photograph of Anne Tonkin
stoically doing her bassoon
practice, surrounded by the
treeless desolation of Ice
Cream Hill, Coober Pedy S.A.,
in what must surely have been
a ground-breaking world first!
Can anyone name any other
bassoonist who has practised
outdoors at Coober Pedy?
This was of course our
first experiment with a
substantially new, upgraded
format, and colour printing:
I must say I thought it
looked splendid! Feedback
has been extremely positive,
but of course, on the “free
lunch” principle, costs were
inevitably increased quite
significantly.
Your Committee is currently
evaluating various options
for publication -- including
“on-line” possibilities -- and
we would welcome members’
reactions and inputs.
8
It makes me think of a variety
of odd occasions during my
career when I’ve been forced to
practise outdoors -- never my
preferred acoustic, and thus
always with somewhat greater
reluctance than Anne appears
to demonstrate in the Reeding
Matter cover photograph!
As a professional performer
who’s also a family man,
over the years I’ve often
struggled to satisfactorily
integrate the demands and
pressures of preparing for
high-level performance with
the exigencies (and delights) of
family life.
I vividly recall a camping trip
to Cullendulla, (NSW South
Coast), one summer 35 plus
years ago, with my wife and
two small boys; the domestic
imperative to ‘get away’ was
considerable, but so was the
professional imperative to
do some heavy practice for
impending rehearsals and
performances (new wind
quintet repertoire, no doubt).
Hot summer days, a camping
ground that was very open and
lacking in shady vegetation, a
family quite happy to sleep late
in our enormous old “Primus”
family tent, but demanding
“the beach” almost immediately
on waking -- what to do?
Having noticed what looked
like a State Forest reserve at
one distant end of the camp
ground, I got up at dawn the
following morning and set off
with bassoon, music stand, and
a light, collapsible camp stool,
in quest of a practice studio.
And I walked; and I walked;
and I walked some more.
After perhaps a kilometre
and a half, rounding a corner,
the track petered out at the
bottom of a gentle incline, in
what could best be described
as a tiny, wooded dell -quite a pronounced little
bowl, canopied by trees, and
somehow having a slightly
snug and enclosed ambience,
almost like an illustration from
a child’s (Australian!) fairy-tale
volume.
march 2015 / Volume 18 / Issue No. 1
This was to be my earlymorning studio for the next
week, except for a couple of
rainy days.
Though nothing like a natural
amphitheatre, somehow
it gave me some sense of
resonance, protecting my
delicate psyche from the naked
horror of my unenhanced
“vacation tone”, as I learned
the squillions of notes and
awkward finger co-ordinations
the task demanded: my most
comfortable out-door practice
venue – ever!
CONCERT DIARY:
Saturday 2 May 7.30pm
Armidale Uniting Church
Rusden Street, Armidale
Friday 29th May 8pm
St Augustine’s Church
3 Jane Street, Balmain, Sydney
Sydney Consort: “Love Actually”
Sydney Consort: “Love Actually”
Music by J S Bach, Böhm, Buxtehude
and Telemann for baroque oboe
d’amore and viola d’amore.
Music by J S Bach, Böhm, Buxtehude
and Telemann for baroque oboe
d’amore and viola d’amore.
Wednesday 6th May 1.15-1.45pm
St James’ Church
King Street, Sydney
Austral Harmony: “Portrait of Love”
The mental image remains
incredibly vivid, as I muse on
possible companion prose to
my fairy-tale picture. Perhaps
it’s a brief sub-plot within the
Tom Thumb tale:
Music for baroque oboe d’amore and
chamber organ.
‘Tom is wandering, lost in
the forest, having had his
thoughtfully-laid bread crumbs
nicked by those nasty local
crows … and as he rounded
a corner of the track, there
below him, in a wooded dell,
he saw a little man, playing
the bassoon …’
Salut! Baroque: “The Quartet”
However, to the best of my
knowledge, I was neither seen
nor heard by anyone. Just as
no-one was probably aware
of Anne’s Weissenbornian
warblings in the completely
different environment of
outdoor Coober Pedy! n
Including Bach Concerto in C minor
for Violin and Oboe BWV 1060.
Wednesday 13th May 7.30pm
Verbrugghen Hall
Sydney Conservatorium
Including Bach Concerto in C minor
for Violin and Oboe BWV 1060.
Friday 15th May 7.30pm
Albert Hall
Commonwealth Avenue, Canberra
Salut! Baroque: “The Quartet”
Sunday 17th May 11am-4pm
The Little Music Room
Littlehampton, Adelaide Hills, SA
“Bach’s Oboes” masterclass and
demonstration day with opportunity to
play on historical instruments.
Baroque and modern ensemble
playing: oboe, oboe d’amore, oboe
da caccia and bassoon. Led by Jane
Downer and Lesley Lewis.
Expressions of interest by email
[email protected] or
ring 08 8391 5291 by Fri. 27th March.
Sunday 31st May 7pm
Wesley Music Centre
National Circuit
Forrest, Canberra
Sydney Consort: “Love Actually”
Music by J S Bach, Böhm, Buxtehude
and Telemann for baroque oboe
d’amore and viola d’amore.
Wednesday 17 June 1pm
Pilgrim Church
Flinders Street, Adelaide
Arbor Wind Quintet
Including Uhl, Ethridge and Washburn.
Friday 29 May 1.10pm
Elder Hall, Adelaide
Ensemble Le Monde
Siegfried Idyll, Wagner
Please email your Concert Diary
items to our editor Josie Hawkes:
[email protected]
9
The Pedagogy
march 2015 / Volume 18 / Issue No. 1
The method and practice of teaching
music camp 2015
By Celia Craig
The two weeks of AYO’s
Music Camp were intense:
packed with practice,
rehearsals, chamber music,
culminating in several
stunning concerts, two of
which were broadcast live
and all recorded … plenty of
pressure!
Double reed players will
recognise the challenges
of the difficult repertoire
that was selected: Berlioz
Symphony Fantastique,
Prokofiev 5, Sibelius 2, La
Valse, Haydn 96, Mozart
Idomeneo, Barber Summer
Music, to name just a few.
The 11 talented double reed
players who successfully
auditioned for these roles
10
were Eve Osborn, Hannah
Woolley, Harley Milano, Jenna
Schijf, Daniel Handsworth,
Samuel Lambert, Niamh Dell,
Jordy Meulenbroeks, Tiger
Chou, Madison Hallworth and
Matthew Ventura.
