George Goslee 1916-2006 - International Double Reed Society · Michael Finkelman University of Michigan Double Reed Day, November 11, 2006. . . . . . . . . . . . . . . . . . .

George Goslee1916-2006

Vol. 29 • No. 4

IDRS OFFICERSPresidentNancy Ambrose King3019 School of MusicUniversity of MichiganAnn Arbor, MI 48109Bus: (734) 764-2522Fax: (603)843-7597E-mail: [email protected]

1st Vice PresidentMartin SchuringSchool of Music 0405Arizona State UniversityTempe, AZ 85287-0405Bus: (480) 965-3439Fax: (480) 965-2659E-mail: [email protected]

2nd Vice PresidentSandro CaldiniLoc S Piero 14Rigano S/Arno50067 Florence ITALYE-mail: [email protected]

secretaryKeith W. SwegerBall State UniversityMuncie, IN 47304Bus: (765) 285-5511Fax: (765) 285-5401E-mail: [email protected]

Past PresidentTerry EwellChair - Department of MusicTowson University8000 York RoadTowson, MD 21252Bus: (410) 683-1349Fax: (410) 830-2841E-mail: [email protected]

executiVe secretary/treasurerexhibit coordinatorNorma R. Hooks2423 Lawndale RoadFinksburg, MD 21048-1401Office: (410) 871-0658Fax: (410) 871-0659E-mail: [email protected]

at Large MeMbersPhillip A. M. Kolker3505 Taney RdBaltimore, MD 21215Bus: (410) 659-8238 E-mail: [email protected]

Barbara Herr Orland8034 Crescent DriveSt. Louis, MO 63105Bus: (314) 533-2500E-mail: [email protected]

Music industry LiaisonLarry FestaFox Product CorporationPO Box 347South Whitley, IN 46787Bus: (219) 723-4888Fax: (219) 723-5587E-mail: [email protected]

bassoon editorRonald James Klimko 657 Douglas DrivePO Box 986McCall, ID 83638-0986Home: (208) 634-4743E-mail: [email protected]

oboe editorDaniel J. Stolper7 Hermosillo LanePalm Desert CA 92260-1905Bus: (760) 837-9797E-mail: [email protected]

idrs-on-Line PubLications editorYoshiyuki (Yoshi) IshikawaUniversity of Colorado at BoulderBoulder, CO 80309-0301Bus: (303) 492-7297Fax: (303) 581-9307E-mail: [email protected]://www.idrs.org

LegaL counseLJacob Schlosser4937 West Broad StreetColumbus, OH 43228-1668Bus: (614) 878-7251Fax: (614) 878-6948

conference coordinatorMarc Fink School of MusicUniversity of Wisconsin-Madison455 North Park StreetMadison, WI 53706-1483Bus: (608) 263-1900Fax: (608) 262-8876E-mail: [email protected]

archiVistMichael J. BurnsSchool of MusicP.O. Box 26120University of NC at GreensboroGreensboro, NC 27402-6120Bus: (336) 334-5970FAX: (336) 334-5497E-mail: [email protected]

giLLet-fox coMPetition chairNancy Ambrose King3019 School of MusicUniversity of MichiganAnn Arbor, MI 48109Bus: (734) 764-2522Fax: (603)843-7597E-mail: [email protected]

giLLet-fox coMPetition oboe chairRebecca HendersonUniversity of Texas at AustinSchool of Music1 University StationAustin, TX 78712Bus: (512) 471-0837Fax: (512) 471-7836

giLLet-fox coMPetition bassoon chairDouglas E. SpaniolJordan College of Fine ArtsButler University4600 Sunset AvenueIndianapolis, IN 46208-3485Bus: (317) 940-8368Fax: (317) 940-9658E-mail: [email protected]

ASSOCIAtE MEMbERSAustralasian Double Reed Society (ADRS)british Double Reed Society(bDRS)Chinese Association of bassoon (CAb)Finnish Double Reed Society(FDRS)IDRS-DeutschlandJapan bassoon SocietyJapan Oboe Association

Mägyar Fàgottos tarsasag (MAFAt) of HungaryViennese Oboe Society(Gesellschaft der Freunde der Wiener Oboe)L’Association Francaise du Hautbois(French Oboe Society)L’Association “bassons”(French bassoon Society)FagotClub Nederland

THE DOUBLE REED 1

VOL. 29 • NO. 4

Ronald Klimko and Daniel Stolper, Editors

© 2006 International Double Reed Society www.idrs.org

ISSN 0741-7659

Designed by Edward CraigEcraig3 Graphic Design

Baltimore, MD 21212 U.S.A.Printed by The J.W. Boarman Company

Baltimore, MD 21230 U.S.A.

THE

DOUBLE REEDQuarterly Journal

of the

INTERNATIONALDOUBLE REED

SOCIETY

Table of ConTenTs�

Table of Contents Vol 29 • No.4

on The Cover: The IDRS mourns the passing of Honorary Member George Goslee, who appears on the cover discussing a musical issue with former conductor of The Cleveland Orchestra, George Szell. (Photograph by Don Hunstein, Epic Records. Courtesy of The Cleveland Orchestra Archives.)

Honorary Members . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 436th Annual Double Reed Conference, Ithaca College, Ithaca, New York, June 12-16, 2007 . . . . . . . . . . 5Fernand Gillet-Hugo Fox 2007 Oboe Competition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11IDRS WWW . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16President’s Message . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 NancyAmbroseKingReport of the Executive Secretary/Treasurer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 NormaHooksGeorge Goslee (1916-2006) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20James (Jim) Butterfield, Bassoon (1934-2006): A Tribute . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 RonaldKlimkoJohn Oboe Mack - A Tribute Concert to an Unforgettable Man . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 ElaineDouvasObituaries: Ralph Gomberg, Morris Newman, David Oakley, Andrea deLancie . . . . . . . . . . . . . . . . . . . . 32CUrrenT evenTs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34First Double Reed Day at Grand Valley State University . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 MarlenVavříkováAn Oasis in Muncie, Indiana . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 RobertHuffmanHeckelphones in Manhattan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42 MichaelFinkelmanUniversity of Michigan Double Reed Day, November 11, 2006 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 NancyAmbroseKingLetters to the Editors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47IDRS Sponsor-a-Member Program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49 MartinSchuringarTICles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50Remembering Aunt Harriett . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 DianneSpiegelBenjamim Britten and Ovid’s Metamorphoses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 GeorgeCairdThe Austrian School of Bassoon Practice and Pedagogy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77 SvetoslavAtanasovDouble-Tonguing: Stratagies and Exercises for the Brave . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83 MarcVallonOn 1 1/3 Tonguing (Not Quite Double) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 JohnFalconeAlexander Technique for Oboists, Part I . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95 AndreaFedeleA Visit to the Fox Bassoon Factory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99 RonaldKlimkoThe Leitzinger Bassoon and a New Model from Moennig/Adler: A Report . . . . . . . . . . . . . . . . . . . . . . . . . 104 RonaldKlimkoHistorical Oboes 16. Anniversary Oboes by F. Loreé, Paris . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107 RobertHowe

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An Historic Letter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113 JamesBrownA New Bassoon Concerto by Ezra Laderman: A Report . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121 FrankMorelliThe Fulbright Experience: Life as an American Oboist Abroad . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123 MeridethHiteTwo New CD’s of Brazilian Music: A Review and a Comparison . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125 ErnestoDonasBassonicus: Diplo-Diversions - or the Art of Commissioning a New Work . . . . . . . . . . . . . . . . . . . . . . . . . . 127 JeffereyCoxAsk the Doctor: What’s This Lump on My Hand/Finger/Wrist? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129 WilliamJ.Dawson,M.D.Bassoon-Related Pain and Injury: A Proposed Study . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132 PaulaBrusky,DiannaT.Kenny“The House Sitter” (Music Appreciation in the High Country) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133 MicheleMurrayOboe Poetry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136 JamesRainesA Bassoon Lite, Please... Return .of .the .Glare . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137 AlanGoodmanCircular Breathing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139 SandroCaldiniReVIeWS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140Oboe Music Reviews . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141 . LibbyVanCleve

DRaSTIc MeaSuReS: New Oboe Music by Ingram Marshall . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142 LeslieOdom

OboeandMusic .(follow-up .to .TheOboeMadeEasy .method) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150Oboe Recording Reviews . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144 . SusanLaib

Flirtations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144 . RobertJ.Krause

Felix .Mendelssohn:Romancessansparoles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145W . .A . .Mozart:OboeSonatas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145SouperGalantwiththeBachFamilyandFriends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146

Bassoon Music Reviews . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146 . RonaldKlimko

Music .from .TrevCo .Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146Music .from .International .Music .Division . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147Music .from .LRO .Publishing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148

Bassoon Recording Reviews . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149 . PeterKolkay

Frank .Morelli: .Romance&Caprice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149Guest Bassoon Recording Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150 JohnOrford

Antonio .Rosetti: .BassoonConcertos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150Stolen Oboes and Bassoons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151Contributors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155Lost Sheep . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158Advertisers Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162

HONORARY MEMBERS4

Günter Angerhöfer(1926)

Lady Evelyn Barbirolli(1911)

Lewis Hugh Cooper(1920)

Gerald Corey(1934)

Bernard Garfi eld(1924)

Alfred Genovese

Norman H. Herzberg(1916)

James Laslie(1923)

John Minsker(1912)

Ivan Pushechnikov(1918)

Mordechai Rechtman(1926)

Lowry Riggins(1930)

Roland Rigoutat(1930)

Louis Rosenblatt(1928)

Matthew Ruggiero(1932)

Ray Still(1920)

Daniel Stolper(1937)

Laila Storch(1921)

K. David van Hoesen(1926)

William Waterhouse(1931)

Maurice Allard(1923-2004)

Philip Bate(1909-1999)

Robert Bloom(1908-1994)

Gwydion Brooke(1912-2005)

Victor Bruns(1903-1996)

Donald Christlieb(1912-2001)

John de Lancie(1921-2002)

Robert De Gourdon(1912-1993)

Ferdinand Del Negro(1896-1986)

Willard S. Elliot(1926-2000)

Bert Gassman(1911-2004)

Fernand Gillet(1882-1980)

Harold Goltzer(1915-2004)

Ralph Gomberg(1921-2006)

Leon Goossens, CBE(1897-1988)

George F. Goslee(1916-2006)

E. Earnest Harrison(1918-2005)

Cecil James(1913-1999)

Benjamin Kohon(1890-1984)

Simon Kovar(1890-1970)

Dr. Paul Henry Lang(1901-1991)

Lyndesay Langwill(1897-1983)

Alfred Laubin(1906 - 1976)

John Mack(1927 - 2006)

Stephen Maxym(1915-2002)

Robert M. Mayer(1910-1994)

W. Hans Moennig(1903-1988)

Frederick Moritz(1897-1993)

Karl Öhlberger(1912-2001)

Fernand Oubradous(1903-1986)

Wayne Rapier(1930-2005)

Frank Ruggieri(1906-2003)

Sol Schoenbach(1915-1999)

Leonard Sharrow(1915-2004)

Jerry Sirucek(1922-1996)

Louis Skinner(1918-1993)

Robert Sprenkle(1914-1988)

H onorary M embers

D eceased H onorary M embers

President’s Award: Peter Klatt (Industry Liason), Jim Prodan (Archivist), Noah Knepper (Founding Member)

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About Ithaca

Ithaca is nestled in the heart of New York State's beautiful Finger Lakesregion. Located roughlyhalfway between Manhat-tan and Toronto, thisthriving, culturally diversecity of 30,000 combines small-town warmth and charm with cosmopolitan flair. Home to IthacaCollege and CornellUniversity, the Ithaca areaattracts visitors, students, and scholars from aroundthe world. Rolling hills, breathtaking gorges, and splendid lakes offercountless outdoor activi-ties. Fantastic restaurants,exciting nightlife, vibranttheater, mainstream and independent cinema, and live music abound. Ithaca ishome to many eclecticartisans, award-winningwineries, toweringwaterfalls, museums and galleries, and plentiful shopping along thedowntown Commons.

Hotel & Campus Housing

Numerous hotels in Ithaca have reserved rooms with conference rates. Please visit our website at IDRS2007.org forcomplete listings. You can also enjoy beautiful IthacaCollege campus housing, allin close walking distance to

concerts and exhibits.Single & double rooms areavailable - all includelinens, parking and access to the Fitness Center & College Swimming Pool.

Dining

Campus dining offers a wide variety of eating spotsand food options. A meal plan is available throughcampus dining services on our website. There arenumerous excellentrestaurants throughoutIthaca at convenientlocations. Enjoy a special night of dining byparticipating in our aroundthe town dine-a-thon. De-tails and sign-up availablein the lobby upon arrival.

Winery/Jazz NightJoin us for a wonderfulevening at one of Cayuga Lake’s finest wineries,Sheldrake Point Vineyard &Cafe. Wine tasting, Horsd’ Oeuvres, a stunning view of Cayuga Lake and greatdouble-reed jazz make this a not-to-miss event.

Travel

Fly directlyinto theIthacaairport on US Airwaysor North-

west for the most conven-ient travel. We are located 60 miles southwest of the Syracuse, NY airport, and 90 miles southeast fromRochester, NY. Pleasecontact Mary Ann Covertat [email protected] help with airline travel.Conference shuttle servicewill be available to and fromthe Ithaca airport.

Contact UsIDRS 2007Whalen Center for MusicIthaca CollegeIthaca, NY 14850

Hosts:

Paige Morgan607-274-1680Lee Goodhew Romm607-274-3433Fax: 607-274-1727E-mail:[email protected]

JOIN US FOR IDRSJune 12 - 16, 2007

36TH ANNUAL DOUBLE REED CONFERENCE, ITHACA COLLEGE, ITHACA, NEW YORK, JUNE 12-16, 20076

The Artistic Committee of IDRS 2007 requests that any individual or group interested inappearing at the 36th Annual 2007 Conference of the International Double Reed Society submita written proposal of participation. There are four presentation categories: Artist Recital,Lecture/Master Class, the Avocational Series, and a new series, Attracting New Audiences forClassical Music.

Artist RecitalRecital proposals may be for a full program, 45-50 minutes, a half program, 20-25 minutes, or a single piece to be performed on a compilation program. Due to the high volume of proposalsanticipated, performers are strongly encouraged to consider half programs or single-piece proposals. Accompanists will be available upon request. We are also interested in pieces written in or around ’07: 1607 - 2007. Please be concise and specific in proposals. Presenters are not paid to appear by the IDRS, nor will expenses be reimbursed. If presenters are sponsored, they may not advertise their sponsors from the stage.

Lecture/ Master ClassTo propose a lecture, please submit a title and concise description of the lecture topic. Lecturesmay be up to 50 minutes in length. To propose a master class, please submit a title and concise description of the master class topic. Please request either a 50 minute or 90 minute timeallotment.

Avocational SeriesWe are excited to continue this series. The IDRS recognizes that there are many talented double reed players who have chosen careers in fields other than music. The committee requestsproposals by such players for either a single piece to be performed on a compilation program, orfor roundtable discussions on topics relevant to the nonprofessional. If requesting a perform-ance, please submit a live CD of a recent performance, including program information and totalperformance time. If requesting a roundtable discussion idea, please submit a title, concisedescription and a requested time allotment.

Attracting New Audiences for Classical MusicThe 2007 IDRS Artistic Committee recognizes that there are double reed performers showcas-ing music in a different, creative, or unusual way. Examples would be performance with multi-media, dance, art, etc. We would like to request proposals by such players for either a single piece on a compilation program, a full recital, or a lecture/demonstration. Please includeprogram idea, title, precise description, multi-media needs and a requested time allotment.

Proposal forms may be downloaded at the IDRS 2007 Web site: www.idrs2007.orgAll completed proposals must be received by December 1, 2006. Complete proposals may be mailed, emailed as an attachment or faxed to:

Paige Morgan/Lee Goodhew Romm Phone: 607-274-1680 or 607-274-3433IDRS 2007 Email: [email protected] Center for Music Fax: 607-274-1727Ithaca CollegeIthaca, NY 14850

Call for ProposalsJune 12 - 16, 2007

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FERNAND GILLET-HUGO FOX2007 OBOE COMPETITIONJune 12-16, 2007 - Ithaca, New York, USAwww.gilletfox.orgThe International Double Reed Society is pleased to announce the 27th annual performance competition for oboists and bassoonists. 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 1922-1949.

First prize for the 2007 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. Oboists who have not reached their 31st birthday before the date of the final audition (June 15, 2007) 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 Telephone: (410) 871-0658International Double Reed Society Fax: (410) 871-06592423 Lawndale Rd. E-mail: [email protected], MD 21048-1401 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 to IDRS 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:

M. Marais Les Folies d'Espagne for solo flute. Variations I, II, III, VI, VIII, XII, XIV, XVI, XIX, XXI, XXII, I (Bärenreiter)

J. Feld Sonate. Mvts. 2 & 3. (Leduc)

P. Patterson Duologue. Recitative (end of Mvt. 1) to end. (Universal Edition)

I. Lachner Concertino for Oboe and Orchestra. Mvts. 1 & 2. (befoco music)

To be considered, all application materials must be received on or before March 1, 2007. Entries should be mailed to:

Rebecca Henderson, Chair, IDRS Gillet-Fox Competition for OboeThe University of Texas at Austin School of Music Telephone: (512) 471-08371 University Station Fax: (512) 471-7836Austin, TX 78712-1208 USA E-mail: [email protected]

B. Final Stage - Up to five finalists will be selected by the competition committee, with the results announced by April 16, 2007. 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 Ithaca, New York, USA, June 12-16, 2007. Repertoire for the final round will be the same as that for the preliminary round tape, with the judges select-ing 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 the entire Lachner Concertino on a concert during the 2007 IDRS Conference.

THE 2007 FERNAND GILLET-HUGO FOX OBOE COMPETITION APPLICATION12

CONCOURS DE HAUTBOISFERNAND GILLET-HUGO FOX 2007du 12 au 16 juin 2007 - Ithaca, New York, USAwww.gilletfox.orgL'International Double Reed Society (IDRS) a le plaisir de vous annoncer le 27e Concours des hautboïstes et bassonistes. Le concours est dédié à la mémoire de Fernand Gillet, hautboiste et Membre d'honneur de l'Association, et à la mémoire de Hugo Fox, bassoniste, Principal de la Chicago Symphony pendant le années de 1922 à 1949.

Pour le concours de 2007 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 hautboïste qui n'a pas atteint l'âge de trente-et-un ans le jour de l'épreuve finale (15 juin 2007) 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:


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 payable à IDRS issus d'une banque améri-caine, ou par carte de crédit; et un enregistrement sur cassette du programme imposé, dans l'ordre indiqué ci-dessous:

M. Marais Les Folies d'Espagne pour flûte seule. Variations I, II, III, VI, VIII, XII, XIV, XVI, XIX, XXI, XXII, I (Bärenreiter)


P. Patterson Duologue. Recitative (fin du premier mouvement) à la finition. (Universal Edition)

I. Lachner Concertino pour hautbois et orchestre. Mvts. 1 & 2. (befoco music)

Ce dossier, paiement, et enregistrement doivent parvenir à l'adresse suivante avant le 1 mars 2007:


B. Epreuve Finale - Le Jury annoncera le 16 avril 2007 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 Ithaca, New York, USA au 12 au 16 juin 2007. Le programme imposé pour le concours final est identique au programme présenté à l'épreuve éliminatoire. Le Jury choisira des extraits de ces œuvres. Un accompagnateur est à la disposition des candidats; toutefois s'ils le souhaitent, les candidats peuvent amener à leurs frais leur accompagnateur 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 le Concertino de Lachner entier en récital pendant le Congrès de l'IDRS de 2007.

THE DOUBLE REED 13

FERNAND GILLET-HUGO FOXWETTBEWERB FÜR OBOE 200712-16. Juni 2007 - Ithaca, New York, USAwww.gilletfox.orgDie International Double Reed Society freut sich, den 27. Wettbewerb für oboisten und fagottisten. Der Wettbewerb wird in Erin-nerung 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: Oboisten, die ihr 31. Lebensjahr am Tag der Finalrunde (15. Juni 2007) 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:


2. WETTBEWERBSABLAUF: Es gibt zwei Wettbewerbsrunden.

A. Vorrunde: Alle Teilnehmer müssen ein ausgefülltes Anmeldeformular, eine Teilnahmegebühr von US $75 zahlbar zu IDRS 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:

M. Marais Les Folies d'Espagne für Flõte allein. Veränderungen I, II, III, VI, VIII, XII, XIV, XVI, XIX, XXI, XXII, I (Bärenreiter)


P. Patterson Duologue. Recitative (Ende der Mvt. 1) zum ende. (Universal Edition)

I. Lachner Concertino für Oboe und Orchestra. Mvts. 1 & 2. (befoco music)

Um in Betracht gezogen zu werden, müssen alle Unterlagen bis spätestens den 1. März 2007 eingegangen sein. Die Unterlagen sind an folgende Adresse zu senden:


B. Endrunde: Die Jury wird bis zum 15. April 2007 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 En-dausscheidung wird vor renommierten Juroren in einem öffentlichen Konzert des International Double Reed Society Kongress in Ithaca, New York, USA, 12-16. Juni 2007 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 Übernach-tungen für jeden der Finalisten während des Kongresses tragen. Der Gewinner des Wettbewerbs erklärt sich mit der Aufführung den ganzen Lachner Konzertstück eines Konzertes während des 2007 IDRS Kongresses einverstanden.

THE 2007 FERNAND GILLET-HUGO FOX OBOE COMPETITION APPLICATION14

CONCURSO DE OBOEFERNAND GILLET-HUGO FOX 2007del 12 al 16 del junio 2007 - Ithaca, New York, Estados Unidoswww.gilletfox.orgLa International Double Reed Society (IDRS) se complace en anunciar el vigésimo sexto (27th) concurso anual para oboístas yfagotistas. 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. Oboístas que no han cumplido treinta y un años de edad antes de la fecha de la audición final (15 de junio de 2007) 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:


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 pagadero a IDRS emitido por un banco de los Estados Unidos, o tarjeta de crédito; y una grabación en cas-sette, 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:

M. Marais Les Folies d'Espagne por flauta solo. Variaciones I, II, III, VI, VIII, XII, XIV, XVI, XIX, XXI, XXII, I (Bärenreiter)


P. Patterson Duologue. Recitativo (el fino del Mvt. 1) al fine. (Universal Edition)

I. Lachner Concertino por Oboe y Orchestra. Mvts. 1 & 2. (befoco music)

Mantenga presente que todos los materiales y postulaciones deben ser recibidos por el Presidente del Concurso antes del 1 de marzo del 2007. Por favor dirigir las postulaciones a:


B. Etapa Final - Un máximo de cinco finalistas serán seleccionados por el comité del concurso. Los resultados serán anun-ciados antes del 16 de abril del 2007. 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 Ithaca, New York, Estados Unidos del 12 al 16 del junio 2007. 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 Con-ferencia, IDRS proveerá alojamiento y comida a todos los finalistas. El ganador del concurso se compromete a dar un concierto el Concertino entero de Lachner como parte de la reunión del IDRS en el 2007.

The Double ReeD 15

FERNAND GILLEt-HUGO FOX COMPEtItION APPLICAtION FORMJUNE 12-16, 2007 - IthAcA, NEw York, USAwww.gilletfox.org

All application materials must be received on or before March 1, 2007 or the application will not be considered.Allow ample time for your materials to arrive. Include recording and $75 US application fee 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: / V code:

Name on card: Signature:

SEND tO:Rebecca Henderson, Chair, IDRS Gillet-Fox Competition for Oboethe University of texas at Austin School of Music1 University StationAustin, tX 78712-1208 USA

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:

oboe teachers/Professeurs de hautbois/oboelehrer/Maestros de oboe:

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:

MoNth YEAr 3 DIGItS

IDRS WWW16

IDRS WWWhttp://www.idrs.org/Publications/DR/DR1.2/

DR1.2.index.html

THE DOUBLE REED 17

“THE DOUBLE REED DAY PHENOMENON”

Having just completed our Double Reed Day at the University of Michigan, as well as talking with my colleagues at other universities who are either plan-ning their Double Reed Day or remembering their recent event, it seems that these events are increas-ing in popularity and frequency across the U.S. Th is exciting trend represents the increasing number of secondary students choosing to play double reed in-struments, as well as the superior networking of our community.

My curiosity about the recent popularity of hosting a Double Reed Day caused me to ask a few colleagues about their motivations and experiences hosting such an event. I know personally that I want-ed to get to know the oboists in the state and intro-duce myself when I came to the University of Michi-gan. Growing up as a product of the public schools in the state of Michigan, I was one of the few oboists in my high school, as are many high school oboists today. In fact, aft er my friend and colleague Ann Willison Lemke (an active IDRS member and busy freelance oboist) graduated, I was the only oboist in my high school orchestra. Many of the students who come to Double Reed Days are in a situation simi-lar to this at their high school…so you can imagine the shock on their face when they show up to Double Reed Day and see so many other double reed players in attendance! I hear many times, “I never knew so many people played the oboe and bassoon”! Seeing all the eager young faces of oboists and bassoonists encountering others with the same interests and abil-ities, and learning from each other is reward itself for hosting a Double Reed Day, but there are also many others who attend and make the day a special one, from parents to music educators to private instruc-tors and adult amateurs.

Double Reed Days provide a valuable resource to high school and middle school music educators. A young oboist or bassoonist is oft en not fortunate enough to have a private teacher within driving dis-tance, and oft en the music educators in their second-ary school are not knowledgeable enough in the dou-

ble reeds to be of much help. A six-week course in oboe and bassoon in a college music education curriculum can only scratch the surface of what the average band director will be dealing with as the leader of a high school music program! Th e outreach to the second-ary school music educators that a Double Reed Day provides, along with valuable information on how to assist their oboists and bassoonists is a major benefi t to the community. It is important and rewarding for those of us in the professional musical community to interact and assist those educators who are helping to mold the next generation of musicians, whether in the public schools or in the private arena.

Th e type of “mini-IDRS conference” format that most Double Reed Days follow oft en include exhib-its by double reed suppliers and instrument dealers as well. Th is may be the fi rst time that young players have seen reed-making merchandise and a variety of instrument brands, and can be the only time that these players purchase equipment, try instruments, or even see their instrument repaired ‘in person’ rather than through mail-order. Unfortunately, many double-reeders don’t live close enough to a supplier to purchase items at a shop, so a Double Reed Day is a real benefi t for both consumer and supplier.

Aft er taking into account all the reasons listed above, I believe that one of the greatest satisfactions of hosting a Double Reed Day is the benefi t to the University students who help, teach, interact, and perform for the visitors to their campus. Several col-leagues have mentioned to me how wonderful it is to see their students ‘step up to the plate’ and put their knowledge to use, either with reed-making help, a class for the younger students, performing in cham-ber ensembles, or general guidance for the Double Reed Day attendants. In short, it benefi ts them as much as the younger students who are visiting their campus.

How can IDRS help you organize your Double Reed Day? Th e many IDRS members who have planned and hosted such events will certainly be happy to off er guidance. Norma Hooks is always ea-ger to provide brochures about IDRS to distribute at your function. In addition, Norma can sell address

Message from the President

Nancy Ambrose KingAnn Arbor, Michigan

MESSAGE FROM THE PRESIDENT18

labels of IDRS members, targeting a specifi c state or specifying oboe or bassoon, for your advertising purposes.

Of course, all of the Double Reed Days sprouting up across the U.S. can never replace the energy, size and performance level of our annual IDRS Confer-ence, but it is a wonderful sign of the health and vital-ity of our instrumental community to see the ever-in-creasing popularity of these events. Congratulations to all the hosts, participants, guest clinicians, and exhibitors for their help in promoting double reeds through these functions. If you’ve never attended a Double Reed Day, just wait…there might be one coming soon to a campus near you! ◆

We have recently received word from Joseph Robinson about an exciting double reed event for March, 2007. He writes: “Now that I am approaching my second semester as Artist-in-Residence at the Duke Univer-sity Music Department, I hope to build upon last April’s outreach initiative - “A Day in the Oboe Studio of Joseph Robinson” - which attracted nearly 100 participants, and expand the event to include bassoonists as well as oboists and English horn players. Entitled “Double Reed Days at Duke” and scheduled for March 24-25, 2007, this program should attract pro-fessional players and teachers as well as students from all across America.