Between them they played
a serious number of
notes, under professional
conditions, conducted by
Music Director James Judd
and Douglas Boyd, very
distinguished former oboist
himself, Principal of Chamber
Orchestra of Europe and
soloist. If anyone was going
to understand our specific
issues, he would!
The level of achievement,
especially with chamber
music and other ensemble
concerts added, was stunning.
We were all impressed
with the professionalism
and wonderfully happy
and supportive attitudes
demonstrated in this tiring
but energising fortnight.
These are clearly all future
professional musicians.
Tutors were Jackie Hansen
and I, alongside our other
superb wind colleagues
Andrew Nicholson and
Dean Newcomb. As well as
concentrating on specific
playing issues – intonation,
pictured above: bassoon players at
music camp 2015 with their tutor
jackie hansen (centre front row).
march 2015 / Volume 18 / Issue No. 1
fingering, reeds and
projection etc. – we all spent
time working together to
mould two really cohesive
wind sections, working on
phrasing, dynamics, breathing
and articulation and being
sensitive to each other. It was
wonderful to hear players
blossom and produce beautiful
solos with special moments of
control and response.
Picking some out of
many highlights
The gorgeous bassoon/oboe/
flute moments of Prokofiev 5,
the atmospheric Symphony
Fantastique cor anglais and
offstage oboe moments, or
the luscious Sibelius Second
Symphony oboe tune, the
wonderful blend of four
bassoons in the Berlioz will all
be great memories.
We worked on projecting our
solos to the back of the hall by
maximising sound production
through good breath support
and relaxed shoulders and
neck. And working on full
wind section projection using
active rhythmic awareness,
unanimous clear articulation
and phrasing (playing loudly
is also a case of really playing
together!)… very rewarding
musically to achieve. With
huge string sections in both
orchestras and no risers for
the woodwind to sit on, all
woodwind and front row in
particular needed to work
really hard to be heard clearly
and on time. Good challenge.
Hard work! Team work! Very
proud of them all.
On a personal level, the
opportunity to play chamber
music with such wonderful
tutor colleagues was a really
rewarding participatory aspect
of the camp. This included
the Composer’s concert where
tutor groups performed works
by four of Australia’s brightest
new music talents.
So what was it like to
turn up to an extremely
challenging climate (from a
scorching dry 39 degrees to
90% humidity and pouring
rain), adjust your reeds (and
make new ones), make some
new friends, deal with your
instrument’s problems, sit
next to new colleagues, learn
new repertoire, assimilate all
the many instructions given,
adjust to new acoustics, know
continued over page
a d r s m i s s i o n state m e nt
“The australasian double reed society aims to
promote and enhance knowledge of double reed
instruments and interaction between double
reed players in the australasian region and to
maintain close links with members of similar
societies throughout the world.”
2015 committEe
president
Richard McIntyre
vice president
Anne Henderson
[email protected]
secretary
Stephen Moschner
[email protected]
treasurer
Alan Greenlees
[email protected]
wa representative
Anne Henderson
[email protected]
nsw representative
Clare Payne
[email protected]
sa representative
Celia Craig
[email protected]
qld representative
Joanna Musson
[email protected]
vic representative
Stephen Moschner
[email protected]
NT representative
Sarena Wegener
[email protected]
nz representative
Alison Jepson
[email protected]
11
march 2015 / Volume 18 / Issue No. 1
2015 music camp oboe players pictured with james judd (2nd from left)
continued from previous page
that your conductor has been
an oboist at the highest level,
be on a national live broadcast
and then ‘simply’ relax and
perform? I asked a few of our
participants.
Hannah: “Having never
participated in AYO’s National
Music Camp before, I can
safely say that the past two
weeks have presented some
of the most challenging,
exciting, exhausting, and
inspiring moments of my life
as a musician so far. Coming
from a fairly isolated doublereed community in Perth
to such a large group of
exceptional young musicians
was the best way to start the
new year. Working with the
talents of both Douglas Boyd
and James Judd has taught
me more than I ever thought
I could learn in such a short
period of time, both about
the fantastic (“fantastique”?)
repertoire we performed and
about myself as a musician.
The incredible quality of
the tutors who assisted us
all through the program is
another significant highlight,
12
especially the double reed
tutors Celia Craig and Jackie
Hansen. The past two weeks
will surely stay with me for
the rest of my life, in the
friends I have made and the
things I have been taught
by tutors, directors, and
fellow students of the highest
calibre.”
Eve: “Initially I was worried
about the low humidity
expected in Adelaide, as I
come from Sydney which
typically is quite humid
around this time. But with the
help of a ziplock and a sponge
(and a now slightly mouldy
reed case) it wasn’t too bad,
even between the scorching
heat and the 90% humidity
levels! Apart from the weather,
the camp was absolutely
fantastic, and one of the best
experiences of my musical life,
through all the friendships
made, working through
some intense repertoire and
learning to play even better in
an orchestral setting. One of
the challenges was certainly
learning to interpret and
utilise the many opinions on
solos and exposed sections,
but in the end it created
an even better result! This
experience was absolutely
heightened by the wonderful
woodwind tutors Celia,
Andrew, Dean and Jackie,
as well as the marvellous
conductors James Judd and
Douglas Boyd. I have learnt so
much on this camp and these
experiences will surely stay
with me forever.”
Madison: “This National Music
Camp has been my fourth
AYO camp and it has been
by far the most exhilarating,
challenging and fulfilling.
Both Douglas Boyd and James
Judd are brilliant conductors
with inspiring visions for
the future of classical music,
2015 music camp oboe players with douglas boyd (centre)
march 2015 / Volume 18 / Issue No. 1
which was so exciting to hear
about. The tutors were so
generous with their time and
had so much wisdom to offer. I
feel privileged to have had the
opportunity to work with such
talented musicians, tutors and
conductors and I can’t wait for
the next AYO experience.”
From Douglas: “AYO is
one of the most inspiring
organisations I have had
the pleasure to conduct. It
reminds me of why I became a
musician- passion, friendships
and love of music.
The greatest compliment I
can offer to the orchestra
and my double reed friends
in particular is that I treated
them like professionals,
perhaps with added tough
love! We all made huge
demands of them but told
them when it was wonderful
which is truly was by the
time of the concerts. It was
inspiring to see them discover
and fall in love with such
great works as Sibelius 2 and
Berlioz Fantastic Symphony.
I also thought it was totally
brilliant programming by AYO
- huge challenges and changes
of style from Haydn/Mozart to
Berlioz/Prokofiev and Sibelius.