“Probable or confi rmed leaders include: 1) Martin Kuuskmann, principal bassoon of the Absolut Ensemble in New York and charismatic young champion of new techniques

and music for bassoon; 2) Keisuke Wakao, principal oboe of the Boston Pops Orchestra and longtime associ-ate principal of the Boston Symphony; 3) Keisuke Ikuma, young English hornist in New York who has been recent runner-up for principal positions with the Chicago Symphony and Metropolitan Opera Orchestra; and 4) Robin Driscoll, principal oboe of the Pittsburgh Ballet Orchestra, who is one of the country’s leading experts on the gouging machines used in reed-making. (All of these clinicians are former students of mine.) In ad-dition, Duke’s curator of musical instruments, Brenda Neece, will begin the proceedings with a survey of the history of double reed instruments.

“Th e events at Duke on March 24 and 25 will begin at 10:00 a.m. Saturday morning and conclude with a gala recital Sunday night. Th e recital will be free and open to the public. Participants who enroll for all the master classes will have to pay $100 for tuition.”

Potential enrollees should contact me at:Duke UniversityDepartment of MusicBox 90665Durham, NC 27708-0665E-mail: [email protected]

OBOIST MICHAEL HENOCH, has performed the Mozart Quartet for oboe and strings, KV 370, on a 2006 recording (Summit DCD 461) that has been nominated for a Grammy Award in the Classical Chamber Music Category. Michael is the assistant principal oboe of the Chicago Symphony Orchestra (now in his 34th year!) and on the faculty of Northwestern University.

Oboists in the News (and bassoonists)Compiled by Dan Stolper

Phot

o by

Mik

e D

iVito

THE DOUBLE REED 19

Report of the Executive Secretary/Treasurer

Norma R. HooksFinksburg, Maryland

DUES NOTICES - ADDRESS UPDATES

For the past several weeks, I have been receiving dues payment from many of you. (My mailbox is stuff ed to the bursting point!) I’ve also been receiving many returned dues notices from the post offi ce for mem-bers whose addresses have changed over the year, and the notices can’t be forwarded. If you haven’t gotten a dues notice, please contact me so I can send one to you. You don’t want to miss a single issue of the Double Reed or miss your access to our ever improv-ing website.

RETURNED COPIES OF THE DOUBLE REED

I have a rather large pile of returned copies of Th e Double Reed. If you haven’t received the fi rst three issues of this year, please contact me and see if your copy was sent back to me. I also have some copies of issues from previous years. If you didn’t receive one of them, please check with me.

DON’T LET THIS BE YOUR LAST ISSUE

Remember: Th e International Double Reed Society works on a calendar year membership. If you join in the middle of the year, your next dues payment should be paid in January of the next year. If you haven’t sent your dues by the time address labels are printed for the fi rst issue of the year, you won’t receive that issue. One of the most diffi cult things for me do is to consult my crystal ball and see how many cop-ies of the fi rst issue we should print. We never seem to have enough to catch all those people who are late with their dues payment, but we don’t want to spend money for copies that will just sit around here. So. . . Don’t be late! Pay your dues now.

GEORGE GOSLEE, LONG TIME CLEVELAND ORCHESTRA PRINCIPAL BASSOONIST AND HONORARY MEMBER, DIES OCTOBER 19

It’s with a heavy heart that I bid farewell to another of our cherished Honorary Members. I’ve felt so close to our honoraries since I’ve taken this job. I have the op-portunity to correspond with them through the year and feel close to them even though some I’ve never met.

George Goslee was principal bassoon in Cleve-land for many years and a strong supporter of the IDRS. As we continue to lose some of the “old guard” double reed players, we can only refl ect on the won-derful heritage we have. George, and so many others, can be heard on some wonderful recordings, but as time passes fewer of them are around for us to con-tact. I hope all our members will continue to reach out to the wonderful men and women who were our teachers, our mentors, and heroes.

ZIP + 4

More and more our postal service is trying to get us to use zip+4 when we mail Th e Double Reed. When you renew your membership, it would be very helpful if you would put the “+4” on your address so I can update your record.

Wishing A ll of You a H appy, H ealthy, P eaceful N ew Year!!

GEORGE GOSLEE (1916-2006)20

George Goslee as we remeber him.

21

The IDRS is saddened to learn of the death of Honorary Member George Goslee. As the former principal bas-

soon of The Cleveland Orchestra and music teacher to many students at the Cleveland In-stitute of Music, Mr. Goslee passed away on Thursday, October 19, 2006, at the age of 89.

In the Sunday, October 22nd edition of the Cleveland Plain Dealer, reporter Donald Rosenberg filed the following obituary:

GeorGe Goslee 1916-2006

“Chagrin Falls - George Goslee, who played principal bassoon in The Cleveland Orchestra under four music directors, died Thursday at age 89. He had suffered a stroke Oct. 14.

A musician of enormous sophistication and tonal beauty, Goslee was appointed prin-cipal bassoon of the orchestra in 1943 by Erich Lein-sdorf, who was just about to arrive as the ensemble’s boss. After two seasons, Goslee left to become princi-pal bassoon of the Philadelphia Orchestra.

He was lured back to Cleveland in 1946 by George Szell, who had admired Goslee’s playing while mak-ing his debut as a guest conductor in 1944. Szell stip-ulated in his first contract as musical director that Goslee and several other players be invited to return to The Cleveland Orchestra.

Goslee served as principal bassoon throughout the Szell era. His elegant artistry can be heard on doz-ens of revered Szell recordings, including all of the symphonies of Beethoven, Brahms and Schumann. Goslee went on to play under music directors Lorin Maazel and Christoph von Dohnanyi.

‘He was really a consummate musician in a very refined way, as well as having this gorgeous sound,’ said Ronald Phillips, a Goslee student who played in the orchestra’s bassoon section for four decades. ‘He got on well with Szell, which was wonderful to see. Szell could be so darned cantankerous. George was really a giant in a very quiet way.’

Goslee was born on December 31, 1916, in Celina, Ohio, and moved to Cleveland as a child. He began

George Goslee(1916 – 2006)

playing the bassoon at the age of 12 and studied with Charles Kayser, a member of The Cleveland Orches-tra. While attending the Eastman School of Music, Goslee played in the Rochester Philharmonic and the Rochester Civic Orchestra.

Upon graduation from Eastman in 1939, he went to New York to play with the National Orchestral Association. He performed with the NBC Summer Symphony and served as principal bassoon of the Indianapolis Symphony Orchestra for two seasons before moving to Cleveland in 1943.

Phillip Austin, The Cleveland Orchestra’s sec-ond bassoon, sat next to him from 1981 until Goslee retired in 1988. ‘What a legend,’ Austin said. ‘George was always prepared, always early, always knew his part and never really complained.’

Goslee also was esteemed as a teacher. In 1962, he was appointed chairman of bassoon studies at the Cleveland Institute of Music, and he served on the faculty of the Blossom Festival School from its incep-tion in 1968. He appeared many times as soloist with The Cleveland Orchestra, the last time in July 1988, a month before his retirement.

When not playing or teaching, Goslee enjoyed boating, fishing and reading. He was an avid pho-

The Double reeD

George Goslee and his bassoon.

Phot

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. Cou

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GEORGE GOSLEE (1916-2006)22

tographer whose work was exhibited in the Cleve-land Museum of Art’s May Show, at which he won an honorable mention in 1958, and in special exhibits in Severance Hall.

Goslee even pursued this hobby during rehearsals under Szell, with whom he had a warm relationship. ‘He somehow got away with taking photographs from the center of the orchestra,’ said his wife, Nancy. But his greatest satisfaction, she said, was musical: ‘Noth-ing made George happier than Mozart with Szell.’

Survivors include his wife, Nancy Wollwender

Three great bassoonists greatly missed (L to R): Leonard Sharrow (1915-2004); Sol Schoenbach (1915-1999); and George Goslee (1916-2006).

A famous bassoon “Septet” (L to R): George Goslee, Norman Herzberg, Lou Skinner, Sol Schoen-bach, William Waterhouse, Milan Turkovic, Leonard Sharrow.

Goslee; son, George Jr. of San Francisco; daughters, Kimberly Kaye of Dallas, Noelle Goslee Smith of Grand Junction, Colorado, and Sarah Goslee Reed of Mount Vernon, Ohio; and seven grandchildren.”

Th e IDRS joins the family of George Goslee, Th e Cleveland Orchestra, former students and friends in mourning the loss of this great artist. We hope to have a n article of remembrances of George Goslee in the next issue of Th e Double Reed. Ed. ◆

The Double ReeD 23

FRom RuTh WinTeR (Jim’s DaughTeR)

My father, James Butterfield, was called Jim by his friends and Jimmy by his Mom, Dad and brothers and sisters. He was born

in Middletown, Ohio, on August 12, 1934 to Mary and Charles Butterfield. He was the oldest of seven children. All of his siblings looked up to him.

He was a quiet, studious young man, who seemed to be able to play any musical instrument he put his hands on. He played clarinet and saxophone in his high school band. I don’t know what prompted him

James (Jim) Butterfield, Bassoon (1934–2006): A Tribute

Compiled by Ronald KlimkoMcCall, Idaho

to take up the bassoon, but I think it was when his father, a machinist by trade, who played oboe, took him to a symphony concert. He studied bassoon with (IDRS Honorary) Frederick Moritz in Los Angeles. Dad often told us that he would practice up to 6-8 hours a day on the bassoon. No wonder he turned out to be one of the finest bassoon players in the country, if not the world. He had an ability to make the bas-soon sound so rich and warm with incredible tech-nique which seemed effortless.

He joined the army right after graduating from high school and played in the Army Field Band.In addition, he inherited his father’s machinist’s skills. Jim was a precision grinder, and is known for his bas-soon reed making tools. Here is an example of how Mark Popkin, a bassoonist familiar with reed tools, described the Jim Butterfield reed profiler:

For the past year and a half I have been profiling my own (and often my student’s) reeds on a fantastic pro-filer made by James Butterfield of San Jose, Califor-nia. With this machine I can make reeds that are 99% ready to play when I clip the tips open. I’ve even had a few that required no adjustment beyond cutting the tip open. I share total admiration of this instrument with every other owner of a Butterfield profiler that I have talked to. Jim is a fine bassoonist himself. Now a machinist, he prefers to model the cam of the profiler after the reed style of his teacher Frederick Moritz. (The machine works on a pattern similar to a Pfeiffer, but with many, many micro-adjustment possibilities.) He will, however, customize the cam to the buyer’s reed style. (The Moritz cam works great for me.)” (The Double Reed, Vol. 16, No. 1, p. 32)

Dad met Mom (Joan Butterfield, a flutist who had studied with William Kincaid and Marcel Moyse and had been 2nd flute in the Dallas Symphony Orchestra) at San Jose State around 1959. They were two stars in the music department. They married in 1960 in Los Angeles. There are numerous photos of them play-ing together. Throughout our lives, we had music in our home. Mom and Dad played together in various chamber groups, woodwind quintets and orchestras.

Jim with the late Frederick moritz, his bassoon teacher in high school and college at UCLA.

JAMES (JIM) BUTTERFIELD, BASSOON (1934–2006): A TRIBUTE24

Dad also played the piano and oft en accompanied my Mom. Th ey really enjoyed making music together.

He was known also for his selfl ess generosity in the community and even with people he didn’t know. I remember oft en, when Dad would see a man who seemed down and out and in need of love and a good hot meal, he would invite him home to dinner with us. Of course, we kids loved it when we had company. We would get to share our music and meet a new and interesting person. Th ose are some of the most beau-tiful memories.

Dad was proud of his family, especially us kids. He would talk on and on about all of our accomplish-ments. He would say: “Ruth, my oldest is a concert pianist. She went to Th e Curtis Institute of Music and met Leonard Bernstein. Yes, Ruth played in the studios of Sol Schoenbach and Bernard Garfi eld. Sarah, my youngest, is a concert violinist and plays in the Monterey Symphony. Paul, my son, is a brilliant Power Engineer.”

Sometimes, he would brag to the point of our em-barrassment, but we never stopped him. We know he loved us with everything he had. Aft er I graduated from Curtis, in 1987, my Dad donated fi ve of his pro-fi lers to Bernard Garfi eld for use at Curtis. I know for a fact that those young bassoonists were very grateful to be able to use them. Mr. Garfi eld oft en thanked my Dad for this gift .

He loved my Mom dearly also. Th ey had such a great rapport. My Mom would say something and Dad would come back with a comment that would

make Mom burst out with laughter. We never knew what the joke was, and perhaps it was only funny to them, but the laughter was music to our ears. Since Mom went to be with the LORD in February of this year (2006), Dad had been longing to join her. He had been getting weaker and less focused on his health. Dad went to join Mom with the LORD on October 15th, 2006. Dad died of multiple organ failures. He had can-cer surgery recently, and his body was too weak to recover from it. His liver failed, he had a stroke and several heart attacks. A pace maker was implanted. He then was diag-

nosed with pneumonia and a blood infection and the doctors discovered an unidentifi ed mass on his liver. He wrote in his Living Trust that he did not want to be placed on life support. Paul, Sarah and I honored our Dad’s request, and he died quietly in his own home on Sunday, October 15th about 8:45am (PST).

He is survived by his three children, Ruth (oldest), Paul, and Sarah (youngest), his seven brothers and sisters, two granddaughters, Amy and Andrea and a great granddaughter, Delainy. Th e funeral was held on Monday, October 23rd at the Los Gatos Memorial Park, Los Gatos, California, where he was placed next to our Mom, his wife of 45 years, Joan Butterfi eld. We all will miss him but we cannot help but be overjoyed with how God’s servant, Jim Butterfi eld, has richly enhanced all of our lives. We love you Daddy.

We are planning on having a memorial concert in the near future. (Editor’s note: Inquiries regard-ing this memorial concert can be made to Ruth to her email address: [email protected])

FROM JILL MARDERNESS (Arizona Opera Orchestra)

Th anks to the superb skill, impeccable craft manship and sage advice of Jim Butterfi eld, my bassoonist life has been blessed and extended indefi nitely with the Butterfi eld/Marderness profi ler which he made for me. What a pleasure to simply cut the tip of the reed blank and have a crowing reed which feels familiar

Jim Butterfi eld (far right) and friends.

THE DOUBLE REED 25

every time! Jim also made a Moritz profi ler, hav-ing thought so very highly of his teacher and wish-ing to preserve the legacy of Frederick Moritz’s reed style and its beautiful sound. As for Jim, I have never known a more humble and remarkable human being. He knew so much about so many musicians from so many decades and how they connected to each oth-er......and NEVER a negative word about any of them, only highest praise.

His great joy in his later years, as he was able, was the making of those profi lers and painstakingly perfecting each one to the specifi cations of each bas-soonist. And his greatest reward in this work was that he enjoyed helping other bassoonists sound bet-ter and save time. Th ose of you out there who have one know you have a treasure to take care of, and an incredibly detailed manual to insure that you can. Jim Butterfi eld was a master machinist, designer and bassoonist who knew how to apply the technology to a very special profi ler design which I hope will fi nd its way to someone who will appreciate and continue Jim’s work. With the master at rest, we may have to fi nd each other to share our successes (and problems, if and when they arise). Some advice from Jim about fi nishing your reeds - “Just work on the tip a little and don’t do too much to the rest.”

Th ank you, Jim. Th e bassoon world will miss you very much.

PS: Jim told me his great-great grandfather was the founder of Butterfi eld Stage Coach, and the fam-ily tree connects back to John Quincy Adams!

FROM FRANCEA W. LINDSTROM (U. of Michigan MM in Wind Instruments, 1967)

James Butterfi eld’s passing presents a huge loss to the music community. Th ose who knew him know there couldn’t have been a more benevolent, altruistic and caring gentleman. Ripples of admiration and appre-ciation reach far and wide for his expert craft sman-ship and generosity in distributing his Butterfi eld Profi ler to as many bassoonists worldwide as he was able....an outstanding musician, bassoonist and ma-chinist who gave preference to other people’s needs ahead of his own.

FROM JAMES JETER(NYC Bassoonist)

Very sorry to hear about Jim’s death - I know he had

been quite ill for some time. I purchased his profi ler a few years ago, and it is a model of “perfection” - Den-nis Godburn had recommended it to me. Th e me-ticulousness and detail that went into this very fi ne machine, along with Jim’s wonderful, clear manual are pure gems. Shows he was an artist in this area!

FROM RON KLIMKO(IDRS Bassoon Editor)

In the 1980’s (the exact year escapes my memories), meeting Jim Butterfi eld changed my life. I was in the process of exchanging joint concerts with the late bassoonist and friend Vernon Reed, who was the bassoon professor and conductor at San Jose State University. Vernon and I had met as fellow GI’s at the Army Element of the Naval School of Music in 1960, and with these concerts at the University of Idaho and San Jose State we were able to renew our friend-ship. All around Vernon’s house were reeds - formed but not fi nished - sitting on drying peg boards still wrapped in string from the forming process. (Ver-non was into fi nding and using California-grown cane from the Bay Area - a passion he shared with me.) Th e day before the concert, Vernon grabbed one of these reeds, fi nished it by beveling and then putting on the bottom wire, cut it open and played the concert on it! Th is included a performance of the Vanhal Concerto for Two Bassoons with the Los Gatos Chamber Orchestra, which Vernon also conducted. At the Los Gatos rehearsal, Vernon introduced me to his principal bassoon and the person responsible for his complete ease with the reedmaking process, Jim Butterfi eld. Intrigued, I later visited Jim at his home and was given a demonstration of his fantastic pro-fi ler. I, of course, ordered one, and since then my life changed. My reed problems ended right there!

My Butterfi eld profi ler has performed so well over the years that my quest for reed perfection changed from the hunt for the perfect reed to the hunt for the perfect piece of cane. It is still my quest today! (In-cidentally, I just got some wonderful Vandoren tube cane from Charles Double Reeds, which has very promising results so far… etc.)

When my Butterfi eld profi ler arrived, it was set up perfectly. Th e fi rst reed I ran off of it - with it’s “Moritz cam”, standard on Jim’s profi ler unless you sent him a fi nished reed, and he customized a cam just for you - was perfect as soon as I cut the tip open! I couldn’t believe it. Now, perhaps 20 years later, it still produces great reeds, as long as the cane is good,

JAMES (JIM) BUTTERFIELD, BASSOON (1934–2006): A TRIBUTE26

an incredible record! I was also able to buy a But-terfi eld profi ler for my students at the University of Idaho before I retired, thereby solving not only their reed problems, but my own problem of keeping them supplied with good recital/audition reeds from time to time!

But let me talk about Jim Butterfi eld the man, rather than the machinist. Jim performed that con-cert with the Los Gatos Chamber Orchestra and sounded just great - obviously a fi ne musical artist, well trained by his teacher, Frederick Moritz. More-over, a kinder, and warmer person would be hard to fi nd. And just because you had received your profi ler, with its wonderful array of accompanying adjust-ment tools and the great instruction booklet, didn’t mean that you couldn’t contact him at any time to help you solve whatever problems might occur. Over the years I steered many students and colleagues to-ward Jim when they were looking for a profi ler, and I never heard a one of them do anything but sing Jim’s praises when it came to the service that came along with his wonderful product.

Now that Jim is gone, sadly, a new generation of bassoonists will never know the wonderful satisfac-tion I get every time I profi le and fi nish a new bas-soon reed, cut it open at the tip and play on it on my bassoon. Many times I needn’t do anything more to it from that point on, except play it in! And for that I am eternally grateful to the designer of this incred-ible machine.

Goodbye, Jim, and thank you for being the bril-liant machinist, the brilliant musician, and the bril-liant person you have been to the bassoon world, your friends, your lovely wife and your family. We all owe you… ◆

THE DOUBLE REED 27

As some of you know, this past summer John Mack left this life on July 23, 2006. With his passing, we lost a great friend, mentor, and

a pillar of the Kent Blossom community. John was an icon of classical music, a friend to many, and a trea-sured faculty member of the Kent Blossom Music program since its founding in 1968. Simply put, John was family.

Countless performances, recordings, and thirty-six years with the Cleveland Orchestra evidence John Mack’s amazing ability and reputation as a performer. But John felt that teaching was actually his true voca-tion. He once remarked to his son, David: “I used to think I was put on this earth to play. Now I know I was put here to teach.” John’s unfl agging generosity with everyone, especially his students, were part and parcel of a sacred calling.

Kent Blossom Music was special in John’s teaching legacy. While he loved nothing better than nurturing the world’s fi nest young musicians everywhere, with Kent students Mr. Mack enjoyed a unique reward - golfi ng aft erwards on the nearby courses surround-ing Kent. So Kent students were the privileged few who would sometimes see him dressed casually in golf attire, rather than the usual shirt and tie.

It was inspiring to watch John Mack coach cham-ber ensembles at Kent Blossom. He would sit in close, with score in hand, conducting phrases like a traffi c cop – pointing, and motioning ebbs and fl ows like a surfer overtaking a wave. John’s comments would intone over the music, “A little more intrigue this time, not coquettish.” “You’re not going far enough.” “I want to hear the clarinet more. It’s getting a little murky down there.” “Vibrate the little notes, and the ends of phrases. We want fullness that stays. We need diff erential between the voices.” “Don’t be afraid to grab that spotlight on yourself.” “Searching above … stepping back so you know your priorities.”

I was privileged to be John’s devoted student and surrogate daughter. He loved hearing me say that I inherited his passion for teaching. John taught me how to live in the moment; to live life to its fullest; to follow my personal calling. From him I learned that when we treat every student with great respect while

John Oboe Mack – A Tribute Concert to an Unforgettable Man

Danna SundetCleveland Heights, Ohio

still demanding their very best, it calls the student to a higher place. He taught me to predict only success for a student, regardless of that student’s background or experience, because “working hard and smart” got John Mack to where he was.

Director Jerome LaCorte recalls John’s personal mentorship of more than a thousand students at Kent Blossom Music. “For 38 years, Mr. Mack imparted his personal care, generosity, and leadership to KBM, instilling many artistic and human values.” One of LaCorte’s favorite John Mackisms is: “When off ered an opportunity worthwhile, always say yes. Th en fi g-ure out how you are going to make it work.”

Even during his fi nal illness this past summer, time and again he was like a wounded soldier, strug-gling to carry on in the heat of battle. In the confu-sion which sometimes visited him during the latter stage, John would oft en get up from his sick bed, stat-ing emphatically that he had to leave to prepare to teach at Kent Blossom. Aft er several of us witnessed this fi rst hand, we decided that for once, the moun-tain should come to him. So we conspired to bring a chamber concert to John in an attempt to assuage his longing to be among his students and the music.

Th is past June, the world premiere of Fast Shoes, composed by Kent State senior music student David Kulma, was performed by our accomplished musi-cians of the area in a unique venue - the Judson Park Retirement Community.

We had been planning a concert to celebrate John’s 80th birthday. Aft er his passing, the family asked that we carry on – to plan and perform the concert as a musical memorial service for us all, and especially for those who were unable to attend the fu-neral aft er his untimely death.

So, aft er much preparation, on Sunday, Novem-ber 5, 2006, hundreds of musical pilgrims made their way to Severance Hall from all over the United States to honor our friend and beloved teacher, John Oboe Mack. A special guest honored him by coming all the way from France – Alain de Gourdon, the maker of the Lorée oboe.

Th ese musicians came to pay their respects to John; to pay homage on the very stage at Severance

JOHN OBOE MACK – A TRIBUTE CONCERT TO AN UNFORGETTABLE MAN28

Hall where he performed as solo oboist with the Cleveland Orchestra for thirty-six years.

Th e atmosphere inside Severance Hall that aft er-noon was one of enveloping warmth, friendship and camaraderie. We were surrounded by the most beau-tiful array of fi ne oboe-playing the world will ever witness in one gathering. “A concert of historic pro-portions, matched only by the greatness of the man himself,” said Executive Director of the Cleveland Orchestra, Gary Hanson.

Photos were on display in the Grand Foyer which show the many facets of Mack’s life - the family man, the golfer, the musician, the teacher, the generous mentor and friend, and the life of the party who al-ways told a great story. A wonderful scrapbook show-ing John’s original 1965 Cleveland Orchestra con-

tract, as well as archival Cleveland Orchestra photos, was on a table for interested parties. On display, his oboe lay cold and untouched. His golf bag with clubs sat nearby, ready for another game.

Elaine Douvas, principal oboe of Th e Metro-politan Opera, and Juilliard faculty member, stated eloquently, “Whatever makes a great teacher; he had it all: knowledge, passion, verbal ability; a gift for im-agery and humor, and a teaching style that was de-manding and challenging, but always on your side. His words and his philosophy are so alive inside so many people that I believe he will be here for a long time to come.”

Indiana University oboe professor Linda Strom-men wrote: “Th e quote that seems to have been the theme of John Mack’s life is: ‘Th e greatest use of a

THE DOUBLE REED 29

life is to spend it for something that will out last it’ (William James). Th ank you, John, for your rich in-vestment in all our lives. May you know our gratitude and the rewards of your investments.”

We organized the concert in fi ve parts celebrating John’s life and career as chamber musician, teacher, orchestral musician, soloist and recitalist. Th e Grand Finale piece, Sinfonia for choirs of oboes and English horns by Margi Griebling-Haigh featured 52 oboists representing a panoramic of students from all gen-erations of John’s fi ne teaching. Th e incredible musi-cal pieces went heavenward in one musical voice as if to say: “Words cannot truly express the depth of our love and gratitude for all of who you were to us. And we don’t know what we will do without you. So here is our humble off ering, in the language that we all shared with you in life. We off er it up to you, and to your wonderful family who shared you with us so graciously for so many years.”

Th e 52 member oboe choir (see the photo and seating chart of participating musicians on oppo-site page) was musically breathtaking, and a deeply spiritual experience. We were confi dent that some-how, somewhere, God was allowing John to listen in while saying to him, “Well done, my good and faith-ful servant!”

In these past months since his passing, I have sought to follow the example of my musical father and mentor to make every day count. As a labor of love and tribute, and with much help from other Mack students, I organized the November Memo-rial Concert. I have also begun channeling my grief into work on a tribute book. We want it to be as full and complete as possible, with many perspectives. I would love to receive emails, letters, or calls with your thoughts and experiences of him, a copy of a picture, or your favorite John Mack stories.

As one of many torchbearers, it is my honor to serve his legacy as the newly-elected Director of the John Mack Oboe Camp. I am grateful to the Board of Directors and the Advisory Committee for trusting me with the privilege. I am indebted to Kent Blossom for your generosity of spirit and willingness to coach me in this new endeavor as we carry on the tradition of our beloved friend and Kent Blossom teacher, John Mack.

Th ere will never be another like John Mack, and he is sorely missed. His life, his music, his friend-ship were an inspiration. In the words of the poet, Longfellow:

Lives of great men all remind us.We can make our lives sublimeAnd, departing, leave behind usFootprints on the sands of time.

Aff ectionately yours,Danna Sundet

Danna Sundet is a graduate of Cleveland Institute of Music. She is the principal oboe of the Erie Philhar-monic, on the faculty of Kent State University, the newly elected Director of the John Mack Oboe Camp, and an accomplished musician in the Ohio area. Danna lives in Cleveland Heights with her husband, Erik, a talented trumpet player and teacher, and her four children. Danna can be contacted at [email protected], or at 216-371-5808.

WORDS FROM ELAINE DOUVAS, JOHN MACK MEMORIAL CONCERT, NOVEMBER 5, 2006

I haven’t digested this yet; to me John Mack is still here. His words and his philosophy are so alive in-side so many people that I believe he will be here for a long time to come. Whatever makes a great teacher; he had it all: knowledge, passion, verbal ability with a gift for imagery and humor, and a teaching style that was demanding and challenging, but always on your side. He was really entertaining too; it was downright fun to study with him. “Hey, we don’t want the ar-ticulation to sound like that painting of St. Sebastian with all the arrows in him!” It was an incredible, un-expected opportunity to be teaching alongside him at Juilliard aft er he retired from the Cleveland Orches-tra. I thought I would have at least ten more years to gain from his insights and experience; this has all happened much too fast.