I can’t thank enough all the
tutors who supported me
and brought all the players
on to a new level. It was a
particular pleasure to hear my
woodwind colleagues perform
chamber music too, Andy
Nicholson, Dean Newcomb,
Jackie Hansen and Celia
Craig- superb playing for the
students to look up to and see
what will be possible in the
future.” n
j o s h o ate s g o e s
to new zealand
In January this year I was
fortunate enough to go to
the Akaroa International
Oboe Summer School which
was the third of the biennial
Ruapehu International Oboe
Summer Schools.
It ran from the 4th till 9th
January and was organised
primarily by Martin Lee who
did an amazing job and the
sponsors were KGE Reeds,
Marigaux, Howarth and Blow
Winds
Akaroa is a beautiful little
town on a harbour which was
created by a massive volcanic
eruption. It is an hour out of
Christchurch and sessions
were held in a church and the
next door Orion Powerhouse
Gallery.
Gordon Hunt was yet again
the main artist with Diana
Doherty, Alexandre Oguey,
Eve Newsome and Robert Orr
also in attendance.
There were more attendants
this year than the last time I
went, with probably 15 in the
advanced class participating
regularly in masterclasses
and approximately 35
in total with others just
watching masterclasses and
participating in chamber
music. The advanced class
ranged in age quite a lot from
late high school/early Uni
to a few post Uni and semiprofessional players and even
players who have had playing
jobs for years. The majority
were from New Zealand but
there were a few more from
Australia than previously and
two from South Africa and one
from Singapore. There were
two masterclasses per day
interspersed with reed-making
sessions, and pre-organised
chamber groups.
The main focus for the week
seemed to be articulation and
the use of air in many different
ways (they link quite well,
really). Gentle articulation was
an especial focus.
It was a really great start to
the year, so intensive and
supportive. Both times that I
have attended I have learned
so much and made some
really wonderful friends and
connections. The only advice
I would have is to be ready
for how soon after Christmas
it is, and definitely do not be
discouraged by the price as it’s
a really fantastic week. n
13
march 2015 / Volume 18 / Issue No. 1
In a hundred words or s0 ...
Teaching new music
techniques to oboists
by Peter Veale
adrs cor a n glais hir e
The ADRS is proud to offer this service for
members. The ADRS committee has purchased
two new Howarth S40C Cor Anglais. Our
thanks go to Richard Craig for his assistance in
the purchase of these instruments. We hope in
the future of this program we can extend this to
other double reed family instruments, including
Oboe D’Amore and Contra Bassoon.
cor anglais hire rates = $40 per week
(Minimum two weeks hire, maximum four weeks in one hire)
Visit adrs.org.au for details and to arrange hire.
www.woodwindrepairaustralia.com.au
Expert service and care
of your instrument
One of the major issues I have experienced
with teaching new music techniques to
oboists is the psychological barrier that
most have of thinking: “That’s far too hard
for me”. My attitude is that new music
techniques can be learned by all, but just
like any conventional techniques, requires
practice over an extended period.
We all took time to learn how to learn the
conventional technique. Why is there no
patience for the other new techniques? I
suggest that a particular new technique
such as circular breathing, slap tongue,
flutter tonguing or double harmonics be
practiced perhaps 5-10 minutes a day over
a period of a few months. This is usually
enough to come to grips with a particular
technique.
Peter Veale lived in Adelaide and studied
at the Elder Conservatorium under Jiri
Tancibudek. He has been based in Europe
since the early 80s when he went to learn
from Heinz Holliger in Freiburg. He (with
Claus-Steffen Mahnkopf )is the author of
The Techniques of Oboe Playing (available
through Amazon) and is also the editor of
the series Contemporary Music for Oboe. 50
works have been composed for him to date.
He is currently a member of MusikFabrik
and Elision. n
YouTube: Peter Veale Contemporary Techniques
Includes clips on multiphonics, slap tongue, slow
glissandi etc.
Check ouT these Double Reed society websites:
IAN GORDON
For reliable service Australia wide PHONE: 0412 070 018 or 03 9555 0405
EMAIL: [email protected] ADDRESS: 42 Middleton Street,
Highett Victoria 3190 (Workshop visits by appointment only).
14
www.nzdrs.org.au
www.idrs.org
www.bdrs.org.uk
The Profession
march 2015 / Volume 18 / Issue No. 1
an occupation or calling which requires learning
hush cd project
By Diana Doherty
I first met Dr Cathy Crock in
2004 at the IDRS conference
in Melbourne.
When she introduced herself
as a doctor and fellow oboist, I
was immediately struck by her
overwhelming goodness and
open warm regard. When she
asked whether I was interested
to play on a Hush CD there
was no hesitation, but over
the next year or so it proved
difficult to pin down the right
repertoire.
As the Hush brief is quite
specific, i.e. to help create a
calm and non-threatening
atmosphere in hospital
treatment rooms, it meant that
a lot of beautiful oboe solos
were too melancholic. What we
needed was something quite
different. It wasn’t until 2009
that the right combination
of factors aligned with Paul
Grabovsky and the Goldner
string quartet, and our
recording was made featuring
brand new music written
specially for Hush.
I really loved the opportunity
to work with such incredible
musicians, and was sad when
the project finished. So great,
then, to have the chance to
play some of the repertoire
again at the Hush concert last
December as part of their big
celebration concert at Robert
Blackwood Hall.
It was a fantastic day. If there
is one thing Cathy knows
how to do, it is how to look
after people! Musicians flying
in for the occasion from all
over Australia meant a day
crammed with last-minute
rehearsals and not a lot of
backstage space. But that gave
us the perfect opportunity to
catch up with old friends over
the amazing array of food
that Hush provided for us
throughout the day, as well as
peek in at rehearsals and catch
other artists in action.
An extraordinary lineup of
people performed, in all kinds
of combinations. The vibe
backstage was infectiously
festive, and really underpinned
the essential motivation for the
Hush cause, namely to bring
good through music.
continued over page
15
march 2015 / Volume 18 / Issue No. 1
16
march 2015 / Volume 18 / Issue No. 1
Continued from previous page
Playing with Paul Grabovsky, his trio and the
Goldners again was an absolute treat, but so
was the opportunity to be part of other Hush
ensembles where an oboe was needed, such
as Wind in the Willows with Marc Isaacs and
the Magic Island orchestral works, playing
next to Ben Opie on oboe and cor. Throughout
the happy chaos of the day, Cathy, Lucy and
the Hush team floated around producing
logistic miracles with characteristic calm and
irrepressible smiles.
In a hundred words or so ...