John Mack’s knowledge was like a vast garden, pruned and nurtured with years of loving care. His use of the Barret Method was like the layout, the plan whereby every inch would be covered, every species represented. To him, each line of Barret contained the seeds of some Universal Musical Truth, which were meant to be cultivated throughout our solo and orchestral studies: Play the small notes melodically. Recognize the expressive non-harmonic tones and resolve them properly. Connect the long notes to the start of the moving ones. Arch the downward slurs like a waterfall, out fi rst, then down.Keep the

JOHN OBOE MACK – A TRIBUTE CONCERT TO AN UNFORGETTABLE MAN30

line in articulated passages. Establish the fi rst notes well. Vibrate the passing tones and the ends of slurs. Tongue the repeated pitches clearly. Use only the fi nest perfume, and not too much of it! Mack’s infl uence extended beyond oboe players. Philip Myers, who is principal French horn of the New York Philharmonic, was coached by John Mack at the Blossom Festival School; he said, “Some people made fun of those rules, but they have stuck with me, and I have never found a one of them untrue!”

John Mack’s sound was so magnifi cent, and absolutely unique; as he put it, “A matter of life and depth.” It was broad, many-layered, complex, and it helped ennoble the entire woodwind section by its warmth and ability to blend. However, he insisted that the tone was merely a vehicle for the performer’s expression and the composer’s intentions, which were always the main point - the reason for being. Yet, as he said, “If the tone is not of suffi cient quality, it cannot convey the musical message.” He lamented players whose message is, “I want to be ME!” He would say, “OK, be “Me”, but be the best ‘Me’ you can be.”

Th en there is the reed making. Did he not teach three generations how to make good reeds? Many of us remember the state of reed making before John Mack’s knowledge was widely and generously dispersed. You could go from sounding like a musical artist to sounding like a raw beginner, just from not having a decent reed. Th e pressure, the stress, the sleepless nights that resulted from scraping ignorantly, in the dark, as it were, certainly accounts for the traditional stereotype of the oboist as a temperamental madman. In those days, it was not uncommon for a teacher to turn his back on you and scrape secretly in the corner of the room. Mack had an uncanny ability with mechanical things. (“Never take ‘No’ for an answer from inanimate objects!” It was one of his favorite lines.) He shared his extra-sensory perceptions with anyone and everyone. His reed knowledge single-handedly transformed the profession and saved the sanity of countless oboists. To quote one professional who came for help, “I thank you, my wife thanks you, my conductor thanks you, the fl ute player thanks you.”

Th e moral support John Mack gave his students was amazing. Where could a young player turn, once he was cast into the working world, with conductors asking for more tone, more projection, and could you sound more like my friend So-and-So in the So-and -So Orchestra? As a student at the Cleveland Institute, it made a great impression on me to see the steady parade of the famous young players in their fi rst jobs

coming from all diff erent schools to get help from Mack. Anybody could get time with him. You didn’t have to sign any oath of allegiance, and he never said “I’m too busy”, or “No” to any request. “Care and feeding of the young!” he would say, and he liked to quote the Bible, “If a child ask thee for bread, wilt thou give him a stone?” As many of you know, he taught his own graduates for free for the rest of their lives, loaned them instruments, and even loaned a student the down-payment on a car, needed for a teaching job. Th e other day someone asked me, “How long did you study with him?” I answered, “About 35 years!”

Mack had his share of critics; we’ve all encountered them. He was outspoken and always eager to “share” his point of view on harmony, phrasing, tuning and tone, the composer’s intentions, you name it! Some took off ense. As part of an orchestra audition, one of John’s students was blind-sided by a question, asked in a resentful tone, “What did you ever really learn from John Mack?” For any of us, the fi rst thought would be, “I could write a book!” But this is what I would say, should the occasion arise again: “Maestro, I learned so many things I can use to help you, your orchestra and the music community as a whole. First, I learned an incredible work ethic: never to give up or stop questing, to study thoroughly, to know the full score, never to take the easy way out or turn down an opportunity to play or a chance to learn a hard piece. I also learned to make really excellent reeds, with stable pitch and colorful tone, so you can be sure of a consistent musical result, not just a lucky day. I learned Mack’s love of teaching, and I feel an urgency to help the other oboists of this community and to do my part to raise the bar. Finally, he taught me that my job is to make the conductor’s idea sound TERRIFIC!”

I love the story of when the composer Berio, conducting his own work, Chemins IV, wanted to import an oboe soloist who specialized in “modern music.” Mack responded, predictably, “Over my dead body,” and he learned the piece in short order! I hope today we will be inspired again to treat our students with the generosity and support he showed us, to treat our jobs with the enthusiasm and responsibility he demonstrated, rise to the challenges, learn the hard pieces, and never give up. John Mack said this to calm a parent, worried about the profi tability of a music career, “If there were no money in the world, I would be doing exactly what I am doing now: playing and teaching for the sheer love of it.”

THE DOUBLE REED 31

FROM JOSEPH ROBINSON

I was tremendously impressed with the program for John’s memorial service in Cleveland last month. Looking through my NCSA fi le for something else this morning, I came upon a copy of the letter I wrote to John following “Oboe Day in North Carolina,” the precursor to the Oboe Camp, on June 3, 1975:

It goes almost without saying that no one else would have undertaken so much for so many for so little! You jumped into ‘Oboe Day’ without complaint or reserva-tion, knocking off one after another of the challenges of an impossible schedule. And throughout you main-tained a down-to-earth good nature and zest for life which have always been for me at least as compelling as your musicianship. You belong to a handful of para-gons in my experience...‘lovers of life’ whose vitality and creativity are so hopeful and unreserved that the rest of us may dare to reach out a little further, toss our hats a little higher, laugh a little louder.

It’s diffi cult to say ‘thank you’ for something like that, other than to acknowledge it. We are grateful not only for what you have done for us, but for who you are. ◆

OBITUARIES32

ObituariesRalph GombergMorris NewmanDavid P. OakleyAndrea deLancie

RALPH GOMBERG (1921-2006)

We have just received word that our distinguished Honorary Member, Ralph Gomberg, died on December 9, 2006, aft er a long illness. He was principal oboist of the Boston Symphony for many years. We will publish further details in the next issue. Members of IDRS send their sympathy to Mr. Gomberg’s family.

I have just heard of the death of Ralph Gomberg. Even though I have followed the course of his illness, and knew it was terminal, I am aghast. Th e idea of a world without Ralph is outrageous and appalling. I will need time to come to terms with it.

I fi rst met Ralph Gomberg in 1961 as a high school senior when, with much trepidation, I went by bus from my home in Washington D,C, to Baltimore, Maryland, where the B.S.O. was performing on tour, and where I was to audition for Mr. Gomberg as a perspective Boston University student. I was young and scared.

Immediately upon meeting him, I felt Ralph Gomberg’s enthusiasm and positive energy, which have come to be such an infl uence in my life and my performance. No one could know Ralph and fail to be impressed by his great sense of certainty, confi dence and wry, mischievous humor. All of this radiated from him, and put me at ease.

Ralph Gomberg’s no-nonsense approach to teaching was exactly what I needed and wanted, and I responded to it eagerly. His attitude was that, having demonstrated talent and a desire to excel, it was your job to set the goal high and work toward it with all your might. If you did, you would succeed. He was kind, generous and encouraging, oft en spending many hours of extra time with diligent students, and frequently going out of his way to help those whose fi nancial situation stood in their way. (I was one of those. I could not have attended either B.U. or Tanglewood without his help.)

I studied with Ralph Gomberg for four years. During this time I learned from him the full spectrum of timbre and dynamic range of which the oboe is capable. I acquired a much larger range of color and expression in my sound, which has made playing the oboe even more fullfi lling and exciting than I had known it could be. I am grateful to him for showing me how to do this.

Ralph Gomberg was more to me than a great oboist and teacher. He became, over the years, my mentor and friend. His belief in my ability and his kindness and encouragement have been a major infl uence in my life. I will always think of him with great aff ection, gratitude and respect, and I will miss him terribly.

Tamara FieldSpringfi eld, MassachussettsDecember 9, 2006

I fi rst met or rather saw Ralph Gomberg when I attended my fi rst symphony concert at Carnegie Hall. I was seated in the fi rst row and the concert was the Boston Symphony with Erich Leinsdorf performing Mahler’s 5th Symphony. I had just started to play the

THE DOUBLE REED 33

of the albums (which I still have) called Th e Renais-sance Band, which featured a double reed ensemble with a baroque rackett (played by Morris Newman, I believe) on the bass part. My college buddies and I really grooved on the sound of this prototypical bas-soon-like instrument. Quite a pioneering thing back in the ’60s to pick up this weird little instrument, make reeds for it, and lay down some charts for the microphone, all the while sounding like you’d been playing it all your life!”

Th e IDRS joins the friends and family of Morris Newman in mourning his loss. Ed.

DAVID P. OAKLEY (1950-2006)

We have recently learned of the death of IDRS member, oboist David Oakley. David earned his Bachelor’s degree in oboe performance from Portland State University, and completed his Master's work at the University of Washington. He played with many theater and performance groups in Portland, Seattle, and Dallas, as well as teaching private lessons in oboe, sax, clarinet, and fl ute. Members of IDRS mourn his passing.

ANDREA deLANCIE

We have just received the sad news that Andrea de Lancie, the wife of deceased IDRS hon-orary member, John de Lancie, died of cancer at her home in Walnut Creek, California. She was 86. Members of the IDRS mourn her passing and send sympathy to her survivors.

oboe and naturally my attention was drawn to Ralph. I wondered at the time how he could play in two orchestras at the same time not knowing that there were two Gombergs in the business of playing fi rst oboe with the two leading orchestras in the United States. I later went to study with Harold Gomberg at the Manhattan School and kept my association with Ralph when I attended Tanglewood. Aft er Harold retired from the New York Philharmonic and went to live in Italy, I returned to Ralph for help and advice that proved invaluable over the years. I found his ability to zero in on a problem and give you the best way to solve it uncanny as was his performance standards right up to his retirement from the Boston Symphony. I remember well the many live concerts and broadcasts I heard and watched and always his playing was exemplary. I was deeply touched by his friendship to me aft er I became principal oboe with the Israel Philharmonic and seeing him attend rehearsals and concerts that we played at Tanglewood and always with good advice and constant support. In the last few years we maintained a good correspondence via e-mail that again helped me with that wonderful advice and support that I came to rely on. My last visit with him and his wonderful wife Sydelle was something very special. Th e most infl uential people in my musical life have left the scene now. Ralph was the last. May his memory live on forever.

Bruce Weinstein

MORRIS NEWMAN

From James Jeter has come word that New York bas-soonist Morris Newman died on Monday, October 9, 2006. He had been quite ill for many months. He was 80 years old. One of his friends, Abba Bogin, paid tribute to Morris with the following quote: “In addi-tion to his wonderful bassoon and recorder playing, Morris was a warm and kind soul, with a happy atti-tude, a perpetual smile, and a warm and caring heart. He was a most interesting conversationalist and had a brilliant sense of humor.” Jim Jeter added: “He was a great friend and will be missed.”

Morris had a major freelance career for many years in New York - performing principal bassoon for the Musica Aeterna Orchestra, as well as many other ensembles. On the IDRS Forum, Christo-pher Broderson added the following observation: “Wasn’t Morris Newman a “regular” on many of the New York Pro Musica recordings? I remember one

CURRENT EVENTS34

Current Events

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On October 28, 2006, Grand Valley State University (in Allendale, Michigan) hosted its First Double Reed Day, a continuation

of a successful First Oboe Day held in fall of 2005. Young oboists and bassoonists from Michigan and other states came to participate in the event. They had an opportunity to attend reed-making classes, an oboe adjustment workshop, play in master classes by visiting artists, Daniel Stolper, instructor of oboe at the Interlochen Academy of Arts, Gwen-dolynn Rose, professor of bassoon at Western Michigan University, Kalama-zoo, as well as GVSU professors, John Clapp and Marlen Vavříková.

Following the morning registration, oboists were encouraged to visit an ad-justment lecture/workshop by Bogar Guzman, after which there were two si-multaneous master classes, one by John Clapp, professor of bassoon at GVSU, and the other by guest oboist Daniel Stolper. An exhibition of oboes, bassoons, and reed-making supplies presented by Jus-

First Double Reed Day at Grand Valley State University

Marlen VavríkováWalker, Michigan

tin Miller of Miller Marketing and Bogar Guzman of Miranda Music, were ongoing throughout the day.

After the first set of master classes everybody en-joyed a complimentary lunch, having time to relax before an afternoon filled with more double reed ac-tivities. At one o’clock, guest bassoonist Gwendolynn Rose worked with young students in the Sherman Van Solkema Hall while Marlen Vavříková held an oboe master class in the large ensemble room. Sepa-

From left: Justin Miller, Gwendolynn Rose, Daniel Stolper, Marlen Vavríková, John Clapp, barry Martin, brian Alhadeff, and bogar Guzman.

Gwendolynn Rose and John Clapp performing Mignone’s Sonata for Two Bassoons.

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Joe Boldt in a master class with Gwendolynn Rose.

Visiting oboe student, Anna Liese Durling, during the master class with Dan Stolper.

rate reed-making workshops for oboists and bassoon-ists took place thereaft er. GVSU students, Rachael Young, assisted by Mezraq Ramli, were in charge of the oboe session. Th e bassoon class was presented jointly by professors Clapp and Rose.

Th e whole day culminated with a double reed concert featuring guest artists, GVSU faculty and students, and visiting oboe and bassoon players. Th e opening Sonata No. 4 by Georg Friderich Handel (1685-1759), performed by Daniel Stolper and Marlen Vavříková, was followed by the Sonata for Two Bas-soons by Francisco Mignone (1897-1986), beautifully interpreted by Gwendolynn Rose and John Clapp. All participants were in the audience and during a brief

GVSU oboe student, Mezraq Ramli with Dan Stolper.

Bogar Guzman explaining major adjustment procedures.

Justin Miller from Miller Marketing

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pause put together their instruments to get ready for the grand finale, the GVSU Double Reed Day En-semble. The two closing pieces were arrangements for double reed quintet of Sergei Prokofiev’s Love for Three Oranges and Percy Aldridge Grainger’s Shep-herd’s Hey, conducted by Barry Martin, GVSU asso-ciate professor and director of bands, and Brian Al-hadeff, visiting professor and director of orchestras.

The First GVSU Double Reed Day participants were able to listen to other double reed players, at-tend and perform in master classes and workshops, but mainly, it was a day filled with enjoyment of mu-sic making. The Music Department at Grand Valley State University looks forward to its Second Double Reed Day in the fall of 2007!

And what did oboe students say about this year’s GVSU Double Reed Day?

The double reed day was a great opportunity to perform for others and receive criticism from new

Photo by Donna Bushong

people. My favorite part of the day was playing for Daniel Stolper. It was lots of fun to hear his opinions and suggestions on my playing. Tiffany Myers (GVSU Junior)

Meeting oboists and bassoonists from all walks of life at the GVSU Double Reed Day was a wonderful experi-ence. Being given the chance to play for Daniel Stolper was the ultimate! Coming all the way from Singapore, I’ve only heard of him and his wonderful reputation. Nothing beats meeting him in person. I hope for more wonderful learning experiences at future DRDs! Mezraq Ramli (GVSU Freshman)

I really enjoyed the oboe clinics done by both pro-fessors Stolper and Vavríková. Professor Stolper’s technique was excellent and his beautiful tone was inspiring. Kaitlyn Williams (GVSU Freshman)

The Double Reed Ensemble after performing Grainger’s Shepherd’s Hey, conducted by Barry Martin.

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GVSU’s First Double Reed Day was certainly exciting and educational. I feel that not only was everything so organized and well-planned, everyone learned so much and still had fun. I’m so anxious to see how many people come to next year’s Double Reed Day.Kristen Wheeler (GVSU Freshman)

I loved that Professor Stolper took it one on one with everyone, so you could take notes on everything in general.Rebekah Wineman (Traverse City West High School)

Upcoming EventsINTERLOCHEN CENTER FOR THE ARTS announces their JUNE, 2007 OBOE and BASSOON INSTITUTES

June 16th to June 22nd.........

Advanced High School Oboists with professional aspirations will study with:

ELAINE DOUVAS (Principal oboist, Metropolitan Opera and faculty member, the Juilliard School)DANIEL STOLPER (Instructor of Oboe, Interlochen Center for the Arts and Michigan State University Emeritus)LINDA STROMMEN (Professor of Oboe, Indiana University)Tuition: $775.00 Full; $675.00 Auditors

Advanced High School Bassoonists and Bassonists currently in college will study with:

GEORGE SAKAKEENY (Professor of Bassoon, Oberlin Conservatory)ERIC STOMBERG (Instructor of Bassoon, Interlochen Center for the Arts; Professor of Bassoon, University of Kansas)WILLIAM WINSTEAD (Principal bassoonist, Cincinnati Symphony; Professor of Bassoon, Cincinnati College-Conservatory)Tuition: $775.00 Full: $675.00 Auditors

For further information, visit the Interlochen Website: www.interlochen.org or e-mail:[email protected]@interlochen.org

CALIFORNIA STATE UNIVERSITYLarry Gardner and Krista Riggs are pleased to announce the 11th Annual Double Reed Day at California State University, Fresno. Th e event will be February 19, 2007 at the Music Building at CSU-Fresno. Guest artists this year will be oboist Brenda Schuman-Post and bassoonist John Steinmetz. Th e day promises to be a unique and rewarding experience for all who attend. Oboists and bassoonists who are interested in performing in a master class should designate so on the registration form, and may contact Dr. Krista Riggs at (559) 243-6919 or [email protected]. More information and registration forms will be available at:http://zimmer.csufresno.edu/~larryg/drday.html

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In my advancing years as a performing musi-cian, one thing stands out more than any other as essential to keep yourself going: the need to

be inspired. It becomes so easy to get into the grind of regular rehearsals and performances, to become a ‘see-a-note-play-a-note’ musician. So even though I was in the middle of a heavy travel and performance schedule, I thought it would be worth my time to travel to Ball State University for a week where two big music events were taking place. Not only were these a chance to see old friends, but I was hopeful they would be refreshing and inspiring. Starting on this journey already a little weary, I have to confess that I wasn’t overly excited about a long journey across country. Was a surprise ever in store! Muncie became my oasis, and briefl y, here is my story.....

An oasis sprang up in Muncie, Indiana this July, just prior to the IDRS 2006 Conference. It came on without a huge amount of fanfare, but several amaz-ing and wonderful things happened. It was the second English Horn Master Class coordinated and hosted by Marsha Burkett featuring Atlanta Symphony’s

An Oasis in Muncie, Indiana

Robert HuffmanGaithersburg, Maryland

solo English hornist, Pat McFarland. Joining Pat were other master teachers, guest artists and speakers including Merrill Green-berg, solo English horn of the Israel Philharmonic, Tim Clinch, co-host of the 2006 IDRS conference and professor of oboe at Ball State University, Ray Dusté, retired solo English horn of the San Francisco Sympho-ny and Opera, and pianist, Phyllis Harrison, who also led a lecture in which yours truly performed. Tom Hin-niker, oboe and English horn bocal maker, stopped by and spoke about bocals, and Alain de Gourdon of F.

English Horn Master Class 2006: Teachers, guest artists, lecturers, back row l. to r.: Ray Duste, San Fancisco Symphony; Phil Kates, Humbolt University; Pat McFarland, Atlanta Symphony; Tim Clinch, Ball State University and IDRS co-host; Alain de Gour-don, F. Lorée and sponsor of the event; Merrill Greenberg, Israel Philharmonic; seated: Phyllis Harrison, pianist; Marsha Burkett, program coordinator.

Pat McFarland coaches while Nigel Robinson per-forms a selection with Phyllis Harrison.

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Lorée who sponsored this event, arrived with family and held a remarkable question and answer session.

Th e very fi rst evening, Pat, Merrill, Tim, Phyl-lis, and Marsha threw down the gauntlet and let it be known from the onset that there would be nothing pedestrian about this English Horn Master Class. Th e beauty and artistry they showed during the opening recital on the fi rst night set the standard for the fol-lowing two days of master classes. Th e oasis was open for business! What followed was great instruction and coaching - the hallmark of this master class.

Pat, Merrill, and Ray are all living legends of the English horn world. Pat McFarland is well known from his many solo and Atlanta Symphony record-ings and has been their English hornist for 42 years! He always brings a freshness and an almost child-like wonder when talking about musical ideas. Mer-rill Greenburg, English hornist with the Israel Philharmonic since 1973, was consistently so excited and enthu-siastic when talking about music. He was like a spark plug! Ray Dusté, the Elder States-man of the group, was a well know performer and teacher for many years along with being Pat’s oboe and English horn teacher at San Jose

State University! Ray studied with Marcel Tabuteau during World War II. Tabuteau nicknamed him “sol-dier boy.” Tim Clinch, who in his ‘spare time’ also co-hosted this year’s IDRS conference, coached a master class session and led a high tech demonstration of reed making, which was probably a world premier. He used a zoom camera system that made the English Horn reed look three feet long on the screen! Each master teacher brought a unique perspective but all were consistent in their passion for the artistic side of playing the English horn.

Phyllis Harrison led a presentation where she highlighted some of the music that she and her hus-band Earnie had performed over the years - music they discovered and acquired while on their trips to the U.K., while becoming good friends with Lady Evelyn Barbirolli, Leon Goossens and a host of oth-

Group photo - back left to right: Peter Walker, Robyn Costa, Tom Hiniker, Phyllis Harrison, Phil Kates, Ray Duste, Pat McFarland, Tim Clinch, Kate Eakin, Alain de Gourdon with nephew and niece - Olivier and Virginie, Nigel Robbins, Olivier’s girlfriend, Kelly Hay, Dana Donnay, Merrill Greenberg, Robert Huffman. Front left to right: Billy Ball, Ann Lemke, Emily Sheets, Donny Gibson, Marsha Burkett, Maggie Keller, Virginia Stitt, Kristana Johnson.

Lorée team - Alain de Gourdon with his team - nephew Olivier and his girlfriend, and niece Virginie at Tim Clinch’s reed making class.

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or orchestral excerpt and nearly half of these had at-tended last year’s English horn master class event. Th e coaching, lectures, sharing of ideas, and ensemble play-ing all added to an interest-ing, versatile, and inspiring program. So, even before this year’s exceptional IDRS conference opened its doors, I was already refreshed and inspired.

I video taped the entire event, as I had done at last year’s English Horn Mas-ter Class, something I have also done at many other mu-sic events - such as talks by John de Lancie, John Min-sker, and during much of Wayne Rapier’s Repertoire Festivals in France. Video taping is becoming more than a casual hobby for me and I am considering it as a future career.

My conclusion: MAKE time to attend master class-es, workshops, performances given by great artists, as well as the IDRS conferences. Th ese are truly value added investments. To stand in front of a class of folks who are pulling for you, to work with a great teacher, to have a chance to get to know some of the exceptional players of our day, and to make and deepen friendships that last for years – these are just a

few of the many benefi ts of these events. You might actually catch yourself laughing along with legends while becoming a better performer and person at your own oasis! ◆

ers. Is there anyone that Earnie wasn’t friends with? During this lecture, I had a chance to do some ‘fright-reading’ as Earnie would call it, to demonstrate some of these pieces. It was exactly one year ago Earnie had passed away and it was very special for me perform this music with Phyllis. Earnie had been a performer and master teacher at last year’s master class and was my long time teacher, mentor, and dear friend.

Of the 14 participants, nearly all had the op-portunity to be coached on their prepared opera

Teacher Tim Clinch during his camera-system reed class.

Group ensemble playing with oboes, d’amores, and English horns.

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S The North American Heckelphone Players’ Association held their sixth annual meet-ing on October 7th, 2006 at Robert Dewar’s

private recital hall in New York. Featured were four Heckelphonists, a saxophonist, assorted other per-formers and an interesting lecturer. For the fi rst time, NAHPA founder Peter Hurd was unable to attend, so the meeting was organized and led by Robert Howe. (Peter and Robert produced a remarkable article on the Heckelphone in the 2004 issue of the Journal of the American Musical Instrument Society.)

Opening the program were Ilonna Pederson’s New York Kammermusiker, a fi rst-rate double-reed ensemble, playing works by Erlebach, Scheidt, Schein, Pachelbel and Bach. Performing were Jeff rey Hale, oboe (and speaker); John Frisch, oboe and English horn; Ilonna Pederson, English horn; Mark Perchanok, Heckelphone; Richard Vrotney, bassoon. Th e Heckelphone made an eff ective sonic contribution to the character of the ensemble sound, and as ever, the playing of the group resounded in a most enjoyable fashion, refl ecting a whole greater than the sum of its parts.

Next on the program came the North American première of Unrast, by the young German composer Benjamin Schweitzer (b. 1973). Given that this 1998 work was commissioned in honor of the bassoon class at the Dresden Conservatory, its rather unusual scoring of Heckelphone, bassoon and contrabassoon was highly appropriate. Th e performance on this occasion was by Robert Howe, Adrienne Gallagher and James Kopp. Th e work, decidedly in the modern idiom, presents some unusual diffi culties, which the performers surmounted nicely, given the short amount of rehearsal time they had. Dr. Kopp, a name not unknown to the DR readership, is a notable scholar of the history of the bassoon and a fi ne performer known also for his hand-made reeds for modern and historical bassoons. He had been heard as contrabassoonist of the New York Kammermusiker in our 2004 meeting.

Heckelphonist Robert Howe then remained onstage to perform the Triptych, by New England-based Hungarian-born composer, Tibor Pusztai (b.

Heckelphones in Manhattan

Michael FinkelmanPhiladelphia, Pennsylvania

1946). (Robert, for whom this new work was written, had intended to give the fi rst performance at the 2006 IDRS meeting. Preparation and performance time proving unavailable there, the première was postponed until the NAHPA meeting.) Th e work’s three movements are Le Jardin (depicting a little girl on a swing, a rabbit and a snake), Chansons Anciennes and Mosaic. Percussionists Gregory and Christina Candy and Gaylien Chun at the electric harpsichord joined Howe in presenting this extraordinary work, which combines a number of outwardly contrasting musical elements in a kind of mixed palette encompassing elements of the theatrical. A large variety of tone colors were exploited, including harmonics on the Heckelphone, as well as delicate interplay between soloist and vibraphone. Th e rhythmic complexities of the work, most noticeable in the closing movement, were a distinguishing feature throughout. Th e performers garnered a lengthy

L. to R.: James Kopp, Adrienne Gallagher, and Robert Howe.

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round of applause at the music’s conclusion.By way of contrast, Robert then rendered on

Heckelphone Fauré’s lovely song, Après un Rêve, with Ms. Chun at the piano.

Harry Searing, a New York-based freelance musician, has made something a of a name for himself as Heckelphonist, performing on an instrument owned by Yale University. He gave his transcriptions of two of Francisco Mignone’s Brazilian Waltzes, originally for solo bassoon, Aquela Modina and Valsa Improvisada. Th ese were very eff ective on Heckelphone, and fi nely performed.

Next to be heard was Georg-Otto Klapproth, the recently retired solo English hornist and Heckelphonist of the renowned Cologne Radio Orchestra. He has lately been devoting considerable time to researching the history of the latter instrument. Th e fi rst major fruits of this work appeared in the 2004 issues of

the German woodwind magazine, [Das] Rohrblatt. (He has had further publication on the topic since then as well.) On this occasion, archival data from the house of Heckel dating from the formative year (1904) of the Heckelphone were presented in lecture, as well as material from the Delius Society shedding further light on this composer’s actual preferences in his scores in which the published editions specify bass oboe. Th is research in progress should eventually fi nd its way to publication, either in the pages of this journal or in a monograph on the Heckelphone being contemplated by Robert Howe.

Heckelphonists Donald MacCourt, Harry Searing and Mark Perchanok now remounted the platform with pianist Gaylien Chun to give Andrew Shreeves’ excellent (if highly unlikely) transcription of Leroy Anderson’s Buglers’ Holiday, now retitled Heckelphonists’ Holiday. Th is proved remarkably eff ective from a musical standpoint, notwithstanding the obvious comedic overtones, and earned the performers a rousing hand at the close.