The cor anglais solo in
Maurice Ravel’s piano
concerto in
G Major
by Alexandre Oguey
The voice of the cor anglais comes like the
humming voice of the soloist as he or she
nostalgically remembers it.
We all left tired but buoyed by such an uplifting
occasion. To contribute our skills collectively
in such a way and for such a good cause
was incredibly rewarding and I for one felt
honoured to be part of it. n
It is a simple 3/4 melody in E Major
(played in B Major by the cor anglais in
F) that the piano caresses with a gentle
accompaniment in 6/8 (left hand) and 9/16
(the right hand).
www.hush.org.au
Photos by Daniel Tokarev
The theme is beautiful; it is romantic at
heart, yet the double waltz of the piano
gives it its magic sensual flavour.
The difficulty is to dose the breathing
while producing a big yet effortless sound.
I imagine sliding in slow motion playing
it; it helps me smooth the edges in my
playing.
Diana Doherty joined the Sydney Symphony as
Principal Oboe in 1997, having held the same
position with the Symphony Orchestra of Lucerne
(1990-1997). She has appeared as a soloist
throughout the world, and career highlights have
included the premiere of Ross Edward’s Oboe
Concerto with the Sydney Symphony, followed by
invitations to perform it with the New York, Royal
Liverpool and Malaysian philharmonic orchestras.
She has also appeared in numerous international
festivals, including the Prague Spring Festival,
where she won first prize in the 1991 festival
competition for her performance of the Martinu
concerto. Her most recent concerto appearance
with the Sydney Symphony was in 2008, when she
played Mozart.
Alexandre Oguey has played principal oboe with
the Musikkollegium Winterthur, Zurich Opera
Factory, Basel Chamber Orchestra (previous
Serenata Basel), Opera Orchestra of the Bayreuth
International Youth Festival and the Jeunesses
Musicales Symphony Orchestra.
diana doherty and hush musicians
Before moving to Australia to join the Sydney
Symphony as Principal Cor Anglais, Alexandre
Oguey was Associate Principal Oboe in the Lucerne
Symphony Orchestra (1990–1997).
17
march 2015 / Volume 18 / Issue No. 1
C o n c e rt R e vi e w :
mark gaydon
by Caryl Lambourn
Mark Gaydon has been
Principal Bassoonist with
the Adelaide Symphony
Orchestra since 2003.
During that time he has
appeared as soloist with
the orchestra on numerous
occasions, performing
works by Mozart, Weber,
Zwilich, Williams, Françaix
and Strauss. He is an avid
supporter of Australian
composers and has
commissioned and premièred
works for bassoon by Gerard
Brophy, Andrew Schulz, Katy
Abbott, James Cuddeford,
Luke Altmann and Charles
Bodman Rae.
Mark Gaydon and Friends
performed an astonishing
concert of music for strings
and bassoon on Sunday 30th
November 2014 at Elder Hall.
It was a most exciting and
varied program from superb
musicians with, of course
Mark and the bassoon being
the heroes. The other players
were Natsuko Yoshimoto,
violin, Janet Anderson, violin,
Linda Garrett, viola, Rachel
Johnston, cello and Harley
Gray, bass. The works were
chosen for their youthful
vitality, lively outlook and
sunny, optimistic spark and
these elements were definitely
evident. The Quartet No 2 in
18
given its world première at
this concert. The bassoonist
represents Siegfried as he
waits to fight the dragon with
only the bassoon as protection
(how lucky that dragons don’t
actually exist!). The score calls
for several extended playing
techniques that of course,
Mark is a master of, including
circular breathing.
Next on this most attractive
and well-received program
was a work by Ralph Vaughan
Williams which was originally
composed for cello and piano.
In this version for bassoon
and string quartet the use of
folksong with its whimsical,
pastoral colour is evidence of
the composer’s interest and
inner musical voice.
F major by Devienne (quite
possibly written for himself)
is an effervescent piece
which allows for impressive
solo contributions from all
instruments while plunging
the solo bassoon to its
virtuosic depths as well as
allowing it to sing in a rather
florid way.
A Sonata by Mozart followed
in which the bassoon was
paired with its traditional
orchestral partner the cello.
Throughout , the technical
capabilities of the players
were showcased as well as the
flexibility of the instruments.
“Fragments from Within”
by Mark Gaydon himself
was inspired by the music
of Richard Wagner and was
Finally came the glittering
and quirky Divertissement by
Jean Françaix. The virtuosity
of the players was paramount
in this sequence of four brief
movements with soaring
scales and leaping staccato
passages and humorous
conversational interchanges
between the soloist and the
ensemble.
A light- hearted allegro march
brought this energetic work
and the whole wonderfully
enjoyable concert to a
conclusion.
My thanks go to Mark Gaydon
for allowing me to use his
program notes for the bulk of
this review. n
The Community
march 2015 / Volume 18 / Issue No. 1
people having common interests
f o r b e s d o ub l e r e e d e v e n t
By Justin Screen
On November 22, 2014,
a very hot Saturday
afternoon (40°c and then a
thunderstorm), the Forbes
Town and District Band
(FTDB) held a double reed
workshop as part of their
Country Area Support
Program (CASP) funded
chamber music workshop
series.
The FTDB received funding to
run five weekend workshops
with specialist teachers to
coach Forbes and surrounding
regional musicians to perform
in small chamber music
groups.
Of the few and far between
double reed players in the
Central West of NSW, we
managed to assemble four
musicians, two oboists and
two bassoonists to play
quartets for a few hours!
Justin Screen (bandmaster
FTDB, music teacher and
oboist) lead Liz Macraild
(oboe, from Cookamidgera),
Gordon (Ginger Bear or
Geebs) Richter (bassoon, from
Parkes) and William (Chunks)
Harper (bassoon, from
Orange).
We played and listened to our
glorious combined double reed
sounds, a huge rarity in these
remote areas. We fiddled with
our reeds and stopped several
times to enjoy heaps of freshly
made chocolate slice!
was particularly pleasing to
hear how well the two young
bassoonists blended tone and
matched pitch together. Well
done boys!
I’d like to thank the FTDB
committee for allowing me
to use part of their CASP
grant money to run a double
reed event. Thanks too to
ArtsOutWest for the CASP
grant. n
Justin Screen is the Bandmaster
for FTDB, as well as a woodwind
teacher. To contact Justin email:
[email protected]
It was a light hearted and
enjoyable afternoon of
chamber music making and it
19
march 2015 / Volume 18 / Issue No. 1
C o n c e rt R e vi e w :
J oshua O at e s
pla y s M o z art
with th e
U n l e Y S y mpho n y
O rch e str A
by Peter Webb OAM
Wednesday 19th November
2014 at St Augustine’s
Church, Unley SA
On this evening, I had
the singular pleasure of
conducting a performance
of the Mozart oboe concerto
with the Unley Symphony
Orchestra and an inspired
young soloist, Josh Oates.
The USO is a community
orchestra in Adelaide, and
Josh is a student at the Elder
Conservatorium of Music. This
was part of a concert which
included the Roman Carnival
overture of Berlioz and the
Brahms C minor symphony.
It was a challenge for Josh’s
stamina, all other things aside,
as he had done his Honours
recital the evening before,
come straight to our final
rehearsal for the Mozart, and
then had to front up for the
performance the following
night.
From my point of view,
working with Josh was a joy.
He had sent me a thoroughlyprepared copy of his solo
part, with all articulations,
tempi, and dynamics clearly
indicated, as well as copies
20
of his cadenzas. At rehearsal
and at the performance, he
was totally consistent with
his interpretation – a great
gift for a soloist to give to any
conductor who, over the years,
has had to chase some fairly
free-spirited soloists around
the score in a manner perhaps
resembling the herding of
kittens.
I was pleased with the
orchestra’s commitment
to dynamic balance, thus
allowing Josh the freedom
to exercise his considerable
artistry without his being
intruded on by a fairly unMozartean complement of fifty
string players, as well as the
required pairs of oboes and
horns. The orchestra always
strives to be very respectful
of their soloists; and in this
case I believe they succeeded
admirably.
I much enjoyed listening to
such a talented exponent of
this sometimes-temperamental
instrument – one I wrestled
with myself for fifty years.
(I am very happy to leave its
tribulations now to someone
else.) Josh’s superlative and
disciplined technique, his
warm and mellow tone, and
his grasp of the requirements
of playing Mozart (play all the
notes cleanly, let everything
sing, and treat every note as
an object of ineffable beauty),
as well as his constant desire
to express the music, made
this a performance enjoyed
by me, by the players in the
orchestra, certainly by the
audience (judging from the
reception they gave Josh at the
end), and, I believe, by Josh
himself. n
Peter Webb is Musical Director of the
Unley Symphony Orchestra, Adelaide
l e tt e rs to T H E E D I T O R
Dear Editors,
Grainger Wind Symphony is a
community concert band that
rehearses every Wednesday
evening from 8pm-10pm at
Blackburn High School (Vic).
There are eight concerts
per year and four rehearsals
preceding each concert. We
aim to perform music of
the highest calibre and at
the highest standard. The
highlights for this year have
been performing a world
premier and performing a
Tuba Concerto featuring Per
Forsberg.
Grainger Wind Symphony are
always looking for new players
and if you or someone you
know is interested please
contact me.
Tessa Bodenham
[email protected]
Dear Editors,
I remember well from my
Canberra Youth Orchestra
days, that Rick McIntyre
was a virtuoso setter
of crosswords for our
newsletter, and I wonder
whether our distinguished
President would like
to contribute such an
intellectual divertissement to
an edition of Reeding Matter?
Jane Downer
Please email letters to:
[email protected]
State by State
MARCH 2015 / VOLUME ? / Issue No. 2
south australia
Having had more concerts
than hands-on events in the
latter part of 2014, we recently
held our planning meeting for
the ADRSSA, with excellent
baking as usual, to plan double
reed events for our members
throughout this year.
We have tried to take
advantage of visiting artists
as well as creating our own
double reed events to maximise
what is of interest to our
range of members- younger
players, local teachers, tertiary
students, adult players and our
now rapidly growing audience
base.
DIARY DATES:
Wednesday 8 April 7pm at
The Stables, Marryatville
High School: Skyhooks and
Chicken Wings
Posture and Physiotherapy
event with Alison Bell, School
of Health Sciences, Uni SA, and
bassoonist.
Does your instrument give
you a pain in the neck (or
anywhere else for that
matter)?Ali will look at players
from a posture point of view.
Sunday May 17 at 11am,
presented by International
baroque oboist Jane Downer.
Bach’s Oboes, a workshop
focussing on Bach and the
Double Reed Ensemble,
including instrument
demonstration, ensemble
playing, masterclass.
Register by 27 March to:
[email protected]
condition of persons, things, places or situations
ADRSSA Double Reed Day
Sunday 14 June time to be
confirmed. Marryatville High
School.
Fun and frolics with double
reeders! Suitable for all ages
and ability. More details on our
Facebook page.
To celebrate the visit
of world famous oboist
Francois Leleux to Adelaide
to perform Martinu’s Oboe
Concerto with the ASO 11-12
September 2015.
Pre Concert Talk with
Francois Leleux and Celia
Craig, discussing the Adelaide
connection with Martinu’s
Oboe Concerto, one hour before
concerts, Adelaide Town Hall.
Back by popular demand, our
annual double reed showcase
concert at St John’s Halifax
Street: Music To Reed By! on
Sunday 13 September 3pm
Our intrepid editorial team,
a subgroup of our excellent
committee, in addition to
producing Reeding Matter
nationally, also work on a
little local publication known
as Local Bocal which lists
concerts and events of interest
(including the Bach’s Oboes
and ASO concerts shown
above) in addition to other
concerts featuring double
reeds in our area that might be
of interest to our membership.
The ASO again features in
October with Come and Play
Mendelssohn Sat 24 Oct at
10am, Adelaide Town Hall.
Celia Craig
western australia
DIARY DATES:
French Soiree – Free Lunch
time Concert
Thursday 5 March 2015 @
1.10pm
Callaway Music Auditorium
Ensemble Vagabond –
Ensemble in Residence
University of Western
Australia, School of Music
Emily Clements – Flute
Liz Chee – Oboe/Cor Anglais
Ashley Smith – Clarinet
Adam Mikulicz – Bassoon
Ravel – Le tombeau de
Couperin (chamber version)
Poulenc – Sextet for piano
Tickets are free, no bookings
required.
Hindemith Masterclass
Monday 25 May 2015 @
10am
Callaway Music Auditorium
Masterclass focusing on the
wind chamber music of Paul
Hindemith.
Unreserved seating, tickets
available on the door.