An instrument partly derived from the Heckelphone is the Conn-o-Sax, a sort of straight mezzo-soprano saxophone with a spherical bell reminiscent of that of the Heckelphone. Dr. Paul Cohen, a noted performer, collector and professor at the Manhattan School of Music and Oberlin College, joined us for the fi ft h consecutive year. With fl utist Carol Shansky and guitarist Seth Himmelhoch, he gave Mario Castelnuovo-Tedesco’s charming Ecloghe (Eclogues), written in 1966. In this case, the Conn-o-Sax took the part originally written for English horn, both instruments being pitched in F, and with a similar range. Th e substitution worked very well.

Georg-Otto Klapproth

L. to R.: Heckelphonists Donald MacCourt, Harry Searing and Mark Perchanok.

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oboe section of the New York City Ballet Orchestra, has a fi ne command of the instrument, and a real feeling for these popular tunes of a century ago. Perhaps no one but he would ever have thought of performing them on Heckelphone, but by some odd form of musical alchemy, the results are wonderfully eff ective, and provide a delightful round of musical dessert with which to close the proceedings.

Aft er the presentations, the performers compared notes on reeds, bocals and instruments. Don MacCourt’s recently-acquired Heckelphone was admired, and Jim Kopp was

entreated to begin producing some of his superior reeds for the instrument in his atelier on the west bank of the Hudson. Robert Howe promised to bring to the next meeting the Bach chorales which produced such a remarkable eff ect when performed on eight Heckelphones(!) several years ago. A tentative meeting date of October 6, 2007 was set. All interested musicians are invited to attend! ◆

Th e performances closed, as they usually do, with Mark Perchanok’s renditions of ragtime and Dixieland tunes on the Heckelphone, accompanied by Ethan Fein on the banjo. Th is time they brought along tubist David Braynard and served up six items in a manner so delightful that there is strong hope of capturing this music-making on CD for the enjoyment of everyone. Mark, a member of the

L. to R.: Ethan Fein, David Braynard, and Mark Perchanok in performance.

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The University of Michigan Oboe and Bassoon Studios and Professors Nancy Ambrose King and Jeff rey Lyman held their

“Double Reed Day” at the School of Mu-sic, Th eatre and Dance of the University of Michigan on Saturday, November 11, 2006. Double Reeders of all ages were represented, from 6th grade to their adult oboe instruc-tors and school music educators.

Th e day was fi lled with master classes on both oboe and bassoon, given by Nancy Ambrose King and Jeff rey Lyman, as well as reed-making workshops for both instru-ments. Master classes stressed the basics of embouchure, breathing, articulation, vibrato and musical phrasing. U-M doctoral student Andrew Parker presented an English horn seminar, Alyssa McKeithen presented a master class for younger students, U-M DMA

University of Michigan Double Reed DayNovember 11, 2006

Nancy Ambrose King and Jeffrey LymanAnn Arbor, Michigan

bassoonist Nate Zeisler gave a class for beginning reed makers, and there was a rehearsal for the large oboe/English horn choir during the aft ernoon. Th e Exhibit and Repair Room was bus-tling with activity, with tables set up by RDG Woodwinds, Fox Products, and Alyssa’s McKeithen’s ‘Th e Dou-ble Reed Girl’ representing Howarth oboes and selling handmade oboe reeds, blanks, and cane.

Th e day began with a Young Art-ist Oboe Competition for students between 8th and 12th grades. Th e fi rst prize winner of the competition was John Upton from Lake Orion High School in Lake Orion, Michi-gan, performing the fi rst movement of the Mozart Concerto. He received a $100 prize as well as the opportunity to perform that evening on Professor Nancy Ambrose King’s solo recital. Th e Top Junior Artist Award, given to the most outstanding performance by an oboist in 9th grade or younger, was

awarded to Julia Bogen from Pioneer High School, Ann Arbor, Michigan. An Honorable Mention was

Nancy Ambrose King in masterclass.

Oboe choir recital.

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awarded to Anna Bradford of Avondale, Michigan High School.

Jeff rey Lyman and the University of Michigan Bassoon Studio performed in recital during the af-ternoon. In addition to solo bassoon repertoire per-formed by Dr. Lyman and pianist Christopher Har-

RDG table.

ding, the entire UM bassoon studio performed the Scherzo Humoristique of Sergei Prokofi ev, plus a new worked composed for the concert by Ray Bilter titled Bassoonists’ Day Out. In addition, several University of Michigan bassoon students performed ensemble works on the program, including Tom Reynolds, Patrick Zylka, John Gettel, Randy Dennler, Emily Weingarten, Dana Amann, Matt Ransom, Ari Al-lal, Eric Rutherford, Stephanie Konchel and Ga-briel Pomerantz.

Th is was followed by a giant pizza dinner for all the oboists and bassoonists. Th e day ended with an oboe recital given by Dr. King with pianist Christo-pher Harding. In addition to Dr. King’s performance, the audience was treated to a performance by the Young Artist Competition winner John Upton, who performed the fi rst movement of the Mozart Concer-to, as well as a performance of the mass oboe/English horn ensemble which included over 100 Double Reed Day participants.

It was a fun day for everyone and exciting to see so many double reed players on the campus of the University of Michigan. We look forward to the next “Double Reed Day”! ◆

Young Artist Competition winner John Upton with Nancy Ambrose King.

UM English hornists Julia Levin and Andrew Parker.

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November 3, 2006Dear Ron,

It’s amazing how the Internet can make connec-tions through the years.

I was “Googling” Milton B. Weary and came upon the letter which I have italicized below. I was thrilled to see the cover photo to which it refers. (Th e Double Reed, Vol. 11, No. 3, Winter, 1988) Milton B. “Fess” Weary probably had more eff ect on my life than any other man except my father. He was the band director at Andrew Jackson High School in Jacksonville, Florida, and well loved by all his stu-dents. He was fi rst bassoonist for the Jacksonville Symphony Orchestra from 1949 to 1951. With his en-couragement, I joined as bass clarinetist and played with the orchestra for the same two seasons. While I did not pursue a career in music, I possibly would not have graduated from high school without his en-couragement. Fess died in 1952 at the age of 49. I have attached a copy of his obituary.

I remember the bassoon which Mr. Herzberg mentions. As I recall, Fess had also installed non-standard rollers on some of the keys. To the best of my knowledge, the instrument was last in the hands of my classmate, John F. Davis. I tried, unsuccess-fully, to contact John to verify this.

Goodwin Hart

Letters to the Editors

CONTINUEDON NEXT PAGE

Cover from The Double Reed Vol. 11 No. 3 Winter 1988.

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April 17, 1989Dear Ron,

With regard to the picture published on the cov-er of the IDRS Journal for Winter, 1988, (http://idrs.colorado.edu/Publications/DR/DR11.3/DR11.3.index.html), I did play with Milton B. Weary - I think Mil-ton was his fi rst name - who is the contrabassoonist in the picture. It was at the California Pacifi c Interna-tional Exposition in the summers of 1933 and 1934. I was studying at Eastman at the time and a friend of mine who lived in San Diego helped me get the job. I played fi rst bassoon. I may be a year off on the dates. Th e orchestra was the San Diego Symphony under the direction of Nino Marcelli. We played concerts in the Ford Bowl in Balboa Park. Incidentally, we opened the bowl at that Exposition. I remember that Weary carved channels around each tone hole in his Heckel bassoon so that the pads would seat better! I think Moennig gave him hell for it when he saw it. Maybe someone has that bassoon. It would be easily recogniz-able because of the carving.

Norman Herzberg

November 27, 2006Dear Ron:

In reading through the latest Double Reed, I noticed, to my embarrassment, that there are two typos in my letter about James Kopp’s article “Th e Not-Quite Harmonic Overblowing of the Bassoon.” I didn’t proof read carefully enough.

Th e big one is a mistake in alternative fi ngering Igave for fi ngering 3) Mode 3 Cs4 long. It should be:

x x x | x o x F c s

Th ere should be NO low D key.Th e other is a superfl uous “where” in the last

paragraph. Sorry for the oversight.

Dr. George AdamsMusic Director & Conductor, Idaho Falls SymphonyInstructor of Bassoon, Brigham Young Univer-sity – Idaho and Idaho State University

Milton B. Weary playing Sarrusophone, seated far right.

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IDRS Sponsor-a-Member Program

Martin SchuringTempe, Arizona

The IDRS established a Sponsor-a-Member pro-gram in 1995 for the purpose of enabling double reed players from around the world to partici-

pate and enjoy the opportunities of membership in our organization through the sponsorship of current members. Th e 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. Th is 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 mem-bers.

In coordination with Norma Hooks, Executive Secretary, I will be pairing sponsors with potential

adopted members. IDRS will honor sponsors’ re-quests for specifi c adopted members as well. Anyone may become a sponsor by requesting an adopted member and paying one year’s dues for that indi-vidual. Sponsors may elect to pay an additional fee for fi rst-class postage so that publications arrive more promptly.

IDRS is thankful to all sponsors who have par-ticipated 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:

Martin SchuringSchool of Music 0405Arizona State UniversityTempe, AZ 85287-0405E-mail: [email protected]

SPONSORSARGENTINA David SoggARGENTINA David J. RossARGENTINA Glenn HarmanARGENTINA Heidi Huseman DewallyARGENTINA John TowleARGENTINA Laurel KuxhausARGENTINA Linda Strommen, IU Oboe StudioARGENTINA Peter ZeimetARGENTINA Rebecca NagelARGENTINA Shirley RobertsonBRAZIL Barbara OrlandBRAZIL Kevin ShackellBULGARIA Kathryn SleeperCHINA(P.R.O.C.) Donald VogelCHINA(P.R.O.C.) Jim ProdanCHINA(P.R.O.C.) Norma HooksCHINA(P.R.O.C.) Patty MitchellCOSTA RICA Gerald CoreyCROATIA Nora SchankinCUBA Marsha Burkett

CZECH REPUBLIC Aaron HilbunCZECH REPUBLIC Loretta Th omasCZECH REPUBLIC Nancy Ambrose KingECUADOR Rebecca HendersonENGLAND, UK Dan StolperGUATEMALA Terry EwellKAZAKHSTAN Bill ChinworthKAZAKHSTAN Nicolosa KusterLITHUANIA Chris WeaitMEXICO Carlberg JonesPOLAND James & Kimberly BrodyPOLAND Phil FeatherRUSSIA Donna RoncoRUSSIA Ellen Sudia-CoudronRUSSIA Keith KosterRUSSIA Marc FinkRUSSIA Richard & Isabelle PlasterRUSSIA Richard KillmerRUSSIA Th omas StacySPAIN Craig StreettVIETNAM Steve WelgossVIETNAM Troy Davis

ARTICLES50

Articles

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So many interesting life stories fail to survive much beyond their own times. When these useful and fascinating histories are lost, we are

all poorer for it. My aunt, Harriett Hasse Dreissiger (1910-1993), was a successful corporate wife, involved mother and grandmother, planner of fabulous din-ners and holiday parties, premier ceramicist and goldsmith, studio teacher, and all-around accom-plished woman. She was also, in 1929, one of the very fi rst professional woman bassoonists in the United States.

While music history is vague about just how many women played the bassoon at the beginning of the 20th Century, most accounts will grant that such occurrences were rare. At least one report lists Harri-ett Hasse as the fi rst professional woman bassoonist in her native Ohio. She may not have been one-of-a-kind, but she was certainly one of a very small group. What follows is Harriett’s story, stitched together

Remembering Aunt Harriett

Dianne SpiegelMarin County, California

from historical records and family memories, and told as accurately as possible.

EARLY LIFE

Harriett was the oldest daughter born to Charles and Henrietta Hasse, a middle-class German-Ameri-can couple living in Cleveland, Ohio. Charles was a complex combination of overbearing autocrat and upper-middle-class striver. From his four daughters he expected collective obedience coupled with great individual achievement. Music lessons were part of the training package.

Harriett began piano studies which continued for several years. When her teacher, Bradford D. Gil-liland, needed a bassoonist for his Junior Orchestra, he approached Harriett who immediately turned her attention to this unusual new musical adventure. She learned quickly and, in time, her father made a trip

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back to Germany to buy her the Heckel which would remain her only instrument for the duration of her bassoon love affair.

Quoted in a Cleveland newspaper article in 1928 Harriett said, “I’m terribly enthusiastic about play-ing. Some of the most interesting parts in the sym-phony are written for the bassoon. It’s quite a humor-ous instrument and keeps me in good spirits all of the time.”

The standard press of the day seemed to agree with the humor part of Harriett’s assessment.

“The bassoon is known as ‘the clown instrument of the symphony.’ It is the base of the woodwind instru-ments - oboe, clarinet and bassoon - and is about four and a half feet long and sounds like the lowest notes of a saxophone. It is very unusual for a girl to play this

rather rare instrument.”…Cleveland newspaper ar-ticle, 1929

While still in high school, Harriett audi-tioned for a place in Ethel Leginska’s Boston Women’s Symphony. Leginska (1886-1970), a pianist, composer, and conductor of con-siderable talent and formidable reputation, immediately offered her a position as one of two bassoonists in her touring company. What ensued was a battle of wills between two autocrats (con-ductor and father). What transpired was a compromise. Harri-ett would finish high school with her class and join the Sym-phony tour immedi-ately thereafter. And so the young woman was transferred from the care of one de-manding personal-ity to the control of

another individual with many of the same personality traits.

Harriett arrived in Boston in September, 1929, after signing a contract for a 10-week tour of Eastern and Midwestern states. Her pay was $50 per week. The 65 young women musicians were carefully chap-eroned and stayed in hotels offering them special rates of $18 to $20 per week. The orchestra paid all railroad fares and transportation costs. The music for the season had been sent to Harriett in Cleveland so that she would be prepared for the season which be-gan on October 1st. By all accounts, the season was an unqualified success.

Life witH “tempeRAmentAL etHeL” And tHe boston women’s sympHony

“The first mistake was removing the ring from their

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noses. The second mistake was teaching them the alphabet. The third mistake was permitting them to leave the nursery. The fourth mistake was giving them emancipation - or anything.

“Now the feminist movement has become a tidal wave and what we have been pleased to call the stron-ger sex now bids fair to be completely submerged, and serve us jolly well right.

“Which is apropos of the Boston Women’s Sym-phony, with Ethel Leginska conducting, which played last night at the Mosque to a large and enthusiastic audience. Enthusiastic? Gott in himmel, there were four encores at the end, and if there had been another round of applause we’d have heard Handel’s “Largo.”Pittsburgh Post-Gazette, December 11, 1929

Thus wrote the newspaper’s male music critic after a sold-out concert that featured the works of Liszt, Weber, Rim-sky-Korsakov, Sibelius, and Mascagni - as well as an original composition by the conductor.

It is instructive to read some of the reviews of those Symphony concerts. Although reviewers were overwhelmingly enthusi-astic about the quality of the music produced by this wholly female or-chestra, they sometimes seemed very shocked at how well the “young la-dies” could play serious music.

Ethel Leginska her-self was a study in con-trasts. While she railed against the anti-woman prejudices leveled at her and believed that “men held women down,” she retained many of the same bi-ases. She did not think that women artists were the equal of men because they lacked “unity of purpose and the endurance to carry it out.” These beliefs informed

her behaviors toward orchestra members, many of whom, like Harriett, were very young and inexpe-rienced. It couldn’t have been easy to work for the tough, determined, and uncompromising conductor who was exasperated by any inadequacy and given to stinging sarcasm and temperamental outbursts. The women players both worshiped and feared her.

life AfTeRwARDs

The concert of January 29, 1930, was the last given by the Boston Women’s Symphony Orchestra. After sur-viving and thriving for three years, during which 200 well-received concerts were performed in 21 states, forces converged to put an end to Ethel Leginska’s ambitious venture. A precarious economy following

the stock market crash of 1929 coupled with the

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diffi culties and prejudices encountered by women musicians and conductors in those times made it im-possible to keep the Women’s Symphony fi nancially afl oat. Even some of the large, heavily endowed, male orchestras had great diffi culty during this period. Not many middle-class people had money to spend on orchestra tickets as the Great Depression settled

over the country.Harriett retired at the age of 20 and followed the

path of many young women of her time, place, and background. She married a man who would become very successful in business and for whom she would provide all the supports of a skilled corporate wife. She gave bassoon lessons to a few Cleveland stu-

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dents until her husband, perhaps embarrassed by his wife’s strange “hobby” as he reached the higher rungs on the corporate ladder, insisted that she stop. Th e Heckel was sold to a male member of the Cleve-land Orchestra, and the money was used to buy a Shopsmith to facilitate her husband’s adventures in amateur woodworking. Interestingly, the Shopsmith (a large, complex apparatus containing lathe, drill press, sander, table saw, etc.) is still in the family. To-day, a new one can be purchased for about $3,000. Th e whereabouts of that wonderful old Heckel from the 1920s is unknown.

Much later, aft er her three children had grown and left home, Harriett graduated from the Cleveland Institute of Art and became a widely known and re-spected jewelry designer. She taught metal-smithing and enameling to about 60 students in her Chicago-area studio, and retired, well-loved and respected, at the age of 78.

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Even though she died 61 years aft er leaving her symphony seat, her obituary in the Cleveland Plain Dealer carried the heading:

Harriett Dreissiger Was a Professional Bassoonist.

I think she would have been pleased. ◆

SOURCE MATERIALS

Letters from Ethel Leginska to Charles and Henrietta Hasse.

Old press clippings from various newspapers includ-ing the Cleveland Plain Dealer, the Pittsburgh Post-Gazette, and the Mississippi State College newspaper.

Broadbent, Marguerite and Terry. Leginska: Forgot-ten Genius of Music. www.Leginska.org, 2002, Chapter 13.

Information provided by Harriett’s daughters and son: Karen Blair, Toni Brady, and Armin Dreissiger.

THE AUTHOR

Dianne Spiegel is an amateur oboist and IDRS mem-ber who studies with Brenda Schuman-Post in Marin County, California. Th e idea for this article came from Brenda aft er she saw an old photograph of Harriett posing with her bassoon in the family’s music room.

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What led Benjamin Britten to turn to a classical poet as his muse in composing the Six Metamorphoses aft er Ovid, Op 49? It is not surprising that such a literary com-poser as Britten should draw on the classics, but to use Ovid’s Metamorphoses as

inspiration for a solo instrumental work is surely original in itself. Paul Kildea (1999, 36-53) discusses Britten’s growing literary understanding in the 1930’s and 1940’s especially under the important infl uence of W.H. Auden and cites examples of the composer’s wide-ranging reading during that time. Th is literary awareness also fuelled the sense of ‘otherness’, shared with Auden, which separated such artists from society. Auden himself made use of classical mythology to illustrate the pain and separation of the artist:

About suffering they were never wrong,The Old Masters: how well they understoodIts human position: how it takes placeWhile someone else is eating or opening a window or just walking dully along;……

Benjamin Britten and Ovid’s MetamorphosesGeorge CairdBirmingham Conservatoire, EnglandIn this second of two articles (fi rst article see The Double Reed Vol. 29, No.3) George Caird discusses the literary and artistic infl uences on the Six Metamorphoses after Ovid, Op 49 and how these have informed recorded performances.

Panthaios, c. 520BC. Pottery, black-fi gured hydria from Attica, discovered in Naples: Dionysos with satyrs and maenads; on the shoulder, chariots and animals. © The Trustees of The British Museum.

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In Breughel’s Icarus, for instance: how everything turns awayQuite leisurely from the disaster; the ploughman may Have heard the splash, the forsaken cry,But for him it was not an important failure, the sun shoneAs it had to on the white legs disappearing into the greenWater; and the expensive delicate ship that must have seenSomething amazing, a boy falling out of the sky,Had somewhere to get to and sailed calmly on.(Auden 1940, 746)

Boris Ford (1993/6, xii) also makes the point that poetry mattered greatly to the composer: ‘Rosamund Strode has said that he never travelled anywhere without packing an anthology’. It could be, then, that Britten had his copy of Ovid’s Metamorphoses with him when he visited Vienna at the beginning of April 1951, six weeks before the fi rst performance of the Metamorphoses, to perform there with Peter Pears. Th e Britten-Pears Library in Aldeburgh has two copies of Th e Selected Works of Ovid in the Everyman series (Golding 1943).

In fact, Peter Pears was himself a strong literary infl uence on the composer. Pears was a classical scholar at Lancing and, despite an early departure from Oxford University, had a lifelong interest in the classics, poetry and literature. Even at school he had become aware that his emotional development had resonances with classical thought: ‘I realised, too, that the love I had discovered belonged to Classical times of Greece rather than to Christianity of today’ (Headington 1992, 15).

Th is remarkable comment by Pears points to two important themes running through Britten’s life and work: the Christian tradition and classical mythology. Donald Mitchell (Palmer 1984, 211) has seen Britten as ‘a peculiarly thematic composer. I am not thinking of the fertility of his melody or of the prominent role that themes and thematic organisation play in his music, but of themes in a broader sense – concerns, commitments, attitudes and sources of stimulation which have been long-standing pre-occupations and which are variously refl ected in his art’. Graham Elliott (2006, 38-40) draws on this view in his exposition of Britten’s ‘spiritual dimension’, further referring to Auden’s idea of ‘parable-art’ as a major form in Britten’s output:

There must always be two kinds of art, escape art, for man needs escape as he needs food and deep sleep, and parable-art, that art which shall teach man to unlearn hatred and learn love.(Auden 1935)

Elliott makes a strong case for the Christian theme running through so many of Britten’s works from his liturgical music to the Canticles, Church Parables and War Requiem. But an equal case can be made for classical mythology which pervaded Britten’s work from Young Apollo (1939) to Phaedra (1975).

Arnold Whittall (1999, 96) makes the point that Britten had already written incidental music for Edward Sackville-West’s radio play, Th e Rescue, based on Homer’s Odyssey in 1943, providing a precedent for his accepting Eric Crozier’s idea for the opera, Th e Rape of Lucretia (1947): ‘...off ering as it did a small-scale yet strongly dramatic narrative in which a virtuous, sensitive individual is traumatically violated and driven to self-destruction…. Yet Britten’s acceptance of the Lucretia story is logical enough, given its direct association with his favoured theme of the

Portrait of W.H. Auden, 1937 by Howard Coster. National Portrait Gallery, London.

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confl ict between the vulnerable and the vicious…’. Ronald Duncan confi rms, too, that Britten was interested in classical literature in searching for universality: ‘What is important is that it (Lucretia) has become a European legend. A legend contains universal truth, whereas history at its best is oft en only accurate in fact’ (Duncan 1981, 58). In the light of Graham Elliott’s work on the spiritual dimension it is remarkable that, in Lucretia, Britten chose to place a classical story within a Christian framework.

Another important literary infl uence on Britten was the great Cambridge novelist, E.M.Forster who inspired the creation of Peter Grimes in the 1940’s and who was to be a major collaborator in the creation of Billy Budd. Work on this second grand opera brought the two men into close contact from 1948 onwards as fi rst the libretto and then the opera itself took shape. Th is was an extremely taxing process for Britten and at times brought periods of doubt and depression about the project. Forster, together with his co-librettist, Eric Crozier, seems to have provided strength in the creation of the libretto and no more so than with the character of Captain Vere. Forster’s renowned Prologue for Vere could provide a clue to Britten’s interest in antiquity, and hence Ovid. Coming at the very beginning of the opera, as ‘Captain Vere is revealed as an old man’ the Prologue sets the scene for this great story of Good and Evil as exemplifi ed by Billy Budd and Claggart:

I am an old man who has experienced much. I have been a man of action and fought for my King and Country at sea. I have also read books and studied and pondered and tried to fathom eternal truths. Much good has been shown to me and much evil. The evil has sometimes been absolute. And the good has never been perfect. (Forster 1949, Act 1, Prologue)

E.M. Forster and Benjamin Britten in a boat at Aldeburgh, 1949 by Kurt Hutton. Hulton Getty Picture Collection.


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Vere’s studying is further illustrated in Act I, Scene 2 where the Captain is found sitting in his cabin, reading. He sings: ‘Plutarch – the Greeks and Romans - their troubles and ours are the same. May their virtues be ours and their courage! O God, grant me light to guide us all’ (Britten, Forster, Crozier 1951). As the Greeks and Romans are referred to, the Plutarch volume is likely to be one from his Parallel Lives where outstanding fi gures from the two cultures are compared. Rex Warner (Warner 1958, 7-10) points out: ‘What really interests him (Plutarch) is character, the eff ects of birth or education, the drama of an individual’s success or failure, and the various moral refl ections which can be made on these subjects’. All very apposite for the plot of Billy Budd, the dramatic interests of its librettists and composer and for Britten’s interest in one of Plutarch’s greatest predecessors, Ovid.

Th e reference to Plutarch does not come directly from Hermann Melville’s original novella but must have been created by the librettists to fl esh out the character of Captain Vere. Nonetheless, two passages in Chapter 7 are the pointers to Plutarch: ‘…his (Vere’s) bias was toward….books treating of actual men and events no matter of what era – history, biography....’ and ‘but in illustrating of any point touching the stirring personages and events of the time he would be as apt to cite some historic character or incident of antiquity as he would be to cite from the moderns’ (Melville 1891, 340).

Vere’s erudition is in fact an extension of Melville’s own character and approach to his writing. By any standards, Melville was a highly literary writer. Billy Budd, his last work, is full of references – to Montaigne, Th omas Paine, Voltaire, Diderot, Andrew Marvell and many more. It is almost as though Melville needed to demonstrate his immense knowledge as well as his volcanic imagination. It is important for this discourse that in the fi rst chapter of the story, Billy is greeted on board with his travelling chest with the words ‘Apollo with his portmanteau’ (Melville 1891, 326), a reference to the writer’s own researches in Matthew Arnold’s On the Study of Celtic Literature which revealed that the Celtic equivalent of Apollo, ‘Hu’, was known also as Beli and Budd (Beaver 1967, 457). Th is is surely no coincidence and highly signifi cant. Apollo was the god of music, poetry and medicine and the brother of Diana. He was the father of Phaeton, though he is oft en confused with the Sun God and with Hyperion in this respect. In relation to the sun, he oft en carries the name Phoebus Apollo. He took revenge on Niobe, competed

in music with Pan and was compared by Ovid with the beauty of Bacchus and Narcissus. Th ese interweaving classical themes are a strong connection between Melville, Forster, Crozier and Britten himself.

In fact, Britten had already taken inspiration from Keats’ Hyperion in entitling his Young Apollo (1939) for piano and string orchestra. Keats’ ‘fragment’ has a ravishing section in which Clymene, Phaeton’s mother, makes music with a seashell. More importantly, the poem ends with Apollo being addressed by memory (Mnemosyne):

Thou has’t dreamed of me; and awaking upDid’st fi nd a lyre all golden by thy sideWhose strings touched by thy fi ngers, all the vastUnwearied ear of the whole universeListen’d in pain and pleasure at the birthOf such new tuneful wonder. Is’t not strangeThat thou should’st weep, so gifted?(Keats 1819, III, 61-68)

Th e connection between Apollo and talent is important here and it is of further note that Britten returned to the Nietsche-inspired theme of Apollo in his last great opera, Death in Venice. Cliff ord Hindley (1999, 157) traces the connection between ‘the intellectual quest for formal perfection (through an Apollonian order of self-discipline) and, on the other hand, the Dionysian forces which emerge from passion and the submission to collective feeling’ in Britten’s portrayal of the relationship between Ascenbach and Tadzio. Th e relationship between the artist (Apollo/Britten) and observed intense relationships is paramount to this debate on the Metamorphoses.

Donald Mitchell (1979/1991, 111-134) argues that the character of Vere in Billy Budd is central to the most profound theme in the opera: ‘two confl icting types of authority are contained within the tormented psyche of one human being – his (Claggart’s) antagonist, Vere’. Th is theme, together with Claggart’s and Vere’s appreciation of beauty (Billy Budd) underpins the development of this great opera which reaches its climax in the famous ‘Interview chords’ illustrating the unspoken interaction between Vere and Billy before the latter’s death. Th is musical stroke of genius, Mitchell points out, allows ‘the composer, in releasing Vere’s voice from captivity, from its suppression, also releases his own; as Vere speaks to Billy, so does Britten speak to us.’ It could be argued that, in the Metamorphoses, Britten is being Vere-like and speaking to us on behalf of classical mythology.