Standard $10; Students Free
Free Lunchtime Concert
Hindemith: Kleine
Kammermusik for wind
quintet, Op. 24 No. 2
Hindemith: Heckelphone Trio
Op. 47 (arr. A. Mikulicz)
Thursday 28 May 2015 @
1.10pm
Callaway Music Auditorium
Free, no bookings required.
continued over page
adrs SA Representative
21
march 2015 / Volume 18 / Issue No. 1
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REED
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ADELAIDE
08-8177 1447
[email protected]
www.ozwinds.com.au
march 2015 / Volume 18 / Issue No. 1
Chamber performance
Hindemith: Sonata for Cor
Anglais and piano
Sunday 31 May 2015 @ 2pm
Callaway Music Auditorium
Hindemith: Heckelphone Trio
Op. 47 (arr. A. Mikulicz)
Hindemith: Acht Stucke for
solo flute
Hindemith: Kleine
Kammermusik for wind
quintet, Op. 24 No. 2
Standard $25; Concession $20
Western Australia Events
Events will be published on the
website as they are finalised.
Currently in planning: Reed
Making activities, Chamber
Music day and Master Classes.
Have a Go! Try your hand at
working with bassoon reed
cane
Event sponsors:
Blow Woodwinds, Musson
Bassoon reeds/Fox Bassoons
Australia, Girard Oboe Reeds
ADRS members*: $25, nonmembers: $35, Family and
friends: $10 (morning tea and
light lunch included).
*please show your membership card
Please phone Joanna on
3271 5055 for further details
new south wales
[email protected]
Calling all Bassoons and
Oboes: Roll up for the ADRS
Qld 2015 Big Day Out!
double reeds,
double trouble!
Sunday March 1, 9.30am3pm, at Voices of Birralee
HQ, 57 Carwoola St, Bardon
presented by ADRS nsw
Special guest Anne Gilby –
Buffet Crampon Artist
Concert Time! Hear Brisbane’s
top professional oboes and
bassoons in performance
Rising Stars! Some of
Queensland’s up-and-coming
students
Your turn now! Unpack your
oboe/bassoon and play along
with others at a similar level
Trade displays open at 11am:
• Oboe Australia – John
Armstrong
• Oboe Central – Stephen
Moschner
• Richard Craig Woodwind –
Richard & Celia Craig
• Sax & Woodwind … and Brass
Enquiries and bookings to:
[email protected]
adrs NSW Representative
nORTHERN TERRITORY
Anniversary of the
Bombing of Darwin
February 19, 8am-11am
Darwin Cenotaph
The Esplanade
Bicentennial Park, Darwin
Anne Henderson
Featuring …
• Chamber Music
Clare Payne
adrs NT Representative
queensland
• Fagottino fun – Noriko
Shimada
Sunday May 31, 10am-4pm
Sydney Grammar School
College Street, Darlinghurst
Enter via Stanley Street
(Parking available)
ADRS Members $15; NonMembers $25 BYO lunch,
afternoon tea provided.
Bookings appreciated.
Quiz time! Test your doublereed knowledge. Lucky door
prizes!
Classes for all:
Ask away! Oboe reed Q and A
session with a panel of experts
• Bassoon reed making – Rick
McIntyre/Tanya Campbell
• Oboe reed making – Stephen
Moschner/Martin Lee
Arafura Wind Ensemble with
the Australian Army Band
Darwin
Master Series 1
Darwin Symphony Orchestra
March 14, 7.30pm-9.30pm
Darwin Convention Centre
Stokes Hill Road, Darwin
Repertoire: Sculthorpe
Small Town from the Fifth
Continent, Cathy Applegate
Piano Concertantrum (world
premiere), Albinoni Adagio for
Organ and Strings in G minor.
In the 100 year anniversary
of the ANZAC landing at
Gallipoli the DSO presents a
programme of music that both
honours and commemorates
our fallen heroes in the first
of four concerts that form
the DSO Master Series at the
Darwin Convention Centre.
continued over page
23
march 2015 / Volume 18 / Issue No. 1
of Auckland. We would love
some double-reeders from
Australia to attend as well!
This is our big annual event
which brings together double
reed players from as far south
as Dunedin and as far north as
Kerikeri, north of Auckland.
We would love some doublereeders from Australia to
attend as well!
darwin symphony orchestra (photo courtesy of Tom nicol)
continued from prevous page
Proposed ‘period instrument’
concert May 2015 (TBC)
Covering a range of music
from various musical periods,
we anticipate featuring as
many period instruments
(copies) that we can gather,
including, Baroque flute,
Baroque oboe, Renaissance
lutes, recorders, harpsichord
as well as original vintage
saxophones and guitars from
pre-1950. We may also have a
guest performer on bassoon/
baroque bassoon.
Jane Downer has expressed
interest in performing in
Darwin in the second half of
2015 with Austral Harmony,
with hopefully a masterclass
and/or demonstrations as well
as individual lessons.
In the first half of 2015, we
would like to provide Darwin
students and musicians with
a double reed making class.
The proposed venue is Charles
Darwin University Theatre,
Casuarina Campus.
Sarena Wegener
adrs NT Representative
24
NEW ZEALAND
New Zealand
Double Reed Society
Festival
April 18 and 19, 2015
This is our big annual event
which brings together double
reed players from as far
south as Dunedin and as
far north as Kerikeri, north
Our special guest artists this
year are both from Melbourne:
Zoey Pepper, bassoon, and
Ben Opie, oboe. We are really
looking forward to their
teaching and playing.
Our festival has many features;
a wide variety of classes are
offered including Alexander
Technique, reed adjustment,
masterclasses at advanced
and earlier levels, extended
techniques and much more.
We are having a sight-reading
competition this year as well,
with three levels of difficulty.
We aim to cater for a wide
range of ages and abilities:
there is something for
everyone!
march 2015 / Volume 18 / Issue No. 1
As well as classes, there is
a major recital in which our
guests from Melbourne and
players from the NZSO and
APO will present pieces.
It will be an interesting
programme with pieces from
the Baroque Period through
to contemporary. The recital is
free to attend for full-weekend
festival participants – an
amazing opportunity to hear
playing of this calibre!
Our artists (in addition to Ben
and Zoey) are: Ingrid Hagan
(finalist in Gillett-Fox bassoon
competition and principal
bassoon in APO), Robert
Orr and Peter Dykes (NZSO
oboists), Bede Hanley and
Camille Wells (APO oboists),
Selena Orwin (Christchurch
Symphony Principal Bassoon).
Alongside the classes, there
are a number of vendors who
will be available with samples
of their stock throughout
the weekend. A number of
instrument repairers will also
be on-site to give advice, do
adjustments and repairs.
And last, but certainly not
least, we have caterers selling
good value lunches!!
We are very grateful to
a number of companies
and individuals who
have generously offered
sponsorship for the weekend;
without their support this sort
of event could not go ahead.
This will be a busy, inspiring
weekend, full of activity,
socialising, playing and
celebrating double reed music.
We’d love to see you there!
See our website at www.nzdrs.
org.nz for details or email us
at [email protected]
Jacquie Hopkins
adrs NZ Representative
25
Publications
march 2015 / Volume 18 / Issue No. 1
books, periodicals, magazines and sheet music
C o n c e rt R e vi e w :
DEREK MOORE MORGAN –
S O N ATA F O R B A S S O O N A N D P I A N O
by Anne Henderson
Centenary Concert
Derek Moore Morgan is best
remembered by Australians
as a music reviewer for the
West Australian, examiner and
festival adjudicator for the
Australian Music Examinations
Board.
derek moore morgan
Born in 1915 near Newcastleon-Tyne, UK, Derek knew very
early that he was a musician.
He studied at King’s College,
Newcastle, University of
Durham, earning two B.Mus.
degrees – from Durham and
Trinity College Durham - and a
Doctorate from Trinity College.
During the War Derek served
as a radio officer in the British
Merchant Navy. At the war’s
end he took up a position
as Director of School Music
26
at Dorking County School
(later to become Dorking
Grammar School) and began
29 years of highly productive
work establishing a choir of
extremely high standard. The
interest he had previously in
composition was maintained
as he wrote numerous works
for voice producing carols,
anthems and songs for
performance by the choir.
Derek and his wife Barbara
(a novelist and short story
writer who also worked as
a music critic on the West
Australian) immigrated to
Australia in 1974, settling in
Perth. He died in 2007 after
suffering Alzheimer’s disease
for nearly 20 years. The Sonata
for Bassoon and Piano is one
of four pieces he composed for
specific performers.
barbara morgan
The flute and trumpet Sonatas
were written for two of his
children, the violin sonata
for George Ermolenko who
was the Concert Master of the
West Australian Symphony
Orchestra at the time and the
bassoon sonata for George
Zukerman, then musician-in
residence at the University of
Western Australia. (The flute
Sonata was later transcribed
by Derek for bassoon).
George Zukerman’s skills as a
bassoonist appealed to Derek
and so he wrote the sonata
with these specific skills in
mind. It was performed in
Perth by the two musicians
and again in Albany with
Michael Cole as accompanist.
George has performed it on
several occasions overseas
since.
The Sonata is in two
movements an Andante
and Vivo. The composer’s
markings are meticulous as
to articulation, dynamics and
tempo changes. Every meter
change has been notated
with an equivalence (e.g.
=♪). Cautionary accidentals
have been applied liberally
because of the frequent
occurrence of different
accidentals on the same
march 2015 / Volume 18 / Issue No. 1
Left to right: Jasmin Parkinson-Stewart (violin), Adam Pinto (piano),
Emily Clements (flute) and Anne Henderson (bassoon).
note in the same measure.
Although the markings
are very detailed there is
considerable opportunity for
rubato, affretando and selfexpression in the numerous
ad. lib passages. The many
tempo changes throughout
each movement are all marked
by the composer. There
are some beautiful lyrical
moments especially the one
at the conclusion of the first
movement.
The whole range of the
bassoon is exploited from low
Bb to Gb almost four octaves
above! The Gb is approached
by semi tones so is possible
with a bit of work. In a recent
conversation with George
Zukerman his comment on this
aspect was “I don’t remember
a High Gb…I would have
ignored it, even if it were
there, so that’s my free advice
for the day”.
Other comments by George
provide further insight to the
piece.
“What I do remember about
Derek and the piece was his
surprise that the bassoon
was any more than the
anticipated “clown”. So
when I started talking to him
about the instrument’s lyric
possibilities, particularly
in the high register, he was
intrigued … much of the piece
seems to revolve around the
deliberate contrast between
the syncopated dotted 6/8
piano rhythm and the long
lyrical lines which climb [in
both directions]...he loved the
Low “C” – said it vibrated like
a cello on an open string. The
last movement is a burlesque...
but interspersed with lyrical
moments, also in the very
warm middle low register.”
Technically the piece is quite
challenging. The high register
of the bassoon is used a lot
though there are indications
that the octave can be altered
in some passages if the
performer wishes. Some of
these indications seem to work
well though others are less
successful making the line
awkward and less satisfying
aurally. The whole Sonata
favours the interval of a fourth
making some passages less
than comfortable to play. (Now
I know why I had to practise
Oubradous Scales in Fourths!)
The piano part is well written
and mindful of the balance
problems that can occur
with bassoon. The interplay
between the piano and
bassoon makes for interesting
rhythmic contrasts and
interplay between triple and
duple rhythms.
On Sunday, April 12, Barbara
Morgan is hosting a Centenary
Concert in St. Catherine’s
College UWA, in Derek’s
memory, as the culmination
of a big family weekend. The
program will include some
recordings made in the UK
while Derek was at Dorking
Grammar School. The Violin
Sonata will be performed by
Jasmin Parkinson-Stewart,
Flute Sonata by Emily
Clements, Bassoon Sonata
by Anne Henderson and six
songs by Alison Morgan.
All performers will be
accompanied by Adam Pinto.
The music is available from
PRB Productions California or
from Barbara Morgan. Further
details from Anne Henderson,
[email protected] n
27
march 2015 / Volume 18 / Issue No. 1
N ew Releases O n NAXOS
Here are the latest double
reed offerings from the
NAXOS Music Library which
distributes music from a wide
range of labels.
We welcome all reviews and/or
submissions of new recordings
that you would like included
in future issues of Reeding
Matter.
UNIVERSITY OF SOUTH
FLORIDA WIND ENSEMBLE:
Live at Carnegie Hall and more
…
Label: Mark Records
GORTON, D.: Orfordness
/ Austerity Measures II /
Fosdyke Wash / Cello Sonata
No. 2 (Heyde, Kanga,
Mermikides, Redgate,
Kreutzer
Label: Metier
Catalogue No.: MSV28550
Catalogue No.: 51371-MCD
WILENSKI, O.: Oboe Concerto
/ 4 Inventions / Wind Quartet
Label: Mark Records
MARSHALL, P.: Chamber
Music (S. Jackson, Slowik,
Owen, Rojahn, AddingtonBarringer Duo, Lexington
Symphony Chamber Players)
Catalogue No.: 51281-MCD
Label: Ravello Records
(Pascual, Armengol, Camerata
Barcelona, Brotons)
Label: Naxos
Catalogue No.: 9.70227
BOZZA, E.: Bassoon Music
(Ruminations) (Pollard)
Catalogue No.: RR7901
BACH, J.S.: Violin Concertos,
Concerto, BWV 1060R
UNIVERSITY OF TEXAS
LONGHORN BAND: To the
Top of the Stadium
(Concerto Copenhagen,
Label: Longhorn Music
BWV 1041-1043 / Oboe
Mortensen)
Catalogue No.: LHM2015001
Oboe Recital: Smith, James
Austin – HINDEMITH, P.