Th ese insights set the scene for Britten’s departure

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from working on Billy Budd in the summer of 1951 to prepare for the Festival and particularly to write the solo oboe work for Joy Boughton. Th is, the composer probably did aft er the premiere on 1 May of his and Imogen Holst’s edition of Purcell’s Dido and Aeneas though the diary entry for March with a sketch for the opening of Niobe indicates the composer was thinking about the work at that time (Caird, 2006). Here again Britten had been working with a libretto drawn from classical times with a reference to Ovid’s ‘mini-Aenead’ in the Metamorphoses (Raeburn 2004, XIV, 78-81). It is remarkable that this section in Ovid contains the reference to Scylla and Charybdis, the monster and whirlpool at the straits of Messina which Britten apparently insisted on incorporating into Vere’s climactic aria in Billy Budd when the captain has to condemn Billy to death (Britten et al 1951, Act II, 73). Even more remarkable is the fact that in September 1950, Britten and Pears had taken a holiday in Sicily and wrote a postcard from Messina to Erwin and Sophie Stein (Britten and Pears 1950).

Th e enormous eff ort put in by Britten to composing music to defi ne the extraordinary relationships between the principal characters in Billy Budd seems to have led the composer to look at relationships as portrayed by eternal classical myths. Certainly, the Six Metamorphoses is a work in which the composer looks at human relationships and thereby at ‘eternal’truths’. Whilst Ovid (Innes 1955, 29) sets out to ‘tell of bodies which have been transformed into shapes of a diff erent kind’ his great work describes a vast range of human experience from the creation of the world in Book I to the deifi cation of the Emperor Augustus in Book XV. Th is fi nal book contains the magnifi cent philosophical utterances attributed by Ovid to Pythagoras including the author’s raison d’etre for metamorphosis:

My vessel is launched on the boundless main and my sails are spreadto the wind! In the whole world there is nothing that stays unchanged.All is in fl ux. Any shape that is formed is constantly shifting.Time itself fl ows steadily by in perpetual motion.(Raeburn 2004, XIV, 176ff)

Th is understanding may have infl uenced Britten musically in his approach to melodic development (Cook 1987, 253-9). Nevertheless, the relationships between gods, heroes and mortals play a signifi cant role in the Metamorphoses and Britten will have been attracted to this aspect of Ovid’s writing. Its

connection to Plutarch should be noted, not least in the remarkable sweep of stories in Books IX and X from that of Byblis who falls in love with her twin brother and Iphis who was a girl brought up as a boy and later betrothed to a girl, through to the magnifi cent songs of Orpheus (again a musical god to infl uence the composer), including the stories of Pygmalion and Myrrha whose incestuous love for her own father gets special attention from Ovid. Melville himself would have approved of Britten’s attraction to these tales, as he peppers his writing with references, in Billy Budd for instance, writing ‘With mankind’, he (Vere) would say, ‘forms, measured forms, are everything: and this is the import couched in the story of Orpheus with his lyre spellbinding the wild denizens of the wood’ (Melville 1891, 404).

However, Britten seems to have concentrated on characters signifying particular relationships for his own purpose and these are taken from Books I (Pan and Syrinx), II (Phaeton), III (Echo and Narcissus), IV (Bacchus and the daughters of Minyas), V (Arethusa) and VI (Niobe). It should be made clear that Britten’s copy of the Selected Works of Ovid (Golding 1943, 159-230) contains a fi ne choice of Ovid’s writing in translation, beginning with the moving Elegy on ‘how the poet was constrained by Cupid to write of Love rather than War’. Th e metamorphoses in this volume represent a rich selection from the original fi ft een books in the renowned translation in rhyming iambic heptameters by the 16th Century Arthur Golding. Th e selection contains ‘purple passages’ and notably pulls out the six stories in Britten’s work in close order: Pan and Syrinx, Phaeton, Echo and Narcissus, Bacchus, Arethusa and then Niobe as part of the story of Latona. Nevertheless, many stories (e.g. Andromeda) are rejected for this purpose.

Britten’s cycle opens with the god Pan, known for his lustfulness, who is depicted dealing with his unrequited love for Syrinx. Phaeton represents a father-son relationship whilst the third metamorphosis depicts a mother’s grief for her stricken children. Th e most complex story in the cycle is that of Bacchus which appears to concentrate here on the infl uence of Bacchus on women who are or are not transformed by his festivities (Dalby 2003, 119-121). Narcissus’ story represents an unrequited love of Echo for the beautiful and innocent boy, Narcissus, and then his own downfall as he falls in love with his own image. Finally the cycle returns to the boy-girl relationship here eternally converting Arethusa to water as she tries and fails to escape the attentions of Alpheus.

Pan’s connection with music makes an obvious


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choice as an opener for this cycle of relationships. It is interesting to note that the second story to include this god in the Metamorphoses (Raeburn 2004, XI, 140-177), involves the music competition presided over by Tmolus, between Pan and Apollo which is lost by the pipe-playing Pan in favour of the lyre of Apollo. Could Pan have some of that ‘otherness’ which separates him from the higher ranking gods of Mount Olympus? Elaine Fantham (Fantham 2004, 51-60) argues that mortal artists were always in confl ict with the jealousy of the gods and here the lesser divine (Pan) would be sure to suff er against the superiority of the great Apollo, especially as it was also possible to sing whilst playing the lyre where Pan could only play.

Certainly, Bacchus seems to have that ‘otherness’ as he is depicted in many sources as coming from Asia Minor and outside the Greek conciousness (Dalby 2003, 71-79). But in Phaeton and Niobe, could Britten wish deliberately and in sequence to express aspects of the father-child and mother-child relationships and thereby celebrate his own relationships with his parents? Th e beautifully written Niobe could easily be a reversed lament for his own mother perhaps. Th e story of Narcissus is a most subtle one but the self-awareness of beauty, a central theme in Billy Budd, must have been a sure choice for this collection. And fi nally Arethusa who fi rst makes her appearance advising Ceres that her daughter, abducted by Pluto, is

indeed in the underworld.It should also be noted that Britten may have been

infl uenced, especially through Pears’ interest in art, by the many interpretations of these ancient stories by artists through the ages. Th e magnifi cent pictures of Bacchic ritual and revelry as seen in stone carvings such as the Nereid Monument in the British Museum and countless early earthenware jars as typifi ed by the Attic jar signed by Panthaios (no date) must surely give pictorial inspiration to this movement in the Six Metamorphoses. Equally Poussin’s glorious paintings of Pan worship and Bacchic festivals (Poussin 1625-7) serve as excellent examples from the 17th century and probably known to Britten (Fantham 2004, 133-151). Christopher Allen (2002, 336-367) traces the infl uence of Ovid as a ‘vital source – a fount of inspiration’ for artists through the ages, from Pollaiuolo’s early and restrained Apollo and Daphne (Pollaiuolo), through the more fl amboyant works of Bernini, Poussin, Botticelli, Titian (notably Th e Death of Actaeon) and Rubens to the nineteenth century where English artists, George Watts’ Minotaur for example, exert much infl uence. Mention should be made of the pre-Raphaelites and especially Rossetti, whose poem and painting, Th e Blessed Damozel inspired Debussy profoundly. Th e link between Debussy’s Syrinx has already been made (Caird 2006) and the pre-Raphaelite connection will be discussed more in connection with Bacchus.

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In addition, the infl uence of the visual arts should be mentioned in connection with symbolism. Another important dimension in the selection of characters for the Six Metamorphoses involves the elements. From the beginning of classical times the four elements of fi re, air, earth and water pervaded philosophical thinking. It is natural that Ovid’s masterpiece refl ects the underlying importance of these elements in his writing. Th e Pythagorean section of Book XV contains a defi ning passage on the elements which has direct relevance to the elemental themes within the stories of Britten’s work:

This law of impermanence also applies to what we call elements.Pay attention, and I shall explain the changes they pass through.The world eternal contains four bodies which generate matter.Two of them, earth and water, are heavy and gravitate downwards;The other two, air and fi re, which is even purer, are weightlessAnd tend to make their way up, if nothing is pressing them down.Although these elements occupy different positions in space,They form the source and the end of all matter.(D. Raeburn 2004, Book XV, 236ff)

Here in Britten’s selection there is a broad spread of elemental infl uence: Pan and Syrinx are representative of earth and water, Phaeton of air and fi re quenched by water, Niobe of water (tears) and earth, Narcissus of water and earth and Arethusa of water. Bacchus is surely very earthy but his story involves the fl ight of bats and thereby air.

Th roughout the history of art, the elements have been much used symbolically with air representing spirit, fi re representing passion and not least in the use of the fountain as a symbol for love. Th e overall wateriness of the Metamorphoses, another connection with Billy Budd, is magnifi cently consummated in the fountain images of Arethusa. Matilde Battistini (2005) draws on a wide bibliography to illustrate the major archetypal symbolic themes in art. For example, the mountain is oft en seen to be the meeting place of heaven and earth and thus the home of deities (as in Mount Olympus). Niobe’s metamorphosis

Architrave frieze, Men rushing forward to a festival, from the Nereid Monument at Xanthos, 380 BC. © The Trustees of The British Museum.


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might have a more profound connection in this respect. Th e mirror (as in Narcissus’ story), however, has two confl icting interpretations being an image of lust, vanity and pride but also of inner knowledge. Th is double meaning off ers us a choice of interpretation for Narcissus. Th e symbol of the fountain is of great importance in art usually representing the source of life and perpetual renewal. For Ovid and Britten, this symbol involving water is of the greatest signifi cance, starting with Syrinx and culminating in the eternal cascades of Arethusa.

Lucia Impelluso (2003) gives specifi c examples of all Britten’s characters in art. Pan is depicted in Annibale Caracci’s Pan and Diana (c 1597-1604) and Rubens’ copy of Jan Brueghel’s Pan and Syrinx (no date). In this work note should be made of Pan’s fi erce and savage face. Th e spectacular Fall of Phaeton by Sebastiano Ricci (1703-4) is one of a number of cited portrayals of this story. Abraham Bloemaert’s Th e Death of Niobe’s Children (1591) shows Apollo and Diana dispatching the seven sons and seven daughters. Apollo is never far away in these stories. Th ere are many depictions of Bacchus including famous images by Caravaggio (1596-7), Bellini (1505-10) and the sensational Th e Triumph of Bacchus by Caracci (1597-1604). Narcissus receives much attention, too, notably from Caravaggio (1599-1600) and Poussin (1625-7). Arethusa, whilst less acknowledged by artists, receives ravishing attention from Arthur Bowen Davies (1901).

It is debatable how much notice Britten may have taken of such artistic sources in his instrumental music, though Graham Elliott (2006, 123) reports that the composer was inspired by a capital in Autun cathedral in the creation of the Burning Fiery Furnace. Donald Mitchell (1993, 111) also refers to Britten’s strong pictorial image of the music he wrote especially in opera: ‘ ‘Concrete in its statements and ….positive in its eff ects’. A key phrase (from John Piper), that, because I am quite sure it precisely refl ects how Britten ‘saw’ his operas while he was composing them – in very considerable visual detail…’.

Th e images used by Britten are, in some cases, clearly intelligible from his music but in other cases it is harder to ascertain the level at which the music is being infl uenced by the literary or artistic image. It is important to note that whilst some characters such as Niobe have a single entry in the Ovid classic, others such as Bacchus are part of more than one story and it is diffi cult to discern whether Britten has used all of Ovid’s references, although Britten’s copy of Ovid does imply a more limited range of reference. Another complexity is that Ovid himself made use of earlier versions for many of his stories, notably from Homer and Virgil but also from other writers like Aischylos and Euripides. Th ere was, then, a passed-on tradition of stories which infl uenced everyone’s knowledge of classical mythology and which Britten himself may have drawn on from his own reading.

And so to Britten’s settings of the Ovid stories and selected recorded performances of these. Th e intention here is to discuss diff erent possible interpretations and even meanings of Britten’s music in relation to the stories themselves without necessarily arriving at a ‘right’ version. It could be that the arguments put forward in this article point in a certain direction, but it would be undesirable for this to stifl e interpretative invention but rather to encourage even more invention by performers. Koen van Slogteren (1990, 1992) stands

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Nicolas Poussin, 1636. The Triumph of Pan. National Gallery, London.


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out as a performer and writer who supports the idea of researching Ovid as an essential route to interpretation of the Metamorphoses presenting the choice between an informed interpretation and a freer reading based on imagination alone.

Th ere are a great many very fi ne performances available and this writer has been astonished at the quality of playing and imagination. Two performances on alto and tenor saxophone (Bergeron 1996 and Spaneas, no date) are interesting in demonstrating the music’s possibilities especially in relation to tonal colour and range. Otherwise the performances considered here are all by oboists. Th e examples given, however, are chosen when a performer apparently makes a specifi c narrative point. In this respect it would be true to say that some performances are more signifi cant than others as the originality of the ideas presented are worthy of note. Metronome marks have been used only as indicators of speed; speeds are either captured from the fi rst bar or as a ‘mean’ of the general tempo of a particular performance. Th is is because so much of the music demands rubato, however slight.

Pan receives four entries in the Metamorphoses, but it is the fi rst of these in Book I which seems to be at the heart of the fi rst of Britten’s pieces. Th e story is well-known: Syrinx was a particularly beautiful wood-nymph living in Arcadia and a follower of the goddess Diana. She was spotted one day by Pan, the god of the woods and fi elds, who was immediately attracted to her and chased her to the banks of the River Ladon. Like Diana, Syrinx observed chastity and rejected Pan’s advances eventually calling on the nymphs of the stream to transform her into marsh reeds. Pan sighed with disappointment but then noticed the sound of the wind whistling in the reeds making a ‘thin, low, plaintive sound’. He was captivated by this strange music: ‘And so, when he had bound some reeds of unequal length with a coating of wax, a syrinx – the name of his loved one – stayed in his hands’ (Raeburn 2004, I, 699-712). Phil McLaughlin (no date) points out that the story makes a pun when describing Pan searching for thalamos (sexual union) and being left only with calamos (reeds).

Britten’s music seems directly descriptive of this story although opinions diff er as to detail. It is not even clear whether Britten intended his metamorphosis to be the change of Syrinx into a reed, the reed into a pipe, the pipe in to music or, perhaps, all three. Th e question of what kind of instrument Pan used is an enigma for Britten’s work as the likelihood is that it was the Pan Pipes and not an oboe. Britten’s use of the oboe is a good example of the more general approach to

the interpretation of antiquity taken by the composer (Caird 2006; Ardito 1999).

Th e opening of Pan is problematic as it doesn’t necessarily depict anything. It’s open air feel, marked Senza misura, might indicate a vision of the open fi elds, hills and woods of which Pan was god and many interpretations seem to take this as their starting point. But note should be taken of the third Pan story in Ovid (Raeburn 2004, XIV, 516ff ), quoted in the Golding translation, where Diomedes chances upon Pan’s cave which ‘once had belonged to nymphs. One day these nymphs were chased from their cave in a fright by a local shepherd, who scared them at fi rst with his sudden arrival’. Th is story appears to have given Britten the idea of Pan as a scary being who was prepared to jump out and frighten you (Craxton, no date). Th is view is supported by Karl Kerényi (1951/1974) whose Th e Gods of the Greeks may have been known to Britten.

Whatever the reading, the opening is more emotive than descriptive and is the fi rst example of music which requires an interpretative decision by the performer. Th e Senza misura marking needs some thought, too, as the pulse fl uctuates to create the unsettled eff ect of this quixotic deity. It is possible to interpret Pan as continuous ebbs and fl ows of ‘ping-pong ball rhythm’ and its reverse. Th e shift s between major and minor (bars 1 and 3, for example) also point to a divided personality between overt confi dence and self-pity, the two sides of Pan’s contribution to this unrequited relationship.

Th e second section from bar 6 is oft en thought to depict the playing on the newly fashioned reed-pipe and the growing confi dence of the god with his technical prowess. Britten’s letter to Friedrich Krebs (1957) endorses this idea of experimentation without giving a literal meaning to the section:

You are right about the Pipe of Pan. I have no clear pictorial image for the repeated A sharps, except perhaps that they show hesitation. I am sorry they are ponderous on your oboe; the original oboist (Joy Boughton) was able on hers to make them very light and short.(Britten 1957)

Another approach to the interpretation of Pan is given by Koen van Slogteren (1990) who provides a detailed account of the story within the music written. Here the opening section (bars 1 to 5) describes Pan’s pursuit of Syrinx, with the middle section from bar 6 depicting Syrinx resisting his advances.

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van Slogteren makes the brilliant suggestion that Syrinx’ metamorphosis takes place in bar 8 where an incomplete rising whole-tone scale from Bf’ to as’’ lacking gs’’ is miraculously and quietly completed by the last three notes in that bar. Only in bar 9 and 10 does Pan make the pipes by binding reeds together and it is in bar 11 and 12 that he actually plays it. Th e last three notes depict Syrinx’ fi nal rejection. Conversely, Richard Weigall,1 thinks this last bar is Pan’s humorous thumbing of the nose at the whole aff air.

Th e fi rst broadcast performance of Pan by Joy Boughton (Boughton 1952), with an approximate quaver pulse of 100 certainly gives over a sense of urgency at the start which could be interpreted as ‘scary’ and this quality is also in the performances of Sarah Francis (Francis, 1964) and Janet Craxton

(Craxton, 1976 ) both of whom adopt a similar tempo. Heinz Holliger (1991) adopts nearly as quick a tempo but makes a highly expressive opening resulting in an almost dotted rhythm for the fi rst two notes. Hansjörg Schellenberger (1998) however opens the piece at around quaver = 64 with a much more pastoral quality in the playing. Th is is mirrored by longer pauses than in the fi rst three performances cited. Maurice Bourgue (Bourgue, no date) also takes a very pastoral view at quaver = 72 with even longer pauses to highlight spectacular dynamic control. His reading of Pan, lasting 2’ 36”, highlights the diff erence of approach as it takes over one minute longer than Boughton’s version. Nancy Ambrose King (1999) also adopts a spacious approach enhanced by a reverberant acoustic. Gordon Hunt (Hunt, 1997) takes a middle course between the urgency of Boughton, Francis, Holliger and Craxton and the later more pastoral

readings, starting spaciously but moving through the phrases. Simon Dent’s (1998) performance of the Metamorphoses begins with a slow and pastoral reading of Pan emphasising sonority throughout as does John Mack (1990) who makes use of a reverberant acoustic to enhance the pastoral eff ect. Douglas Boyd’s equally pastoral performance (1994) makes distinctive use of Britten’s ‘hairpins’ to great dramatic eff ect.

Both Boyd and Nicholas Daniel (1994, 1997) begin the second section with cautious tension in seemingly invoking Pan’s amazement at the sounds he is making or, for van Slogteren, in Syrinx’ escape from Pan’s advances. Th e wildness of Pan’s improvisation is quixotically captured by Daniel in his renowned performance from the BBC Proms (1997) where the vast acoustic of the Royal Albert Hall seems to lend considerable atmosphere to the whole work. Holliger (1997), too, creates great character through pointing of the rhythms in the middle section arriving on a plaintive harmonic as’’, so beautifully quiet. Th is performance, live from the Barbican Hall in London is superbly eff ective in the recorded acoustic. Th e use of more resonant acoustics is noticeably advantageous in some performances, for instance that of Richard Weigall (1998).

Th e two bars of recapitulation at bars 9 and 10 present performers with a wonderfully expressive opportunity. Clearly marked at diff erent dynamics, they mirror the opening and the lower dynamic of bar 3. Jonathan Kelly’s broadcast reading (1996) could be heard to capture ‘pastoral’ and ‘refl ective’ emotions in these bars, whilst Holliger’s performances (no date, 1991, 1997) are more ‘dramatic’ and ‘sad’.

Th e Lento ma subito accel. passage at bar 11 receives a variety of readings, some starting slower than others. Janet Craxton makes the point of accentuating the beginnings of each group, whilst Douglas Boyd uniquely diff erentiates the semiquavers from the twelft h group onwards. Th e six staccato as’’s have many individual interpretations, some slower and in 8, others faster and in one beat. Earlier discussion of Britten’s intentions in this bar highlights this ambiguity (Caird, 2006). Th omas Indermuhle (1994) makes a strong point of highlighting the as-cs-d motif in the penultimate bar, in keeping with Nicholas Cook’s reading of the piece (1987). Th e fi nal bar oft en brings humour, though occasionally a tinge of sadness.

Th e epic of Phaeton is the longest single story in the Metamorphoses covering some 338 lines from the end of Book I and into Book II. It tells of the arrogant young boy pleading with his mother, Clymene, to prove that he is indeed the son of the Sun God, her angry

Maurice Bourgue. Lebrecht Picture Library.

1 Conversation with George Caird, November 2006


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retort that he should go to his father and fi nd out if he was not prepared to believe her and his journey to his father’s magnifi cent palace. His father allows Phaeton any single wish to demonstrate his love for his son and this results in Phaeton’s doomed request to drive the chariot of the sun for a day. His father is immediately horrifi ed and remorseful at granting him any such wish and tries to dissuade him but nevertheless cannot go back on his promise. Th e story takes Phaeton on his infamous ride across the heavens resulting in total havoc and fi re and Jupiter’s thunderbolt causing the boy’s destruction and descent into the River Eridanus (Britten and Golding have Padus).

Britten’s Phaeton is magnifi cently chariot-like with the opening section conveying all the necessary vitality and danger. Th e sudden switches from chord to chord in this seventh-dominated movement creates tremendous visions of the hair-raising ride with crescendi hurling the boy round corners of the sky. Britten’s departure from the use of slurs (Caird, 2006), confi rms the composer’s view of Phaeton as driven and (as in Ovid) over-confi dent. Koen van Slogteren (1992) sees the staccato quaver triplets as excellent illustrations of the clatter of hooves, perhaps most vividly interpreted by Robin Canter (1982), but goes further to view Phaeton as a rhythmic paradigm of adolescent angst. Th e middle section, now with slurs and quiet, gives a fairly obvious image of distance and the listener is easily persuaded to see the chariot from afar perhaps disappearing from time to time behind clouds. Britten (1957) confi rms this interpretation:

The soft C major arpeggios in Phaeton could perhaps suggest a similar movement to the beginning, but at a distance – perhaps even an echo – but something anyhow to give a sense of space.(Britten, 1957)

But with the fi nal section we are defi nitely back in the chariot and experience fi rst hand the fi nal catastrophic fall into the river with bubbly re-emergence to the surface. Th e quiet ending implies that Britten saw the chariot and horses disappearing into the distance with only Phaeton as casualty. Britten’s earlier version of this ending (Caird 2006) should be noted. Th is must be the case as the sun continues to travel the skies to this day. Stephen Hiramoto (Hiramoto 1999, 23-26) is right to point out that the music seems not to relate a metamorphosis save that of Phaeton being killed in his fateful fall into the river. Ovid’s metamorphoses come at the end of the tale with Phaeton’s grieving sisters being turned to trees and his friend, Cygnus,

becoming a swan. Again, water is the abiding image.Th e ‘bigger picture’ therefore centres on why

Britten should wish to pick this theme for his cycle. As indicated, the relationship between father and son is an important theme in Ovid. Many of the stories are to do with the sexual misdemeanours of the gods and the relationships produced by the progeny of such liaisons. But the stories also demonstrate the eternal connection between mortals and gods and here Britten may be highlighting the need for us all to prove ourselves in the face of overwhelming infl uence and role-modelling from above. Error and disaster are common outcomes of the over-confi dent youth and here we have a great example of the need to learn from mistakes….before it’s too late! Koen van Slogteren’s psychological interpretation has much to recommend

it here. As stated above, there could also be a trace of Britten wishing to include a father-son relationship in his cycle as a part of his own direct experience. And fi nally, if metamorphosis is important, the changes of Phateon’s sisters to trees and his friend into a swan seem to be nowhere in this portrait,

but, in keeping with the fl ow of Ovid’s brilliant narration, could this grieving be the link with Niobe’s fate which is the next movement in Britten’s cycle? If so, a sophisticated musical story-telling is beginning to emerge. It should be noted that Britten proposed Phaeton as a subject for an opera in 1954 (Mitchell et al), another example of the composer growing his ideas on a theme over time.

Joy Boughton’s recording sets the pace for Phaeton at dotted crotchet = 126-132. Th is is interesting in the light of Britten’s eventual metronome mark of 152 indicating tempo infl ation in the intervening years. Certainly Schellenberger’s 138 is somewhat faster and Holliger’s quickest reading faster still at around 144 (Holliger, 1991). Maurice Bourgue (Bourgue, no date) tops the speed charts with a virtuosic 152, rising to 160+ for the agitato in a superbly technical version. François Leleux and Gordon Hunt also give fast tempi with even quicker readings of the agitato section. Nancy Ambrose King makes interesting use of hesitant starts to phrases in the fi rst section to create a sense of danger in Phaeton’s ride. In a similar vein, Sarah Francis’ 1995 version gets slower at the agitato

Hansjörg Schellenberger

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successfully creating unease and tension through accentuation. A very interesting detail comes at the end of the fi rst section in the Boughton performance where the last bar is clearly played in compound time. (Boughton 1952), a reading echoed by Lajos Lenscés (1978). Th is is not the case with Janet Craxton who recorded the work with the composer but nevertheless we have an example of two unresolved possibilities for this bar. Craxton makes great use of the dynamics in her performance with a beautifully distant middle section at a genuinely Ä dynamic.

Th e tale of Niobe comes in Book VI of the Metamorphoses and, as a tale about pride follows another on the same subject in which Arachne is famously turned into a spider. Niobe is the wife of Amphion, King of Th ebes, and whose playing on the lyre was a great source of pride. Again the musical connection is worthy of note and here is another link with Apollo. But Niobe’s pride was especially centred on her seven sons and seven daughters: ‘Yes, Niobe would have been known as the happiest mother on earth, if only she had not thought it herself ’ (Raeburn 2004, VI, 154). Niobe’s extended and arrogant invocation to Th eban women to favour her over the goddess Latona resulted in a fi ery outburst. Latona needed to say little to her children, Apollo and Diana, to bring about the downfall of the house of Amphion. All fourteen children were killed by arrows, sons fi rst then daughters and Niobe’s invocation to spare her one child went unheeded. To crown it all, Amphion killed himself to overcome his own grief. Th e story ends with Niobe becoming more and more immobile

with blood-fl ow ceasing. A mighty wind blows her to a mountain top where to this day her tears fl ow down the crag of her cheeks. Th e importance of this story in classical mythology is born out by its appearance at the very end of Homer’s Iliad (Rieu 1950, XXIV, 590) when King Priam exhorts Achilles to share food despite their mutual grief. Koen van Slogteren (1992) describes the story of Niobe as an ethical struggle between ‘self ’ and outside world.

Britten’s exquisite miniature captures the grief-stricken mood perfectly with the sighing pairs of slurred quavers following the long, heartfelt opening notes of phrases. Th ere is no overt story present save for the still ending portraying the metamorphic process to rock; presumably the moment of metamorphosis takes place from bar 10 or during the animando second section with the fi nal section taking one phrase to eradicate all traces of humanity through the eventual direction, senza espressione. Emotionally, though, this is a masterpiece, full of tenderness, refl ection and grieving. Th e mother-child relationship and family pride are what are destroyed here and, again, the price of individuality against convention seems to be the issue. All Britten’s characters share the characteristic of being beyond the pale of Mount Olympus and their stories are cautionary as a result.

Britten’s 1970 metronome mark of crotchet = 60 is faster than virtually all known performances. Boughton’s quaver = 92 sets a ‘norm’ and interpretative diff erences tend to focus on the amount of rubato. Th e earlier recordings interestingly are strict to tempo with little ‘pulling around’, the expression remaining in the sound. Roy Carter (Carter, 1995/6) provides a classically beautiful version of this movement very much in the Boughton tradition with a minimal but fi nely judged animando. Maurice Bourgue (no date) starts relatively slowly but moves forward in crotchet beats to create an expressive and free feeling. His animando is very marked whilst his still, dead ending produces a remarkable senza espressione and niente. Th omas Indermuhle has an original reading of the opening making distinctive pairings of notes under slurs. Lajos Lenscés makes the point that the metamorphosis must surely be taking place in bars 10 and 11 by a momentary placing of the Ä phrase endings. Lenscés’ is a generally powerful reading of the work as a whole allowing scope for beautiful comparison with important quiet passages. Th e slowest version belongs to François Leleux with a performance lasting nearly a minute longer than, for example, Janet Craxton. Th e distant beauty of his fi nal phrase is remarkable refl ecting Britten’s own view that

Nancy Ambrose King


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‘Niobe’s lamentation becomes granite in the last four bars’ (Britten, 1957).

Th e story of Bacchus is perhaps the most complex of Britten’s choice for his cycle. Firstly, he is the one deity of the group who eventually was allowed to join the twelve principal gods of Mount Olympus (together with Hercules). Secondly, his metamorphosis is less obvious unless the act of getting drunk was what was intended. Th irdly, there are a great many stories involving Bacchus in the Metamorphoses including his birth as a result of an illicit liason between Jupiter and Semele, his revenge on Pentheus, his seduction of Erigone and his changing Ariadne’s crown into a constellation.

Koen van Slogteren (1992) suggests that Britten’s brief description of Bacchus is not enough to do justice to his characterisation and points to the story of Pentheus as signifi cant (Raeburn 2004, III, 513-731). Here, the raging revelry of Bacchus’ festivities involving ‘mothers and wives with their sons and husbands’ (ibid. 528) and ‘curling pipes of animal horn and clashing cymbals’ (ibid. 533) caused old Pentheus to object, hastening his death at his own mother’s hands. Th is is a highly charged tale of liberality and reaction in the drama of the relations between men and women. Not for nothing is Bacchus’ other name Liber.

However, the story which Britten must have had predominantly in mind is fairly easy to recognise and is the story under the title ‘Th e Feast of Bacchus’ which appears in the Everyman version that Britten possessed. Moreover, in Golding’s translation of lines 27-28 of Book IV we fi nd the phrase ‘the noise of gaggling women’s tattling tongues and the shouting out of boys’; these are Golding’s words not Britten’s or Boughton’s (Golding 1943, 191). Th is is the story of the daughters of Minyas and it comes at the beginning of Book IV aft er the stories of Bacchus’ double birth to Semele and Jupiter, the extraordinary story of Teiresias and his sex-change experience revealing that women have more pleasure from sex than men, his prophecy for Narcissus, that he would grow to old age ‘as long as he never knows himself ’ and then the rather violent stories surrounding the Lydian sailors and Pentheus’ destruction to prove to the Th eban women to worship Bacchus.

Th is is all rather important because Book IV opens with all Th ebes under Bacchus’ control. However, the daughters of Minyas resisted the revelries of the god whilst many other women abandoned their household duties to wear the fawnskin and carry the thyrsus and presumably to loose their ‘tattling tongues’.

Th eir invocations to Bacchus included ‘wherever you go, young men’s voices are raised in cheering, and women’s voices join in the chorus, palms beat upon tambourines, hollow cymbals clash, to the sound of the boxwood’s shrill piping’ (Innes 1955, IV, 28-30). Again music is present in this god’s festivities.

Th e daughters of Minyas, however stayed indoors and continued to spin at their looms. Whilst doing so, they told stories the fi rst of which incidentally was that of Pyramus and Th isbe which Britten would encounter nine years later in working on A Midsummer Nights’ Dream. Th e daughters told many stories but eventually the bacchic revelry overtook their retreat, their looms grew leaves and became covered in grapes and, fi nally, having slunk away into dark corners of the room they were turned into bats. Bacchus won.

Britten’s Bacchus refl ects this tale well. It is the one movement which departs from the simple ABA ternary form with its ABACA rondo-like structure. Th e rhythmic Allegro pesante opening, whilst performable as the staggering gait of a drunken reveller, is more in keeping with the ritual of Bacchic rites as described by Andrew Dalby in Th e Story of Bacchus (Dalby 2003, 81-90): ‘Th ey put on wreaths of vine and ivy, and each carried a thyrsus as they set out towards the mountains at nightfall to enact the traditional ritual that young Bacchus and his Maenads had established. Th e lines of ever-moving torches grew longer and reached higher towards the sky’. Th ere is a magnifi cent architrave frieze in the Nereid Monument collection of the British Museum, which seems to portray such a ritual. Th e key thing, perhaps, for the performer of the Britten piece is the sense of movement forwards.

Th e second section would seem to portray the ‘tattling tongues’ and somewhere in the fi rst two sections the shouting of boys might be imagined. Th e next critical point is the spinning as this seems to be the most plausible reason for the Con moto section and would naturally lead into the bats which fl utter at the end interrupted by the triumphant return of bacchic revelry. If this reading is correct, the moment of metamorphosis must be the fi rst low c and then the subsequent sforzando low c’s as each of the daughters of Minyas is turned into a bat. Th at said, many performers appear to have other interpretations perhaps capturing aspects of drunkenness, dancing, revelling and games. Some must surely understand the low c’s as preludes to hiccoughs or other digestive returns. Others see these repeated notes as the blare of Bacchus’ horn followed by cackling laughter.

All this said, Britten’s own view of his Bacchus appears to be more simplistic:

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In Bacchus, as before, I fi nd it diffi cult to give a precise indication of any particular bit, but perhaps it will help to think of “shouting out of boys” as being the piu vivo, and the “tattling tongues” as the C jamor (sic) con moto passage(Britten 1957)

But could it be that Britten himself had forgotten the Golding source for this story which provided him with the title? Th is source, with its powerful imagery of spinning and bats should not be discounted entirely, remembering that Britten’s 1957 letter appears to have been written in a hurry: ‘please forgive me if the answers are brief because I am about to go away’.

Boughton’s version is very faithful to Britten’s original markings, maintaining a vigorous allegro at the start although slower than the published tempo. Roy Carter and Janet Craxton also off er strictly rhythmic readings. Other versions, notably that of Maurice Bourgue (no date) and François Leleux (1995) are imaginatively drunken in the opening section and use considerable rubato. Th omas Indermuhle (1990) uses less rubato but appears to espouse the idea of drunkenness. Not so Jeremy Polmear (1991) whose impeccable rhythm in this section seems to conjure up the ritual marching of Bacchus’ followers. Nicholas Daniel (1994 and 1997) too, is more faithful to the tempo with a marching feel to this fi rst section.

Alan Vogel (1997) brings a quirky originality to the second section perhaps invoking ‘the shouting out of boys’ or a truly gossipy atmosphere amongst the ‘tattling tongues’. Heinz Holliger (no date) treats this section with a quixotic feeling, too, in his fi rst recording becoming more brilliant and rhythmic in his later two (1991 and 1997). Th omas Indermuhle makes more of a dance out of this section with an attractive and rhythmic swing to the music.

Th e Con moto receives a wide range of interpretations from diff erent oboists with Boughton’s crotchet = 112 outstripped by Francis, c.120-126, Craxton, c. 132, Hunt and King, c. 160, Bourgue, 176+, Leleux, 192 and Holliger 184+). If the idea of this con moto is to illustrate the spinning of the daughters of Minyas, then the slower tempi may have something to say. Curiously, Tom Bergeron’s alto saxophone seems to lend itself to such an eff ect more than the faster, virtuosic readings of this section, and Douglas Boyd chooses a moderate speed to give a good spinning eff ect. However, this does not invalidate faster readings which may have other images in mind, ‘tattling tongues’ included.

Th e fi nal section is also subject to varied readings from strictly in time (Carter, Craxton, Francis) to very free (Leleux, Schellenberger). Th e metamorphic moments on the long held C’s also have a wide range of interpretations. Perhaps, Lajos Lenscés’ version should be mentioned for its commanding low Cs followed by really ephemeral arpeggios, as does Holliger’s versions which all give structural and apparent metamorphic importance to the low Cs. Nicholas Daniel makes the ending of the piece more and more urgent in his Proms performance (1997).

But there is more to say on Bacchus. Note should be made that in many accounts of Bacchus, he spent his childhood in Asia Minor and away from the centre of Greek culture (i.e. he was somewhat strange).

Most accounts including that of Ovid have him as an extraordinarily beautiful boy with androgynous characteristics. Nonetheless he is of enormous importance to women and an agent of freedom for them. Th e story of his rescue of Ariadne aft er her abandonment by Th eseus is famous and Britten would have known this from Richard Strauss’ opera. All in all, Bacchus is the outsider whose rebelliousness is accepted by the gods and by men. He is therefore an infl uence for change and clearly an ally of the artistic temperament. His infl uence over Pan is also of signifi cance especially in relation to Britten’s work. Paintings by Botticelli, Poussin, Leighton and Simeon Solomon will illustrate well the view of the artist. But this skates the surface with this remarkable and complicated deity.

Th e fi ft h movement in the Six Metamorphoses is that of Narcissus and, like Niobe, is an exquisite piece. His story appears in Book III of the Metamoprhoses , just aft er the description of Bacchus’ birth and the story of

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Teiresias who, on his own transsexual experience, was blinded by Juno for settling the dispute between her and Jupiter as to which gender enjoyed more pleasure in bed. Teiresias prophesies that Narcissus will ‘live to a ripe old age…..so long as he never knows himself ’ (Raeburn 2004, III, 348). Th is theme of self-knowledge is very symbolic for this story and perhaps for Britten’s intentions for the Metamorphoses as a whole. Th e story is therefore closely related to Bacchus’. Th e outcome of a rape of a water nymph called Liriope by the river god Cephisus, Narcissus’ story is integrally involved with water. It relates his extraordinary beauty such that ‘legions of lusty men and bevies of girls desired him’. But he was too unaware to respond. Poor Echo, whom the goddess Juno had condemned to parrot the last words anyone spoke to her fell head-over-heels for Narcissus and this unrequited passion takes up many delightful lines of the story. When they eventually meet, the conversation is touching: ‘Hands off ! May I die before you enjoy my body’, he cries; ‘enjoy my body’ she replies. Transformed into a stone, Echo survives only in the acoustic form we know today.

Th ere follows the story which Britten’s subtitle refers to. Narcissus, tired from hunting rests by a forest pool. He sees his own image in the water and is transfi xed and Ovid describes painfully and beautifully Narcissus’ desire and self-adoration. He is transformed into a fl ower ‘with a trumpet of gold and pale white petals’ aft er his sad moans and cries are reportedly echoed by his eponymous admirer. Britten may have drawn inspiration from the moving poem, Ladslove, from Housman’s A Shropshire Lad which makes a connection between Narcissus’ story and a more highly personalised introspection. Th is poem was known to Britten in a setting by John Ireland which the composer and Pears performed at the 1959 Aldeburgh Festival with a programme note describing it as ‘a crystalline setting of the Narcissus legend’ (Britten 1959):

Look not in mine eyes, for fearThey mirror true the sight I see,And there you fi nd your face too clear And love it and be lost like me.One the long nights through must lieSpent in star-defeated sighs,But why should you as well as IPerish! Gaze not in my eyes.

A Grecian lad, as I hear tell,One that many loved in vain,Looked into a forest well

And never looked away again.There, when the turf in springtime fl owers,With downward eye and gazes sad,Stands amid the glancing showersA jonquil, not a Grecian lad.(Housman, A Shropshire Lad, XV)

Whilst Britten’s Narcissus can be interpreted as an aural description of a visual refl ection (and what lovely watery eff ects one can get on the oboe), the story of Echo should be considered as a double analogy of refl ection in sound and sight. Th e tale looks at the fall of innocent beauty and the agonies of growing up. Unrequited love is mirrored by remorse. Koen van Slogteren (1990) cites Sigmund Freud’s ‘Zur Emfuhrung des Narzissmus’ to argue a psychological signifi cance for this story based on self knowledge and the self ’s relationship with the world. Th is relates to a similar view on Niobe, already described. Britten’s music is lyrical and utterly beautiful. Th e opening phrase is entirely suitable for such a beautiful deity and the refl ections leading to metamorphosis are brilliantly handled. Th e moment of metamorphosis is surely very obvious in the increasing agitation towards a cathartic trill. Th e fi nal section where the mirror image gently combines towards the long niente c, gives the performer a perfect opportunity for a moment of complete stillness.

Tempi vary in performances from a rather fast quaver = 84 by Francis to 68 for Craxton and 56 for Bourgue. Some versions are freer than others and Francis eff ectively makes use of silence with a long pause at the end of the fi rst section. Th e opening receives many beautiful interpretations with diff ering tone colours and dynamic levels. Nicholas Daniel (1994) is an example of a performance where a very quiet opening is highly eff ective in portraying a narcissistic quality. Britten (1957) asks that ‘Narcissus should not be too slow, but it must be peaceful’.

Practically all performances make a good account of the refl ection in the middle section emphasising the nature of a visual refl ection through the exact connection between object and image. Helen Jahren (2004) makes an interesting analogy with a genuine echo eff ect by timing her refl ections with a small delay. Th e relation of Echo in the Ovid story is made in this performance which generally contains many unusual interpretations throughout the work. Most interpretations make the point that metamorphosis has taken place before the last section, leaving this at a single dynamic, as marked, as though Narcissus and his refl ection have become the same thing. Bourgue takes a

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diff erent view, maintaining the refl ection dynamically to the end, all exquisitely played. His version lasting nearly 90 seconds longer than Boughton’s again gives an original reading. John Mack (1990) off ers a remarkably muted quality to a refl ective reading of this piece whilst Gordon Hunt makes an interesting point by grading the diff erence between Ö in bar 10 at the start of the mirror section and Ü six bars later. Here he creates an atmosphere with more menace in it, which somehow empowers the metamorphic moment of the trill in bar 23. Robin Williams (1988) has the idea of leaning on the fi rst bn in bar 22 to emphasise the power of the music at this point. Being reforged into

a fl ower is no light matter. A number of versions miss the diff erence between demisemiquavers and the fi nal semiquaver group in bar 23.

Th e story of Arethusa provides Britten with just the right ending because here the lovers end up together for eternity. Arethusa makes her fi rst appearance in Book V as the nymph in Calliope’s song who tells Ceres that her daughter is indeed in the underworld. Her story relates how she came upon a beautiful clear mountain stream on a very hot day. Th e cool water enticed her to remove her clothes and swim naked. Th is roused the river god, Alpheus, which in turn put Arethusa to fl ight. She invoked the help of Diana as Alpheus bore down on her and a cloud enveloped her whilst Alpheus cast around to fi nd her. Sweat poured from Arethusa until she turned into water. Th e fi nal twist in the tale is magnifi cent: Alpheus realises what has happened and changes himself back into water to be united with Arethusa. Diana ‘magics’ them both

to Syracuse harbour where they remain to this day in watery union. It could be argued that Britten ends his cycle in Sicily where his inspiration began on a holiday in September 1950 (Caird 2006).

Th is piece seems to provide Britten with a happy ending to match the triumphant cascades of notes to the work’s D major conclusion. It also provides a fi nal movement of requited love to match the unrequited one of Pan and Syrinx at the beginning. I say ‘requited’ because of the permanent union at the end of the story, though one cannot be sure of Arethusa’s true feelings on the outcome! Th e three sections seem to correspond well to the story, the fi rst giving a feeling of increasing movement, fl ight and rising panic, the second with its trills depicting the wateriness of Arethusa presumably whilst she hides from Alpheus and the third more mystically demonstrating the fi nal metamorphosis into a cascade of water. Again this ‘surface reading’ is underpinned by music of beautiful delicacy for the nymph herself, with graceful motion, with sadness in the falling trills and with a majestic motion to the fi nal conclusion. However Britten (1957) confounds this reading in his advice to Friedrich Krebs: ‘Arethusa is pictured here entirely as become a fountain, although there are pools of stillness (the trills)’.

Performances vary considerably in speed perhaps as a result of the largamente direction and Britten’s eventual choice of a metronome mark. Boughton is very slow and pairs the notes of the opening Largamente markedly whilst Francis plays the opening very fast and with freedom. Heinz Holliger (1991) structures the piece with an interesting pause before the fourth phrase in bar 22, a decision also taken by some other performers including Douglas Boyd. Nicholas Daniel (1994) gives an interesting dynamic shading in bars 14/15 and 16/17 in a performance which puts racy eff ect into the chase. Janet Craxton is quick and provides (like Daniel) the most distant and muted quality for the burbling trills of the middle section where her performance also goes furthest, with Richard Simpson (2002/3) in diff erentiating between the trills with lines on them and those without. Robin Canter speeds up and ‘throws away’ the phrases aft er the trills in an interesting interpretation of this section. Jeremy Polmear’s trills are brilliantly continuous in the fi nal phrase providing a consequential change to fl owing water of an impelling kind. Schellenberger gives a rather restless feeling in these trills with convincing results, whilst Bourgue takes time in producing very quiet, burbling trills in a performance which is perhaps the most expansive. Gernot Schmalfuss (1999) brings his fi nal section of Arethusa to a resounding close by

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accentuating the top notes of the phrases as a motif perhaps harking back to the main motif of Pan.

In conclusion, there is no doubt that Britten’s use of classical mythology represents a major theme throughout the composer’s life. Th is is no more true than in the early 1950’s when Britten seems to have used mythology as a means to explore and explain his own specifi c relationship with art and the world. Billy Budd is a great work illustrative of this process but at the same time Britten was able to create a miniature masterpiece in the Metamorphoses which captures many aspects in the kaleidoscope of human loving relationships.

Th e two stories of heterosexual love in Pan and Arethusa provide a beginning and an end to a cycle which includes great examples of the infi nite range of human experience which Ovid gives us. Curiously the poet Shelley (1820, 551-3)wrote three ‘Ovid poems’ juxtaposing one, Arethusa (‘Like spirits they lie, In the azure sky, When they love but live no more’) with Apollo and Pan, both celebrating the competition won

by Apollo and lost by Pan. Britten’s choices are subtle and brilliantly chosen to create a six-movement work of a unique kind. As a work for solo oboe, it is a tour-de-force involving considerable technical, dynamic, and tonal demands. Any oboist would say that it takes a very special reed (Syrinx herself?) to deal with the demands of Phaeton, Niobe, Bacchus and Narcissus in quick succession. Nevertheless it is so suitably written for the oboe with the composer’s seemingly innate ability to write ‘playably’ for any instrument.

Th is is a cycle which reveals greater depths than might initially be expected from pieces written for a madrigal concert on the Meare. We have seen how instrumental music can be infl uenced by literary and other artistic sources and how this composer explored moral and ethical issues through music. Th e power of Ovid, so infl uential to artists through the centuries from Shakespeare to Ted Hughes (1997), is mirrored with equal power by the composer. One truly gets the impression that Britten had ‘read books and studied and pondered and tried to fathom eternal truths’. ◆

BIBLIOGRAPHY

Allen, C., 2002. ‘Ovid and art’ in P.Hardie, ed., Th e Cambridge Companion to Ovid. Cambridge: Cambridge University Press.

Ardito, L., 1999. ‘Th e Aulos: Symbol of Musico-Medicinal Magic’. Th e Double Reed, Vol 22 No 2.Auden, W.H. and Garrett, J., 1935. Th e Poet’s Tongue. G.Bell and Son, London.Auden, W.H., 1940. ‘Musée des Beaux Arts’ in C.Ricks ed., Th e Oxford Book of English Verse. Oxford University

Press.Auden, W.H., 1935. In G. Elliott, Benjamin Britten, Th e Spiritual Dimension. Oxford: Oxford University Press.Battistini, M., 2005. Symbols and Allegories in Art. J. Paul Getty MuseumBeaver, H., 1967. Note in H. Melville, Billy Budd, sailor and other stories. Penguin. Britten B., 1957. 26 July Letter to Friedrich Krebs (copy), Britten-Pears Library, Aldeburgh.__________, 1959 Th e Land of Lost Content, programme note, 22 June 1959. Aldeburgh Festival:Britten-Pears

Library, Aldeburgh.Britten, B., Forster, E.M., Crozier, E., 1951. Billy Budd. Hawkes and Son.Britten B. and Pears P., 1950. Postcard from Messina in D. Mitchell, P. Reed & M. Caird, G., 2006. Benjamin Britten and his Six Metamorphoses aft er Ovid. Th e Double Reed Vol. 29, No. 3 and

Double Reed News No 76 and 77.Cook, N., 1987. ‘Pan’ in N. Cook, A Guide to Musical Analysis. Oxford.Dalby, A., 2003. Th e Story of Bacchus. Th e British Museum Press.________, 2003 ‘Th e Vengeance of Bacchus’ in A. Dalby, Th e Story Of Bacchus. Th e British Museum Press.Duncan, R., 1981. Working with Britten. Rebel Press.Elliott, G., 2006. Benjamin Britten, Th e Spiritual Dimension. OUP.Fantham, E., 2004. ‘Human Artistry and Divine Jealousy’ in E. Fantham, Ovid’s Metamorphoses. Oxford

University Press.__________ 2004. ‘Aft er Ovid’ in E. Fantham, Ovid’s Metamorphoses. Oxford: Oxford University Press.Ford, B., 1994. ‘Introduction’ in B. Ford, ed., Benjamin Britten’s Poets. Carcanet.Forster, E.M., 1949. ‘Captain Vere’s Prologue’ in B. Britten, Billy Budd. Hawkes and Son.Golding, A. (trans.), 1565 and 1943. Ovid’s Metamorphoses. J.M. Dent.Headington, C., 1992. Peter Pears, A biography. faber and faber.

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Hindley, C., 1999. ‘Eros in life and death’ in M. Cooke, ed., Th e Cambridge Companion to Benjamin Britten. Cambridge: Cambridge University Press.

Hiramoto, S., 1999. ‘An analysis of Benjamin Britten’s Six Metamorphoses’ in Th e Double Reed. Vol 22 No 2. Housman, A.E., 1887. A Shropshire Lad. Jonathan Cape XV, 23.Hughes, T., 1997. Tales from Ovid. faber and faber.Impelluso, L., 2003. Gods and Heroes in Art. J. Paul Getty Museum.Innes, M. (trans.), 1955. Ovid: Metamorphoses. Penguin Classics.Keats, J., 1819. ‘Hyperion’ in Keats’ Poetical Works. Oxford University Press, 1908Kerenyi, K., 1974. Th e Gods of the Greeks. Th ames and Hudson.Kildea, P., 1999. ‘Britten, Auden and ‘otherness’’ in M. Cooke, Th e Cambridge Companion to Benjamin Britten.

Cambridge: Cambridge University Press.McLaughlin, P., (no date). An Exercise on Musicality. Essay on Ovid’s Metamorphoses. Ann Arbor, Mi. Melville, H., 1891. Billy Budd, sailor and other stories. Penguin.Mitchell, D., 1993. ‘A Billy Budd notebook (1979-91)’ in M. Cooke and P. Reed, eds., Billy Budd. Cambridge

Opera Handbooks, Cambridge University Press.Mitchell, D., 1984. ‘Th e Church Parables (1): Ritual and Restraint’ in Th e Britten Companion ed. Christopher

Palmer. faber and faber.Mitchell, D., Reed, P., and Cooke, M., 2004. Letters from a Life. Selected Letters of Benjamin Britten, vol. 3.

London: faber and faber.Palmer, C. (ed.), 1984. Th e Britten Companion. London.Rieu, E.V. (trans.),1950. Homer: Th e Iliad. Penguin Classics.Shelley, P.B., 1820. ‘Arethusa’, ‘Apollo’, ‘Pan’ in Shelley’s Poetical Works. Macmillan, 1896Raeburn, D. (trans.), 2004. Ovid Metamorphoses. Penguin Classics.van Slogteren, K., 1990. Benjamin Britten: ‘Six Metamorphoses aft er Ovid’, für Oboe solo. TIBIA, 4/1990, 268______________, 1990. Brittens ‘Metamorphosen’ für Oboe: Narcissus. TIBIA 4/90, 291_______________, 1992. Brittens ‘Metamorphosen’ für Oboe: Bacchus. TIBIA, 1/92_______________, 1992. Brittens ‘Matamorphosen’ für Oboe: Phaeton. TIBIA 2/1992_______________, 1992. Brittens ‘Metamorphosen’ für Oboe: Niobe. TIBIA 4/1992Warner, R., 1958. Introduction in Plutarch, Fall of the Roman Empire. Penguin Classics.Whittall, A., 1999. ‘Th e chamber operas’ in M. Cooke, ed., Th e Cambridge Guide to Benjamin Britten.

Cambridge: Cambridge University Press.

DISCOGRAPHY

Bergeron, T., 1996. Saxophone alone Mark MCD-2204.Boughton, J., 1952. First broadcast performance. Six Metamorphoses aft er Ovid. BBC Radio 3, 3 October,

11.00pm. National Sound Archive.Bourgue, M., no date. Les Métamorphoses d’Ovide. Harmonia Mundi HM 902.Boyd, D., 1994. BBC Radio 3 recital, Wigmore Hall. London, National Sound Archive.Canter, R., 1982. Benjamin Britten: Complete Works for Oboe. Phoenix, DGS 1022.Canter, R., 1998. Carlton Classics. National Sound Archive. Carter, R., 1995/6. British Composers: Britten, Walton. EMI Classics 5 73989 2.Craxton, J., 1976. Six Metamorphoses aft er Ovid. Decca.Daniel, N., 1994 BBC Radio 3 recital. National Sound Archive.________, 1997 BBC Promenade Concert. National Sound Archive.Dent, S., 1998. Fantasies. Bayerischer Rundfunk/Sonomeister.Francis, S., 1964. Six Metamorphoses aft er Ovid. Argo._________ 1995 Britten: Music for oboe, Music for piano. Hyperion/Helios CDH 55154.Holliger, H., no date. BBC broadcast recital. National Sound Archive._________. 1991 Heinz Holliger and friends. Phillips 434 076-2._________ 1997 Sounding the century, Barbican Hall, London. National Sound Archive.


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Hunt, G., 1997. Soliloquy. Bis CD 769.Indermuhle, T., 1990. Britten, Haas, Hindemith. Camerata 30CM-449.Jahren, H., 2004. Britten, Krenek, Dorati. Bis CD 737.Kelly, J., 1996. BBC Radio 3 recital, Studio 1, Pebble Mill, Birmingham. National Sound Archive. King, N.A., 1999. Evocations. Boston Records BR 1030 CD.Leleux, F., 1995. Poulenc Britten. Harmonia Mundi.Lenscés, L., 1978. Monodie. Cadenza 800915.Mack, J., 1990. John Mack, oboe. Chrystal records CD323.Oostenrijk, P., Channel Classics.Polmear, J., 1991. Sweet Melancholy. PA Recordings.Schellenberger, H., 1998. Campanella Musica. Teldec.Schmalfuss, G., 1999. Benjamin Britten: Complete Works for Oboe. Dabringhaus and Grimm, 1080930.Simpson, R., 2002/3. Celtic Magic. Campion Cameo.Spaneas, D., 2003. when wind comes to sparse bamboo. Capitone CPS 8717.Vogel, A., 1997/2000.Oboe Obsession. Delos International.Weigall, R., 1998. Private recording. All Saints Church, Elland, Yorkshire.Williams, R., 1988. Robin Williams 236. Factory Communications, Manchester. National Sound Archive.

PICTURE REFERENCES

Bernini, G., 1622-5. Apollo and Daphne. Borghese Gallery, Rome.Bloemaert, A., 1591. Th e Death of Niobe’s Children. Statens Museum, Copenhagen.Botticelli, S., 1482. Pallas and the Centaur. Uffi zi, Florence.Caracci, A., c. 1597-1604. Pan and Diana. Palazzo Farnese, Rome._____________________. Th e Triumph of Bacchus. Palazzo Farnese, Rome.Caravaggio, M.M. da, 1596-7. Bacchus. Uffi zi, Florence.________________________. Narcissus. Palazzo Corsini, Rome.Davies, A.B., 1901. Arethusa. Butler Institute of American Art, Youngtown, OH.Panthaios, c520 BC. Pottery, black-fi gured hydria from Attica, discovered in Naples: Dionysos with satyrs and

maenads; on the shoulder, chariots and animals. Th e British Museum.Pollaiuolo, 1470-80. Apollo and Daphne. National Gallery, London.Poussin, N., 1625-7. Echo and Narcissus. Musee du Louvre, Paris._________, c.1628. Th e Nurture of Bacchus. National Gallery, London._________, 1636. Th e Triumph of Pan. National Gallery, London.Ricci, S., 1703-4. Th e Fall of Phaeton. Museo Civico, Belluno.Rubens, P.P., copy of Breughel, J., Pan and Syrinx. Pinacoteca di Brera, Milan.Titian, 1562. Th e Death of Actaeon. National Gallery, London.Watts, G. F., 1885. Th e Minotaur. Tate Gallery, London.