/ VASKS, P. / CARTER, E. /
BACH, J.S. (Distance)
Label: CPO
Label: TwoPianists
Catalogue No.: 777904-2
Catalogue No.: TP1039183
28
march 2015 / Volume 18 / Issue No. 1
the editor’s
youtube
favourites
Diana Doherty and the oboe
www.youtube.com/
watch?v=YiA1JQfOKJo
A concise and vivacious
introduction to the oboe
with Diana talking about her
musical start, the oboe family
and the challenges of learning
and playing – this has to be
the best description of an oboe
embouchure I’ve ever heard!
PDQ Bach Octoot performed
at Ravinia by MYA students
www.youtube.com/
watch?v=Yt5MQ8QgYXs
This octet appears to be
quite young but they really
understand the musical
humour, have the ensemble
pretty much together and
they are playing without a
conductor. You have to love the
introduction …
PDQ Bach Sonata
Abassoonata – East Michigan
University
www.youtube.com/
watch?v=YnsyxQ3I8JU
This player is all class and
makes it seem quite convincing
– the facial grimaces lend
weight to the veracity of the
situation … (late accompanist!)
and her piano playing is
much better than some other
versions. What a balancing
act. Check out the left pinkie
technique 11 minutes in.
You definitely need to wear
trousers when performing
this one! A delightful sense of
humour and beautifully done!
Sarah’s Prelude and Food
with Albrecht Mayer
www.preludeandfood.com
See this wonderful show
featuring Sarah Willis in
the kitchen with Albrecht
Mayer the “Oboe Pope” alias
principal oboe of the Berlin
Philharmonic cooking up
Lamb a la Mayer.
Ligeti Six Bagatelles –
Danish Wind Quintet
www.youtube.com/
watch?v=txMWXvD8kL4
A stunning piece of music/ art
performance in a theatrical
setting. Superb playing,
interpretation, choreography
and insight into the music
through both music and
movement. Wow! n
A Miscellany of Wisdom
In a hundred words
or so ...
Double reeds
at the Core
by Graham Abbott
The centrality of double reed
instruments to the orchestra
when the orchestra as we
know it was being formed is
often forgotten. The “basic
orchestra” in the mid-18th
century – when Haydn
was writing his earliest
symphonies – was two oboes,
two horns and strings, with
a bassoon understood to be
doubling the cello line even
if it wasn’t mentioned in the
score. A flute was regarded as
a special guest, and when used
was often played by one of the
oboists.
Going even earlier, Handel’s
core orchestra was oboes and
strings, again with bassoon(s)
as part of the continuo. Flutes
(traversi) and recorders (flauti)
were again exceptions to
the capacity to make use of
a collection of writings on
various subjectS
the rule, and nearly always
played by the oboists and not
specialist players. n
Graham Abbott presents Keys
To Music on ABC Classic FM and
makes no secret that his major
musical obsession is the music of
Handel.
He has conducted Messiah more
than seventy times and given the
first Australian performances of
Athalia, Ariodante, Agrippina, La
Resurrezione and the complete socalled Carmelite Music of 1707.
29
Business & Trade
bassoons
FOR SALE
Fox Bassoon Renard ‘Artist’ 240
Serial No: 49550
$9,500 AUD
Maple wood body with natural
rubber linings in the wing and
boot joints; full German key system
complete with high D and E keys;
includes box case with cover, CVX2
and CVX3 crooks, seat strap and
two swabs. In good condition
although some silver plating has
worn through. Recent service
and guaranteed for six months by
Richard Craig Woodwind.
For details call 0431 136 839 or
visit: richardcraig.com.au/sales/
secondhand-instrument-sales/
march 2015 / Volume 18 / Issue No. 1
Instruments, Products, Accessories and Tools
FOR SALE
A Kim Walker Bassoon Bag soft
case/back pack/gig bag
$120 AUD or near offer
In good used condition
Phone Geoff on 0419 376 352 or
email [email protected]
oboes
Oboe Howarth S50C + case
$4900 AUD
Entry level professional model,
three years old, full service Hx at
Blow Repairs Brisbane, excellent
condition.
Email [email protected]
or call Andrew 0419 363 392
FOR SALE
Fox Bassoon Renard ‘Artist’ 240
Serial No: 46457
$8,500 AUD
Maple wood body with natural
rubber linings in the wing & boot
joints; it has an open, flexible
tone with a deep, rich sound; full
German key system complete with
high D and E keys; includes a BG
France gig bag, two Fox crooks
and two swabs. New in 2008 this
instrument is in good condition
although some silver plating has
worn through. Recent service
and guaranteed for six months by
Richard Craig Woodwind.
to advertise in
future editions
of This journal
please contact
For details call 0431 136 839 or
visit: richardcraig.com.au/sales/
secondhand-instrument-sales/
FOR SALE
Moosmann 100 with two bocals
and extra keys
$8,000 AUD or near offer
FOR SALE
Peter van der Poel Baroque Oboe
(A415)
$1400 AUD (negotiable)
Made 1995 and little played.
Full service by Ian Gordon, great
condition, in a hard case.
Copy of a Steenbergen, about 20
years sold but not played much
and in good condition. Price with
staples.
Phone Geoff on 0419 376 352 or
email: [email protected]
Contact Jane Downer
[email protected]
30
the treasurer
alan greenlees
on 0421 707 754
or email
[email protected]
march 2015 / Volume 18 / Issue No. 1
31
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
“Th e o b o e i s a
n a rr o w c h a n n e l
th r o u g h w h i c h o n e
m u st p u s h a f l o o d
o f e x p r e s s i o n.
It ta k e s c o ntr o l
a n d r e str a i nt.
W h e n I p l ay, I f e e l
a ll th i s e m oti o n,
e x p r e s s i o n,
c o n c e ntr ate d ‘li ke
a c o nti n u al kn i fe
stab b i n g at yo u r
h e art’ b ut n e v e r
g o i n g i nto —
n e v e r d a m a g i n g.”
– R o b e rt Bl o o m
OBOE CENTRAL
Fox Bassoons Australia
P.O Box 4492, Forest Lake Qld 4078
Phone: (07) 3271 5055
[email protected]
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