N.B. Most of the above images are viewable on the Internet.

Th anks to Boosey and Hawkes Publications Ltd. for permission to publish extracts from the printed edition of Six Metamorphoses aft er Ovid, Op. 49, to the Britten-Pears Library, Aldeburgh for permission to publish extracts from the Composition Sketch and Britten’s 1951 pocket diary and to the Paul Sacher Foundation for permission to publish extracts from the Fair Copy.Th anks to Robert Allan, Nancy Ambrose King, Charles Arnold, Matthew Bailey, Neil Black, Ian Boughton, Nick Clark, Jane Craxton, Michael Craxton, Mervyn Cooke, Andrea Cox, Edward Craig, Clive Fairbairn, Sarah Francis, Chris Grogan, Steve Halfyard, Angela Heap, Norma Hooks, Gordon Hunt, Peter Johnson, Janice Knight, Lesley Knowles, Friedrich Krebs, Colin Matthews, Felix Meyer, Donald Mitchell, Robin Moore-Ede, Stephen Powell, Philip Reed, Th omas Rietschel, Edwin Roxburgh, Axel Russo, Jane Salmon, Christian Schneider, Dan Stolper and Richard Weigall for support and advice.

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This is the second installment of a study of im-portant bassoon pedagogical practices. (Th e fi rst installment, on the French School ap-

peared in Th e Double Reed, Vol. 29, No. 3, pp. 101-109. Ed.) In this chapter, I proceed with an analysis of the Austrian practice in the fi eld of bassoon pedagogy and examine the specifi c approach Eleanor Froelich follows in her work as a teacher and professional bas-soonist. It will become clear that in Vienna, Austria, Karl Öhlberger, Froelich’s principal professor of bas-soon, has had a major infl uence on her teaching phi-losophy and approaches. I also note the diff erences and similarities between the Austrian and French, schools exemplifi ed by Froelich and Gilbert Audin.

Eleanor Froelich summarizes in her bassoon cur-riculum the specifi c areas that are of essential impor-tance. She says:

The following are the major areas of concentration I consider vital for a successful bassoon performance curriculum: musicality, tone quality (including articula-tion and dynamics), intonation, style precision, stan-dard literature, and technique (which for me equates accurate fi ngers and tonguing).

Similar to the emphasis that Audin places on tone quality, musicality, and stylistic precision, Froelich is concerned with the aesthetics of bassoon playing. Her ideas also refl ect those of her mentor Öhlberger. She explains:

Musicality was everything for Öhlberger. He wouldn’t let anyone play even scales or etudes without turn-ing them into music. Every aspect of bassoon playing was approached through musicality. Tone had to be fl exible and expressive--singing, speaking, whisper-ing, growling, complaining...one had to be able to express these. Intonation had to be pure so one could understand the piece and support the harmonic struc-ture. Style simply provided a framework for musical expression.

Froelich’s approach emphasizes fl exibility in technical preparation and artistic presentation. She

The Austrian School of Bassoon Practice and Pedagogy

Svetoslav AtanasovChicago, Illinois

provides a great deal of freedom for her students to experiment in areas such as breathing, embouchure, body posture, and vibrato. A similar teaching orien-tation is also evident in France where Audin inter-feres in one’s practical studies only if these aspects become detrimental to one’s future progress.

One of the most distinctive characteristics of the Austrian school is its use of articulation. Th e strong tradition of orchestral playing in Austria has created a variety of articulation techniques among profes-sional bassoonists. It is important to underscore Fro-elich’s belief that the German and Austrian schools have their own unique, personality and treat articu-lation diff erently. In addition, she believes that when one considers articulation and its employment by dif-ferent schools, the Viennese have an edge over other national schools. She says:

The Viennese have a much wider palette of articula-tions than Americans or Germans. They have a stac-cato that is incredibly short, on one end of the range, and one that is almost like glue on the other end. For example, the short one sounds rather peculiar to American ears unaccustomed to Viennese playing.

Here, she challenges the notion that the German and Austrian schools are unifi ed. Th ese two schools are oft en considered by bassoonists as identical since they share similar creative qualities because of their interrelated past history and rich artistic heritage. Froelich disagrees, indicating that the two schools have substantial diff erences, the matter of articula-tion being one.

Froelich addresses breathing by allowing the stu-dent to formulate and adopt a method that suits best his or her technical capabilities. She also focuses on breathing in conjunction with tone production and body posture. Froelich’s approach allows the student to experiment and avoid an approach that follows a particular methodology. In this regard, her approach is similar to that adopted by Audin who teaches body posture and breathing according to the student’s unique physique.

Like Audin, Froelich addresses breathing by en-

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couraging her students to utilize a variety of diff erent postures. If they are accustomed to performing while standing and that is their preferred method, Froelich requires of them to sit and experiment with diff er-ent breathing patterns. She explains that oft en such experimentation leads to an improved tone quality, and her students are convinced that breathing is an important aspect that needs to be controlled and used properly. Froelich believes that visualization of the breathing diffi culties that students encounter combined with a practical explanation is the best approach in addressing breathing issues involved in playing the instrument.

Froelich does not address embouchure individu-ally. She explains that her involvement with embou-chure is limited to observations directed at prevent-ing the student from biting the tip of the bassoon reed. Furthermore, she believes that embouchure problems are directly related to other technical dif-fi culties that the students are likely to experience. For example, biting of the tip of the reed is oft en an at-tempt by the student to control the instrument with greater energy. Froelich clarifi es that embouchure is best addressed by being closely related to a mental concept of singing, or even “speaking” notes while performing.

Interestingly, Froelich addresses body posture by emphasizing the fact that both back and shoulders need to be relaxed and free of anxiety. She recom-mends a variety of diff erent exercises that target det-rimental muscle tensions while playing:

My goal is a relaxed standing position without a sway-back or raised shoulders. I try to discourage “snake charmers” as well as “stone statues”. Working with movement is good here--pretending to ice skate is ex-cellent, but you need a hard fl oor and thick socks, or slick shoes to slide over a carpet. Keeping the motion fl uid is very hard for anyone with breathing problems and will point out weak areas in the piece that were waiting for a performance to show up. It helps con-centrate energy or attention to the torso directing it away from arms and fi ngers. Another good posture exercise is to stand on a board, about two feet long, balanced over a cylindrical piece of wood. Two inch in diameter is plenty. Keep the board in motion without hitting too hard to either side. Practice fi rst without a bassoon and then try to do it while playing. Posture is a bit like breathing in that it is better not to mention it directly.

Froelich uses some unconventional practice ex-

ercises to assist the student to assume fl exible body posture. Th ese are exercises that are typically not as-sociated with bassoon practice although they do con-centrate on specifi c areas of one’s performing skills that are likely to be aff ected by external factors such as stage anxiety, mental blocks, and muscle fatigue. Froelich employs elements of conventional sports such as ice-skating to identify muscle strain or game-like activities such as dodging a paper ball while per-forming to address technique. She says:

Breathing is also very much connected to body pos-ture. Sometimes I ask the student to dodge paper balls that I toss at him while he is playing. This ap-proach improves posture and breathing and invites a mental attitude of being ready for anything. Dodging a ball directly before a diffi cult passage usually does wonders.

Tone production and control are especially im-portant in Froelich’s teaching methodology. She is concerned with the student’s ability to develop a conception of diff erent tone colors and a sound that matches them. In this regard, she follows a similar approach to tone production to Audin’s. For Audin, tone quality is an essential constituent of his bas-soon curriculum and the student is encouraged to develop a personal concept of an ideal tone through which various techniques such as phrasing, articu-lation, and velocity are addressed. Froelich likewise pays special attention to articulation while working on tone production.

For a successful training in tone production and control, Froelich recommends that the student attends live concerts. She points out that taped re-cordings can be benefi cial but not as eff ective as live performances because taped recordings do not allow performing issues such as intonation and balance to be meticulously analyzed since they are oft en manip-ulated by sound editors. Th is is an interesting obser-vation particularly given the advancement of digital technologies that allow musicians either to fi lter out the sound imperfections of live recordings and polish the sound quality or preserve the authentic environ-ment of a live recording.

One of the most controversial aspects in Froelich’s teaching curriculum is her treatment of vibrato. Th e Austrian school does not employ vibrato and profes-sional orchestras in Vienna do not favor it. Froelich, however, requires her students to develop a fl exible approach to vibrato due to the fact that certain or-chestral solos necessitate its use. She explains:

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Vibrato is technically a taboo in Vienna but neverthe-less has managed to sneak in. Even Öhlberger said that one can’t play Rite of Spring or Bolero without it. But it is something which can, and must, I think, be turned on and off as well as up and down in speed when needed.

Approaches to vibrato diff er among the two teachers. Froelich generally does not utilize vibrato, employing it only when required. Nevertheless she demands of her students to be profi cient with vibrato even though in a professional setting they are likely to perform without it. She says: “Th e Austrian school still plays with no vibrato, although one needs to be able to produce it on rare occasions. Articulation is more important, and more varied.” Audin likewise encourages his students to experiment with diff erent techniques of producing vibrato.

Froelich clarifi es that the particular musical tra-dition in which she works largely shapes her teaching methodology. In fact, even posture is directly aff ect-ed by tradition as is the manner in which the bassoon is taught professionally. She says:

In Austria one is expected to perform standing, this is simply a tradition. You wouldn’t have a chance if you sat at an audition. However I encourage students to practice while seated as well as standing (Öhlberger did too). My reasons: A bassoon is too heavy to be hanging around your neck for four to six hours a day. And you may win an audition standing but you pass your probation year seated. Many Austrians use a neck strap while seated. I am very much against this (due to the weight of the instrument) although it makes playing while standing and seated much more similar in terms of arm and hand position, and weight distribution.

Th is practice is very similar to the traditional French practice of generally using a neck strap while both sitting and/or standing.

According to Froelich, technical preparation be-gins with routine work on scales and etudes. She pro-motes a style of practicing that off ers a variety of dif-ferent tempi in addition to work with metronome so that the student can develop good and fl exible techni-cal skills. She also pays special attention to phrasing, articulation, and mental preparation.

Unlike the situation in France, orchestral prepa-ration in Austria begins at a very early stage of the bassoonist’s education. Froelich explains that Vienna off ers unlimited opportunities for bassoon students

to become involved with orchestral playing, and they do so in order to fi nancially support themselves. Ac-cording to Froelich, professional orchestral involve-ment provides an invaluable experience to the bas-soon student that individual or group lessons are unable to off er. She says:

In Austria orchestral preparation begins very early. There is simply so much to play that any student at the level of a University student is earning rent and more playing “gigs.” A lot of these are church Masses (no rehearsals), so sight reading becomes important as well as all of those fi ner points of playing such as fi guring out where the orchestra is when you are lost, knowing if the adagio is in four or eight, understand-ing the conductor when he seems rather confusing, or simply knowing when not to play when one is in doubt.

Although she recognizes the importance of or-chestral involvement, Froelich points out that solo playing is technically more challenging and demand-ing than orchestral playing. She says:

Solo playing is certainly more important, because it simply has more meat in it. I feel it demands more of the player than orchestral playing, and is therefore more appropriate for studying. Of course, we are pre-paring the students for a career as orchestral musi-cians, but we can’t just have them play excerpts all the time.

Th is is an interesting conclusion that, in my view, creates a dilemma for the teacher as to whether to ad-dress solo playing during lesson instruction or focus on orchestral preparation. Froelich’s response to this dilemma is that the two areas need to be more or less balanced.

Similar to the approach utilized by Audin, Froe-lich does not employ uncommon disciplines in order to address issues of posture, stress, and breathing. She does, however, rely on some elements gleaned from the teaching methodology utilized by Kurt Widmer, a renowned singing teacher in Austria. Her use of teaching methods that are not normally associated with bassoon training shows that Froelich is willing to experiment in order to assist her students. Th is is an important clarifi cation especially given the strong infl uence of tradition in the Austrian school.

Froelich favors a teaching format that provides the student with two weekly lessons, one with piano accompaniment and another for individual work.


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In addition to private lessons, Froelich off ers her students a group meeting, somewhat similar to the American masterclass, which allows students to ob-serve their classmates. Froelich explains:

I like to do this [a group lesson] once a week when lessons are twice a week. But many students no longer have time for this. Öhlberger’s lessons were always open to other students. I feel there are some things one can only say on a one-on-one basis, but I feel the students learn a lot by listening to their peers. One plays differently in front of an audience, and it is always so much easier to see problems in others as opposed to your personal technical diffi culties. Hearing other students work through problems can be encouraging and can help the others learn how to solve problems on their own. Listening to a variety of students can also help develop a concept of an ideal tone. The format is just a basic lesson, only with an audience.

Th e format that Froelich uses for group lessons is identical to the one used by Audin. Students are encouraged to attend their classmates’ lessons and observe each other. Th e North American practice of routine masterclass meetings does not exist in Austria.

Froelich favors a format for contrabassoon and baroque bassoon studies that is similar to the one used by Audin in France. Contrabassoon studies are not mandatory in Austria although those interested in learning the instrument are given the opportu-nity to do so. In Froelich’s view, students become ac-quainted with contrabassoon due to the fact that they accept professional engagements that require them to perform on it.

Baroque bassoon studies are encouraged by Fro-elich because she believes that exposure to histori-cal instruments brings a diff erent perspective to the student, one that shows the evolution and progress of the modern bassoon. However, Froelich stresses the fact that only students with suffi cient technical skills should engage in early music lessons. She says:

I don’t like beginners mixing modern and baroque style bassoons, it just gets confusing. If modern bas-soon is not already well established, then it must be put aside for a month or two to try out the baroque instrument. Learning baroque bassoon always im-proves modern playing. Playing baroque bassoon is a bit like playing horn, if you don’t have the note in your head, and provide the proper amount of air, you

can easily get something you weren’t expecting. So one learns to play much more consciously and tries to meet the demands of each note.

Here, Froelich explains some of the benefi ts of playing on baroque bassoon that the modern bas-soonist can apply to his or her existing technical skills. Th ese relate to intonation, tone production, and pitch adjustment. In addition, breathing and posture are also aff ected by the way one performs on a baroque bassoon because they determine the qual-ity of one’s tone. In this regard, Froelich draws a par-allel between horn players and baroque bassoonists and the manner in which they produce music.

Reed-making skills are part of Froelich’s teach-ing philosophy greatly infl uenced by her experience as a professional bassoonist. She concedes that much of her practical instruction in the area of reed-mak-ing is directed toward refi nement and adjustment, a method similar to the one favored by Audin in France. Froelich begins reed-making training as soon as the student begins bassoon studies with her and attempts to present at least twice a year a massive four hour reed lesson. She says:

One has to be able to adjust the reeds anyhow, and that is the hardest part. How many students don’t learn reed-making? In Hungary for example no one makes their own reeds, but I personally have never found any reeds I liked as much as my own, so I presume the same would be true for most of my stu-dents. I spend time in every lesson with reeds, and try to have a three to four hour reed making session at least twice a year.

Here, Froelich addresses an interesting dilemma that the professional bassoonist is likely to face in his or her professional career, i.e., whether to rely on fi nished reeds and skills directed at reed adjustment and refi nement or to avoid fi nished reeds and make his or her own. In contrast to the situation in Hun-gary where bassoonists depend on already fi nished reeds, Froelich likes to make her own reeds and her teaching approach is directed toward the acquisition of basic reed-making skills and advanced skills that train the bassoonist how to adjust the reed in detail. For product supply Froelich relies on the Italian reed-maker Pisoni. Th is is in contrast with Audin’s prefer-ence for raw cane products and fi nished reeds made by the French reed-maker Glotin. She says:

I buy cane gouged, shaped and profi led from Pisoni

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in Italy. This is very wide in comparison to what most of my colleagues use, but it works for me. My reeds are short, in order to reach A-443 to 445. This has the positive side effect of improving the attack of the extreme high range, but makes the bottom a bit more diffi cult.

In Europe, professional orchestras utilize a slightly diff erent pitch as opposed to North Ameri-ca. European conductors favor a pitch of 443 to 445 as opposed to the pitch frequency North American orchestras favor which typically ranges from 438 to 442. Th is is why Froelich prefers a shorter reed that would ease her playing in a pitch frequency of 443 to 445. In addition, she prefers a wider reed that stabi-lizes and improves the quality of articulation in the high register of the bassoon.

Froelich believes that a successful curriculum should train the student not only by providing good technical skills but also by providing an understand-ing of how music is constructed and how the com-poser intended a specifi c piece to be heard. Froelich underscores that such understanding will naturally assist the student in overcoming issues of technical diffi culty. Furthermore, she stresses the fact that the technical obstacles the bassoonist is likely to encoun-ter are oft en psychological in nature and credits Öhl-berger in helping her address the mental diffi culties she experienced early in her career as a bassoonist. She says:

A musical understanding of the piece helps immensely with technical problems. Not just understanding of the phrases, but asking “what note does this one belong to, the one before or the one after it?” can make a great difference in how the brain digests the notes, and therefore how the fi ngers move. I remember trying to ask Öhlberger at least twice about how to improve technique or make fewer mistakes. I always felt he simply didn’t understand the question. He just looked at me a bit curiously and replied “but the problem is in the head.” I have since realized that he really did understand my question, I simply didn’t understand his answer.

As with Audin, Froelich owes much to her teacher. She explains that her vision about music and bassoon pedagogy has been a natural continuation of the teach-ing methodology adopted by Öhlberger. She says:

I wouldn’t have become a professional bassoonist without Öhlberger. He was a genius at teaching and

brought things out of me that I never thought could have been there. His emphasis on musicality and un-derstanding of the music made my life as an orches-tral musician much more enjoyable.

Audin credits Maurice Allard for the foundation of his teaching philosophy but indicates that he has signifi cantly distanced himself from Allard in his ca-reer as a professional bassoonist and a pedagogue.

In her assessment of the diff erences between the French and Austrian schools of bassoon pedagogy, Froelich stresses the diff erent personality each school has. For example, she explains that the certain man-ner in which bassoonists are expected to perform in Austria will make it extremely diffi cult for a per-former outside of Austria to be seated in an Austrian orchestra. She says:

I think that it would be a great challenge to sit an Aus-trian and an American in an [Austrian] orchestra. Ital-ians on the other hand often stress musicality more. I think it may lie in their genes. A basic summing up would be that in Austria Öhlberger stressed musicality over everything else, other schools give much more weight to a perfect technical command over the in-strument, risking the loss or exclusion of musicality.

In particular, Froelich explains that one of the main performing qualities the Austrian school is as-sociated with is its stress on musicality. She states that in Austria, musicality is regarded in a way that diff ers from France. While, in her view, Audin is more likely to emphasize technical precision than the aesthetics of music making, she sees her own teaching approach as concerned more with the nature of phrasing, the relationship between notes, and the actual length of the notes the bassoonist has to reproduce. Similar to her treatment of mental preparation, Froelich recog-nizes the infl uence Öhlberger has had on her teach-ing philosophy. She explains:

The length of notes for example is something that Öhl-berger often talked about. A quarter note is only very rarely twice as long as an eighth note! Öhlberger often spoke about when and how to shorten, lengthen, glue together, and of course these were issues that he laid a great value on. Holding a note too long (or too short) was a major offense! Here’s a basic example: a scale written in eighth notes, the last note is almost always a quarter. But the quarter is only slightly longer than the preceding notes. If you ask someone to play a scale, without looking at music, this is what will come


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out. But when a student looks at the written music, often the last note gets held out to its exact value.

In her comment regarding note values, Froelich addresses a technical issue that bassoonists fre-quently encounter when performing professionally in a group. Th e exact note value to which she refers is oft en reproduced diff erently because of the artis-tic treatment a conductor is likely to demand. Since live music is not as precise and systematic as what a music score is likely to suggest, Froelich is concerned with the issue of helping her students understand the process of realizing the intricacy of reading a musi-cal score during performance. Th is understanding is best achieved through routine practical work, lis-tening to live music, and as much orchestral involve-ment as possible.

Musicality is addressed diff erently by Froelich and Audin. Froelich does not encourage the use of vibrato and relates musicality to the variety of articu-lation techniques orchestral ensembles require. She does not address embouchure according to a specifi c method and discusses head resonance and body pos-ture only when the student requires assistance with a specifi c issue. Audin underscores that he is primarily interested in the quality of sound and the ability of the student to reproduce diff erent tone colors. Th is variety of tone production is achieved through ex-perimentation with vibrato, articulation, posture, and diverse performing ideas.

In terms of their similarities, Froelich shares a comparable interest with Audin in France in the ar-eas of articulation, staccato, tone production, embou-chure, and contrabassoon studies. Th eir approaches towards vibrato, sitting versus standing during au-ditions, and reed-making, diff er since in Austria, as Froelich explains, tradition has a prominent role. Th e lack of vibrato use in orchestral playing and the re-quirement of the student to stand during professional auditions are factors that need to be considered when diff erent national schools are compared to the exist-ing practice in Austria.

In this study I have shown the major similarities and diff erences between the Austrian school and the French school of bassoon pedagogy in the areas of technical preparation, vibrato, articulation, posture, breathing, embouchure, mental preparation, contra-bassoon studies, and reed-making. I have shown why the Austrian school treats orchestral preparation in a manner that favors a specifi c approach where tra-dition is still a determining factor, highlighted how musicality is perceived by Froelich, and compared

the emphasis Audin places on it to the current prac-tice in Austria. I have shown why Froelich considers musicality and articulation variety as the strongest characteristics of the Austrian school of bassoon ped-agogy, compared the manner in which the Austrian and French approach lesson organization especially in regard to group, or masterclass, meetings, and examined how Froelich views the issue of orchestral versus solo performing and which of the two areas has priority in her curriculum consideration. I have shown how Froelich justifi es the inclusion of baroque bassoon lessons in her curriculum plan and the rou-tines her lessons follow. I have shown how the Aus-trian school views uncommon relaxation techniques and their contribution to the bassoon curriculum and I have compared them to existing practices in France. I have noted how Froelich teaches perform-ing fl exibility to her students and the extracurricular activities she recommends in order for the bassoonist to acquire a better perception of the complex process of orchestral playing, and I have explained why Fro-elich credits Öhlberger for her current approach to bassoon pedagogy and the impact he has had on her career as a professional bassoonist. ◆

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Thirty some years ago, the practice of double-tonguing was quite uncommon among wood-wind players, at least in Europe, where it was

considered more as a cool trick than a usable tech-nique. It is safe to say that it has recently been more in the news, and many younger players have incorpo-rated D-T in their routine playing. Students have oc-casionally asked me to help them with the challenging task of learning this technique. Th e following are some guidelines and exercises that work for me. I hope they can be of some use to anyone interested in trying out this interesting and challenging alternative to single staccato.

Although I have had a few students who could get decent results in only a couple of months, mastering D-T is oft en a long and sometimes discouraging task. Below I suggest some tactics and exercises that might reduce the pain of mastering it.

First, though, we should remember that there are some valid reasons not to bother learning it at all:double-tonguing is not an absolute must in the pro-fessional world. Some world-class bassoonists such as Dave McGill, the late Masahito Tanaka, and Wil-liam Buchman, to name a few, have excellent natural single-tonguing that help them manage the potentially tricky staccato situations.

Double-tonguing can sound like the unattract-ive rattling of a low-tech machine-gun. Th e prospect of spending hours to end up sounding like one can, understandably, seem rather bleak. Finally, who has enough practice time for it? We all have many impor-tant technical goals and enough repertoire to learn.

Th ere are also some very good reasons to take up the challenge: Contrary to a misconception, practic-ing D-T will, eventually, help improve the S-T, since it makes the player work very actively on the, justifi ably famous, tongue/fi nger coordination, which is the key to any reliable staccato.

Regular D-T practice will also help develop the volume of sound and embouchure fi rmness, since it requires more air input into the instrument than S-T.

D-T will also eventually help the performer in ex-treme staccato situations, like Beethoven’s 4th led by an overcaff eineted conductor, Ligeti’s Ten Pieces or

Double-Tonguing: Strategies and Exercises for the Brave

Marc VallonMadison, Wisconsin

Stockhausen’s In Freundshaft , and, more commonly, any “presto” movement of a Classical symphony. It is worth noting that in this particular context (when the bassoons double the cello/bass line), the D-T matches the string up/down bow movement better than S-T, allowing a better blending and rhythm in the bass section.

Whatever your reasons are for wanting to develop your D-T technique, it is important to stress that there is no witchcraft that is going to allow you to skip the necessary hours of practice. It might take a couple of years of regular practice before you are able to perform it at all speeds, registers and dynamics. Th e good news is that despite the lack of a magic trick, there are ways to achieve some satisfying results relatively quickly.

Devote only, and not more than, 10 minutes a day to your double-tonguing practice. Most likely, you have other music to practice. Set your kitchen timer, and play these exercises in a relaxed and attentive way. Th ey might seem very easy at fi rst. Th ey’re designed for the fi rst steps in DT, but can take you much further. Do your 10 minutes daily or as oft en as possible. Be on the look out for any overheating. Stop when the timer goes off .

Th e following exercises are meant to be a starting point for your personal study. Make up your own and they will probably help you the most. Because D-T re-quires more air than we usually put into the instru-ment, it’s important to begin your research by using a healthy Ö throughout these exercises. Watch for and prevent possible leaks on the side of your embouchure. Keep the sound pure and compact. Avoid practicing with a fl at reed, since pitch generally lowers when one starts to practice this. Have your reed working for you to avoid stressing your embouchure by using a respon-sive reed. Start with your metronome set not slower than 90 for a quarter note. As you gain confi dence, go down to 60 and then increase gradually. You’ll proba-bly fi nd that there is a huge gap beween the notches of a regular metronome. A digital one with one beat/min-ute increments is very helpful. Once in a while, just to check your progress push your metronome to 138 and see how many 16th notes you can fi t in.Enjoy!

DOUBLE-TONGUING: STRATEGIES AND EXERCISES FOR THE BRAVE84

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double tonguing exercisesMarc Vallon

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Taka Taka Taka has just never done it for me; or rather, I’ve never been able to bring myself to do it. Only in extreme cases have I seen the necessity to double tongue, but to use it regularly has always seemed to me not a little like a machine gun void of expression. I’m talking about cases involving the infamous

“Bassoonist’s Nightmare” (a term coined by Bernard Garfi eld) of fast sixteenth notes (or eighths in alla breve time) that go beyond our tonguing speed threshold. Diligent work can help acquire a pretty fast single tongue but even then, as the speed increases, articulation as a tool for expression becomes less manageable. A technique less insistent than the double tongue, using the throat attack once instead of twice every four notes, is not new (i.e. Tata Taka instead of Taka Taka). Over the years, I’ve experimented with combining various such patterns. Below I’ll elaborate on this general technique which I call 1 1/3 tonguing.

Th e solo ironically marked dolce in the last movement of Beethoven’s 4th Symphony has undoubtedly caused many sleepless nights for bassoonists throughout history. As a teen in the late ’70s I was privy to Mr. Garfi eld’s take on that solo at some master classes given in Saratoga, New York. I remember his talking about using some-thing like Tata Taka instead of the standard double tongue TakaTaka. I think he gave as reason for the deviation the awkwardness of the grace note. Th e story’s been told that Professor G, at his audition for the Philly job he held for so many years, played those infamous four bars several times at various tempos, from Allegro Molto to breakneck Presto. He quite blew the class away with his demonstration of the excerpt. I couldn’t remember (even a few days aft er the class) if he employed the same Tata Taka combination throughout the solo; actually he seemed to describe a sequence of diff erent combinations for each sixteenth note group. Blame my forgetfulness on the awe of being before the great Garfi eld and maybe also on some late nights back at the dorm. In any event, this is what I later worked out as my own formula for the wretched, soon to be loved solo in question, maybe or maybe not similar to Garfi eld’s own:

Th is formula was arrived at by trying many diff erent combinations of the 1 1/3 tonguing method. (Why 1 1/3 tonguing? Double tonguing gives you four attacks for every two usages of the tongue. Four divided by two equals two, or double. TTTK and similar variants give you four attacks for the price of three tongues. Four divided by three is 1 1/3). In the solo, I change to TTKT in the third sixteenth note group because the K attack on Bf was hindering the cleanliness of the grace note. Once locked into the new combination it was easier to keep it going in the fourth group. Th e fi ft h group goes back to TTTK. Why? Th at E was relatively diffi cult to attack cleanly with “K”. Th e change in register may have something to do with it. Th en back to TTKT for the last group. Once again, I found the K fl owed better on the A than the G. Th is formula keeps all throat attacks at least two notes away from the grace note, unlike straight double tonguing which would need a K right before and right aft er the ornament. Since the tongue provides more control (for me anyway, and I would imagine for most others), this “moment of danger” in the solo is much more manageable with the above formula. Working out Beethoven 4 was my fi rst experience with guttural attacks. Hence, I started right off with 1 1/3 tonguing, and never looked back.

Above, I mentioned some of my criteria for deciding where to employ those K’s. Here’s a list of such criteria in the usual order that I apply them. Pure feel oft en creates discrepancies and over years of playing some pieces repeatedly, I have changed my formulas frequently.

On 1 1/3 Tonguing (Not Quite Double)

John FalconeOrquesta Sinfónica del Principado de Asturias, SPAIN

ON 1 1/3 TONGUING (NOT QUITE DOUBLE)90

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K USAGE CRITERIA:

1. Use the K sparingly, only when single tonguing is too risky and/or cumbersome. Sometimes, it is possible to go one or more groups without em-ploying a throat attack. In the examples below, I’ve put some K’s in parenthesis. Th ese are for use only in emergencies like when a conductor has had too much coff ee, etc. Once facility has been gained with this technique, it is not so diffi cult to “change the play” a la “Peyton Manning at the line of scrimmage” if necessary.

2. Some notes simply “K” better than others. Open F and neighbor E are prime targets. So are top line A and the C and D just above it. When I fi rst experimented with 1 1/3 tonguing, I worked up the technique by repeating open F with three dif-ferent combinations (TTTK, TTKT, and TKTT) at increasing speeds. I may have been in error, but I just assumed this would be an easy note. Easy vs. diffi cult notes will no doubt vary from player to player. For me, half hole G and Af and any-thing lower than middle line D are more diffi cult to “K” with clarity.

3. Follow the phrasing. I have noticed that the K at-tack gives a satisfactory result for the fi rst note of a “mini phrase” within a long passage. It’s hard to explain my meaning in words. In the examples below, I’ve marked some such notes with *. Note that determining starting points of “mini phras-es” is quite subjective.

4. Try to keep the same combination going, as the repetition simply makes the job that much easier.

5. If necessary, forget all these criteria and use combinations which, for no apparent reason, are more comfortable and expressive. Establishing these formulas should be a very personal process, not unlike the choosing of bowings for string players.

Before listing some excerpts with my own cur-rent (and ever-changing) formulas, I off er some tips for the 1 1/3 fi rst-timer (of course, one needs to have some facility with the throat attack before proceeding).

A FEW TIPS:

1. To establish a personal formula for any passage, use either an analytical approach with criteria like those above, or by playing the passage slowly

letting a 1 1/3 pattern fl ow from your embou-chure, or with a combination of both methods. (Possible starting point: try my personal formu-las below)

2. Mark your formula in the music with k (or c, g, +, whatever does the trick) over the gutturally at-tacked notes. Be sure to use a nice soft pencil for easy erasing.

3. Once you have established a formula that works at a slow tempo, work the passage up to true tem-po gradually, using the dotted eighth-sixteenth rhythm and its reverse. Always use the estab-lished articulation formula in the slow practice routine with these rhythms. If the formula is changed mid-stream, work the new version start-ing from a slower tempo if necessary.

4. Use of the metronome will prove essential. Ex-periment with letting the machine mark the back beats (either 2 and 4 of a 4/4 bar, or the off -beat eighth notes in same). Th is will prove exasperat-ingly diffi cult for some. Don’t sweat it! Keeping the clock on the main beats is plenty. For those with experience playing jazz, the off -beat idea should prove easier.

5. Remember to rest aft er short periods of practice. Th is is taxing stuff . When I’m close to getting the long Mendelssohn 3 Tutti passage up to tempo, for example, I need to rest for about a minute af-ter each go through.

6. When talking about double tonguing one im-portant point is always made, so it should be mentioned here as well: Single tonguing exercises should never be neglected. Th at said, do remem-ber Criteria #1 from above: Use the guttural at-tack only when single tonguing proves insuffi -cient technically and/or expressively.

Tips 3 and 4 above suggest a practice that con-fl icts with a long held claim, made especially by brass players: Th at of the existence of a “wolf” or impossible tempo in between single and double tonguing. In my exploration of 1 1/3 tonguing, I’ve never encountered such a hindrance. Indeed, some published methods on double tonguing for bassoonists start by requir-ing slow repeated quarter notes, all with a guttural attack. Th ere’s a fascinating anecdote related to this topic by bassoonist James Jeter in the articulation section of the new IDRS forum on the Internet, along with an extensive bibliography on the topic provided by Terry Ewell (plus an ever growing thread of many others’ enlightening experiences).

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Back to Beethoven 4. Here are my formulas for the other Tutti and Solo sixteenth note passages in the last movement:

When performing the piece, having that fi rst Tutti passage under control helps establish the 1 1/3 technique helping build confi dence for the solos to follow. In the last Tutti, notice that the third group is all single tongued. Since the previous and following K attacks give the tongue a little rest, short single tongue groups are quite feasible.

Here’s a tip that may prove helpful for the dolce solo as recommended by the late Arthur Kubey, long time principal of that other Symphony in Pennsylvania (Pittsburgh): In the bars preceding the solo, think sixteenth notes on the backbeats:

Th inking this rhythm really helps pre-establish the tempo, especially for auditions where, for most of us, a sec-ond try is allowed only at the request of the jury, usually aft er muffi ng the fi rst attempt (%@&!). I usually think the prep rhythm with the TTTK combo that starts my formula for the solo. Another helpful tip is that of prepar-ing and maintaining the left ring fi nger in a curved, fi rm hammer position. It’s the grace note that needs special care. With these preparations, nailing the excerpt on the fi rst try should become the norm - J!

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Here are some Tutti and divisi passages from Mendelssohn’s 3rd Symphony with 1 1/3 (and less) tonguing formulas that I currently use (asterisks refer to examples of K Usage Criteria #3 above):

Th at long Tutti passage at letter F is a great challenge. I suggest using the thumb for the low Af’s from the start (at slow tempo). Our Orquesta played this symphony on tour last year and each hall seemed to eff ect a diff er-ent tempo. Single tongue exercises along with the dotted rhythms proved indispensable every day as the “fast” nights popped up quite by surprise.

Here’s another fun set of excerpts more apt to be asked for at auditions: Mozart’s Symphony # 41, last movement. (K’s in parenthesis not usually needed, but if the conductor has a hot date or a plane to catch, be forewarned!)

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Once again, handling the opening Tutti passages with ease helps pave the way for the solos to come.Here I’ve only included passages with consecutive fast notes lasting a bar or more. When practicing these

and any excerpts, it is advisable to have the whole part on the stand. Leonard Sharrow, another bassoon master who will be sorely missed, was known to have opined that “excerpt books are better than not having the actual part. . . but not much.”

In the end, I should re-emphasize that the main goal here is to maintain expressive control in spite of techni-cal obstacles. If the diffi culty of fast notes is overcome with any rapid fi re technique, albeit cold and uncontrolled, we might as well be playing a jack hammer. To comply with Beethoven’s indication of dolce, that particular solo needs to be played in a gentle, easy manner. Th e main expressive tool at our disposal is the quality of the attack, and the front of the tongue is usually much better equipped and trained for this role than the throat. Mastering 1 1/3 tonguing may require a good amount of wood shedding but should help allow our musical imagination to fl ourish without a hint of worry or panic caused by technical hindrances. If this can be achieved, fast notes will be an invited guest to our repertoire of musical expression.

Enough nightmares! Happy tonguing to all. ◆

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Due to an increase in popularity, its greater presence in college curriculums, and a rise in the number of certifi ed teachers, most of

today’s musicians have heard of the Alexander Tech-nique. Many musicians, however, are not clear on ei-ther the underlying principles of the method, or how its application can positively aff ect oboe playing and performance. I would like to address both of these questions, beginning with an analogy.

Imagine an oboe player learning how to play an oboe alone on a desert island with just a half dozen old reeds to keep her going. Since she’s never played a good, new, well-balanced reed, she has no idea that the quality of her reeds is limiting her. Th ough she re-ally enjoys playing the oboe, she fi nds it overall very diffi cult: notes don’t always respond, intonation is all over the map, sound quality is laser-like, she fi nds it diffi cult to be expressive because she is using so much energy to control the reed, she’s tired and sore when she’s done, and so on. One day a FedEx box comes fl oating up to her beach and inside are several plas-tic tubes, each containing a brand new, fully intact oboe reed, hand-made by a professional oboe player. It is easy to imagine the joy of this lonely oboe player when she puts a new reed into her oboe and begins to play for the wildlife. Everything is easier!

An oboe player’s overall condition of coordina-tion and use of her body aff ects all aspects of playing the oboe, much in the same way the oboe reed does. Th e oboe player herself is just as important part of her equipment as everything else on which she has spent so much time, money, and energy. Many oboists have the idea that it would be nice if it were easier to play the oboe and continually search out new oboes, new shaper tips, the best cane, another teacher, all of which we know are extremely important, but they haven’t yet explored the infl uence that their habits of misuse might have on their playing. Th e Alexander Technique is one way of learning about oneself, and more specifi cally, about one’s habits. Th e Technique is also a method for changing habits and developing a more balanced coordination. Awareness of one’s habits and a lasting method of changing unwanted ones that may interfere with an oboe player’s comfort

The Alexander Technique and Oboists, Part IWhat the Alexander Technique is and How it is Relevant to Oboists

Andrea FedeleMinneapolis, Minnesota

level, performance, and career are examples of what one can learn in lessons in the Alexander Technique.

Musculoskeletal problems and the pressure of performance are probably two of the biggest chal-lenges facing musicians. Surveys of professional or-chestral musicians found that up to 64% reported experiencing musculoskeletal diffi culty of some kind during their career.1 My own survey of oboists also indicated that about two-thirds of oboists suff er pain while playing.2 Th is is no small number of musicians. Considering the prevalence of playing-related pain and stress, it seems clear that something in the ap-proach to music-making and managing the related challenges needs to be changed.

Awareness of the problem has been increasing. Two fairly recent developments are helping some musicians: performing arts medicine and ergonom-ics. Prior to the development of performing arts medicine a musician in pain oft en had to face not being taken seriously by a doctor who viewed music as a hobby, not a profession. Today musicians know their unique circumstances will be taken seriously by a performing arts medicine specialist who has at least some idea of what is involved in playing an in-strument. Ergonomics has helped to make musicians’ work conditions and instruments more conducive to comfortable playing. However, even with these ad-vances, musicians are still suff ering from painful musculoskeletal conditions. Th is seems to demon-strate that there are signifi cant limits to the ability of ergonomics and performing arts medicine to prevent these conditions in musicians in the fi rst place.

Ergonomics has been defi ned as “an applied sci-ence concerned with designing and arranging things people use so that the people and things interact most effi ciently and safely.”3 Oboes have improved, but playing one still causes many people discomfort or pain. Chairs have improved in orchestras, but some musicians still fi nd it diffi cult to sit through an entire rehearsal. Our bodies are so varied that the perfect chair or oboe for all people will not be found. Refer-ring to the defi nition of ergonomics again, if the item being used cannot go any further toward making the interaction between people and the item more effi -

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cient and safe, it is time to look at what people them-selves can contribute to the interaction. Perhaps the relationship between the musician and the chair or oboe can be improved from the musician’s end. May-be the musician’s coordination, or way she organizes herself while playing, can be improved, therefore relieving some already existing pain, or preventing pain from occurring in the fi rst place.

Undoubtedly, it would be preferable to prevent pain from occurring in the fi rst place, but successful prevention requires knowing what causes pain. One way of classifying the conditions suff ered by musi-cians in order to examine their causes is to group the conditions into three categories: those caused by non-musical injuries, those which are performance-related, and those described as painless coordination diffi culties.4 Th e fi rst category may aff ect a musician’s playing, but was not caused by the playing and can be treated as the injury would be for a non-musician. Th e third category, including such conditions such as focal dystonia, is mysterious even to doctors. Th e sec-ond category includes the more common repetitive-motion, muscle-strain type of injuries that plague most of the musicians experiencing pain while play-ing. Th e conditions in this category are also oft en re-ferred to as ‘overuse syndromes’.

‘Overuse’ is a term that is oft en heard, but turns out to be diffi cult to defi ne. William Dawson, a medi-cal doctor that has written many articles about pain in double reed players for Th e Double Reed, states that in the case of overuse syndromes, the pain is produced in the muscles, tendons (those sinews go-ing from fl eshy muscle to bone), ligaments (holding one bone close and stable to another) and fascia (the strong, thin separators of muscles and other tissues). It is caused by more physical stress on these struc-tures than they can handle comfortably and is most oft en due to a combination of excessive time and force of practice. Other frequent causes are improper playing techniques and associated activities.5

Th e term ‘overuse’ has been the subject of dis-cussion in many articles about overuse conditions in musicians, the conclusion being that ‘misuse’ might be a more correct term. Whatever term is used, mis-use/overuse is caused, at least in part, by something the musician herself is doing improperly and is there-fore at least “theoretically preventable, because pre-vention of overuse is the control of use.”6 Th is should be good news to a lot of musicians who feel they don’t have control over the pain or discomfort they feel while playing. If the pain or discomfort is at all the result of misuse, at least some control can be retaken

by learning control over how one uses one’s body. For those who don’t hurt while playing and want to make sure they stay pain-free, they have a possible way to prevent the pain that will otherwise develop in two-thirds of them as the result of misuse, by stopping misuse. Learning how to use oneself well, and elimi-nating misuse, is a good place to start.

Changing how an oboist coordinates herself while playing sounds very challenging. First, how does one know what to change, exactly? Perhaps one’s teacher, if one is a student, would have some suggestions. Maybe a doctor or physical therapist has suggestions. But even aft er receiving suggestions, the oboist is faced with another challenge, as anyone who has tried to change a habit related to playing knows. Th e familiar habit feels right and everything else feels wrong. Th e reader can experience this by crossing her arms across her torso, then noticing which arm is on top, crossing her arms again with the other arm on top. For most people, this little exercise gives them a clear example of how the non-habitual feels wrong. On a larger scale, one’s habitual way of using the body feels right, and anything else feels initially wrong, or at the very least, weird. Addressing this challenge is how the Alexander Technique can be instructive.

One hears many misconceptions about what the Alexander Technique is. For example, the Technique is not about fi xing oneself stiffl y into the “right” posi-tion, or conversely, relaxing. It is about appropriate and balanced tone for the activity at hand, coordina-tion and competence, effi cient and directed strength, all resulting in greater ease of movement. It is not a “New Age miracle cure,”7 nor a therapy, nor a quick fi x. Developing habits of misuse takes time, and this practical process of relearning how to do what one does in the best way possible also takes time. Th e Alexander Technique is not a series of exercises nor a ‘breathing technique’, though it can be used to make exercises more benefi cial and breathing freer. It is also not something limited to the young. Any-one can change habits. Change is, in fact, inevitable; whether or not the change is benefi cial is something over which each individual can have some control. Th e Alexander Technique is also not something one needs to continue taking lessons in for the rest of one’s life. Th rough this reeducation process the stu-dent becomes more aware and independent, able to help herself.

Pedro de Alcantara, a musician and Alexander Technique teacher, writes, “Alexander [F.M. Alexan-der, 1869 – 1955, the founder of the Alexander Tech-nique] found the cause of our troubles not in what is

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done to us, but in what we do to ourselves. He saw that the problem was not in the stimulation of mod-ern life, but in our response to it; not in the stress, but in the straining.”8 Jane Heirich, another Alexander Technique teacher who also teaches voice at the Resi-dential College of the University of Michigan wrote simply, “It is the how that matters, not the what.”9 Th e Alexander Technique can be and has been described in many ways, but common to all is that the princi-ples of the Technique teach us how to use ourselves better and more effi ciently.

What follows are descriptions of the basic princi-ples of the Alexander Technique and a little of the as-sociated jargon. Familiarity with these principles and terms will be helpful to the reader of Part II of this article, which will appear in the next Double Reed. Part II will discuss specifi c ways in which an oboist may be able to benefi t from lessons in the Alexander Technique.

BASIC PRINCIPLES OF THE TECHNIQUE

1) An individual functions as a whole, not as sepa-rate parts nor just a mind nor just a body. Ev-erything that we do involves our whole system. Activities that seem primarily physical, like walk-ing, and activities that seem primarily mental, like reading, still involve our entire selves. It is we who tend to focus on just the physical, or just the mental, or just the legs, or just the breathing, and so on. In Alexander Technique lessons, the teach-er works with the individual within the frame-work of the whole, even when focusing on parts. Th e teacher addresses the student’s overall use of herself, her overall condition of coordination.

2) Everything an individual does is aff ected by how she uses herself. Much in the same way that the quality of the oboist’s reed aff ects every as-pect of her playing, the quality of an individual’s use of herself aff ects how she does what she does. If she has excess tension in her neck, that tension is an infl uence on the rest of her system and on everything she does. Her neck tension can cause restricted elasticity of the ribs, stiff ness through the legs, extra tension in the arms, a tight jaw, and so on. Her neck is tense when she eats breakfast, when she drives, when she picks up a bottle of laundry soap, when she makes reeds, when she plays the oboe, etc. Conversely, if she has a nice balance between her head and neck and torso, legs and arms, she has greater freedom in her

neck, ribs, abdomen, hip joints, limbs, and so on. She continues this free use of herself while she rides her bike, sits at the desk making reeds, plays the oboe, makes dinner, and does everything else that she does.

3) An individual’s habitual, familiar way of do-ing something feels right. On the other hand, a non-habitual way of doing something initially feels wrong, and furthermore, we don’t tend to do what feels wrong to us. Very few readers would ever have crossed their arms across their torso in their non-habitual way if they hadn’t been prompted to do so in the little exercise above, for example. Even though crossing one’s arms in that way feels wrong, everyone would probably agree that it isn’t wrong to do so, but just feels that way. Almost everyone could improve the way they use themselves, but wouldn’t spontaneously do so because that unfamiliar use would initially feel wrong. Th e Alexander Technique teacher is trained (certifi ed aft er attending a three-year, 1600-hour training course approved by the American Society for the Alexander Technique, AmSAT) to show a student how to move with better balance and coordination and to give her the experience of moving in a better way, a way which the student would probably never have tried herself. Aft er some repetition in lessons and then on the student’s own outside of lessons, the more coordinated way of using herself feels ‘right’, and in fact, better.

4) Th e Alexander Technique instructor teaches a process of re-education. When someone carries out an activity without paying attention to how the activity is being accomplished, she is doing what F. M. Alexander called “endgaining”. Alex-ander was an actor who began to lose his voice while performing, and found through self-ob-servation that his habits of misuse were causing the loss of his voice. Aft er much experimentation Alexander worked out a method of eliminating these habits, returned to a successful acting ca-reer, and consequently became much sought-af-ter as a teacher. When addressing the problems of habitual misuse and what he called ‘endgaining,’ Alexander found that he and his students were able to carry out an activity more effi ciently if they began by fi rst becoming aware of their ha-bitual way of doing something, then deciding not to do the activity in that habitual way. Th is mo-

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ment of “non-doing” or “inhibition” then gives the student the choice to complete the activity, guided by both verbal and hands-on “directions” from the teacher, in a non-habitual and more ef-fi cient way. Alexander called this attention to the steps taken during an activity the “means-where-by” the activity could be accomplished in the best way possible. Aft er the student has been guided through this process several times by a teacher, the student is consciously aware of her habits, is able to have some control over the way in which she does something, and can change habits when desired. ◆

GLOSSARY

endgaining carrying out an activity without paying attention to how the activity is being accomplished.

directions one’s own thoughts, or verbal or hands-on suggestions from the Alexander teacher, that en-courage a free and balanced use of the musculature.

inhibition (also called ‘non-doing’) pausing and consciously deciding not to do an activity in a habit-ual way. By stopping the habitual misuse from hap-pening, the person can then choose to do something in a better way.

means-whereby a term Alexander coined to refer to the steps taken to reach a goal or to do whatever we are doing.

use a person’s overall condition of coordination. Of-ten heard in the Alexander Technique in the phrase ‘the use of the self ’, meaning how one organizes one-self in an activity.

NOTES

1) Hunter J. H. Fry, “Incidence of Overuse Syn-drome in the Symphony Orchestra,” Medical Problems of Performing Artists 1 (June 1986): 51; Paul H. Caldron and others, “A Survey of Muscu-loskeletal Problems Encountered in High-Level Musicians,” MPPA 1 (December 1986): 136.

2) Andrea L. Fedele, “Th e Alexander Technique: A Basis for Oboe Performance and Teaching” (D.M.A. diss., University of Illinois at Urbana-Champaign, 2003), 59-66.

3) Merriam-Webster’s Collegiate Dictionary, 10th ed., Merriam-Webster, Inc. (1996), 393.

4) Helen Wallace, “Performance-related Injuries – A Dark Continent?” Th e Strad 102 (May 1991): 396-398.

5) William J. Dawson, M.D., “Playing with Pain – Help for Muscular and Skeletal Problems in the Double Reed Musician,” Th e Double Reed 11 (Winter 1988): 35.

6) Fry, 55.7) Solomon R. Baer, “Th e Alexander Technique and

Performance: A Clarinetist’s Journey” (D.M.A. diss., University of Illinois at Urbana-Cham-paign, 2002), 5.

8) Pedro De Alcantara, Indirect Procedures: A Mu-sician’s Guide to the Alexander Technique (Ox-ford: Clarendon Press, 1997), 10.

9) Jane R. Heirich, “Th e Alexander Technique and Voice Pedagogy,” National Association of Teach-ers of Singing Journal 49:5 (May/June 1993): 16.

Andrea Newhouse Fedele (AmSAT-certifi ed) is an oboist as well as an Alexander Technique teacher. She began studying the Alexander Technique both to help her achieve greater ease and comfort while playing the oboe and to improve her well-being. She became certifi ed to teach the Alexander Technique while she was pursuing a Doctor of Musical Arts degree at the University of Illinois at Urbana-Champaign, com-bining what she had learned about the applications of the Technique to playing the oboe in her doctoral dissertation entitled “Th e Alexander Technique: A Basis for Oboe Performance and Teaching”. She cur-rently resides in St. Cloud, Minnesota, teaching oboe at St. Cloud State University, the College of St. Bene-dict and St. John’s University and maintaining a pri-vate oboe studio as well. In addition, Andrea teaches private Alexander Technique lessons and gives Alex-ander Technique workshops.

Please feel free to contact Andrea at [email protected] with any questions or comments. Andrea encourages you to visit the American Society for the Alexander Technique website (www.alexandertech.org) as well.

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PROLOGUE

Many of you bassoon readers will recall that I had a terrible experience awhile back when my beautiful Heckel 13,000 series bassoon broke off its lower tenon while I was disassembling it. (I wrote of its subsequent repair, as a tribute to the brilliance

of bassoon repair persons - read “geniuses” - in the article God Bless Bassoon Repairmen and Repairwomen: A Listing of Great Bassoon Repairpersons in Th e Double Reed, Vol. 28, No. 3, pp. 119-124.) In the article, I mentioned that repairman Marvin Krantz of St. Louis, Missouri, had not only added a new tenon to my wing joint, but in the process, the bass clef c s , which had been a somewhat fl at pitch before, now seemed much improved.

Subsequent to this, I was contacted by Minnesota Orchestra’s John Miller, who now plays on a Fox 601 and has been concerned with the low pitch of this bass clef c s on both the Fox 600 series and the Heckel 13,000 and 14,000 series - all thick walled bassoon models. He asked me to loan my bassoon to Fox for checking, which I did. Aft er checking the bore, etc., at the factory (and fi nding that the c s still tended to be a bit low on it to them), they were ready to return it to me. I decided instead to pick it up myself with a quick visit to the Fox factory near South Whitley, Indiana, in March of 2006, and to see just how a bassoon is made from scratch. Th is is my report.

On a fairly cold, cloudy and somewhat gloomy day last March, I arrived at the Fox factory for my pre-arranged visit. Alan Fox had graciously let me use the apartment in nearby South Whitley that they keep for visitors when I arrived the night before. Th e “boss” himself, Alan, was my tour guide through the factory. Besides being treated like “royalty” by him and all of his dedicated workers and staff , I learned a lot about the, as Alan calls it: “… combination part science, part art, and part craft s” that goes into making a bassoon.

CURING THE WOOD

Th e fi rst thing Alan showed me was the original factory build-ing, which was a converted chicken coop on the farm which has been in the family since 1905. Th e coop was where, beginning in 1949, Al-an’s father Hugo Fox, who was a member of the Chicago Symphony from 1922 to 1949, began making his own brand of bassoons. Now, of course there are a number of buildings including a wood dry-ing shelter and a drying loft , and other out buildings, and, of course, a very modern factory and offi ce building.

We fi rst visited the wood dry-

A Visit to the Fox Bassoon Factory

Ronald KlimkoMcCall, Idaho

Alan Fox in the drying shelter.

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ing shelter, where the pre-cut blocks of wood are initially placed to dry out. Th e wood is, of course, maple, but consists of fi ve variet-ies which they use, including red maple, black maple, sugar maple and the very popular mountain maple, the latter of which comes mostly from Austria and Yugosla-via. In this shelter the new wood is dried for about four years until the moisture content drops to 15%.

Th e wood is then ground stored until it drops to 13% and a bore hole is drilled down the cen-ter to assist in the drying process. All the blocks are single drilled, except for the future boot joints that have twin bored holes drilled in them. Aft er boring the wood is swabbed with oil in the bore hole and aged for three more years in a loft where the moisture content drops to 6-to-8 percent. Th e entire process can take at least 7 years.

DRILLING THE BORE AND SHAPING THE PARTS

Aft er drying, the wood is brought into the main factory, where the initial reaming of the bore is the fi rst thing that takes place. Th e tool shop of the factory makes and maintains all the reamers, which must be very precise and oft en need sharpening, mostly by hand. Both the wooden and the polypro-pelene (plastic) models are carefully bored. Th e polypro models require even more care than the wood during this initial reaming, although they do have the advantage of not needing the wood drying time and the rubber bore lining processes needed with the wooden models.

Th e bored pieces are next carefully shaped to the traditional bassoon shape by a machine that uses a guide model, much like a bassoon cane profi ler or a reed-dual machine. Th e outside is then carefully sanded and measured to make sure they adhere to traditional measurements. Bore liners of rubber are then fi tted and glued into the bores of the wing joint and the “spit side” of the boot joint. Also at this point the serial number is added only to the boot joints. On the wing joints, the fi rst tone hole, the c s is then hand drilled and the shaping of the raised housing around this tone hole is carved and fi nely fi led, all by hand.

Next comes the burning of the traditional “tiger stripes” on the wood. Th ese are burned into the wood aft er the piece is covered with pottery clay and part of the clay is then scraped off by a sharp tool while turning it on a lathe. Th e piece is then blow torched, and the wood is burned into the exposed stripes permanently when all of the clay is removed.

The drying shelter for new wood supplies.

Bored wood stacks drying in the loft.

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STAINING AND VARNISHING THE PARTS

Th e staining and varnishing pro-cess is long and involved, taking up to as much as six to eight weeks or longer to complete. Th e process consists of staining with a paint sprayer, and rubbing with a cloth two to three times, followed by varnishing, letting it cure for two weeks, and more varnishing and cloth rubbing until the beautiful, deep fi nish is fi nally achieved. Th e professional model instruments are given more attention than the Renard line, but both involve a lengthy and patient process. Also during this process, the Fox logo is added to the bell joint in gold, using gold leaf.

TONE HOLE DRILLING AND FACING

Aft er the joint gaskets are glued on the various bassoon pieces, and the “ivory” or metal ring added to the bell joint, the tone holes are then carefully drilled and faced, followed by the drilling of the post holes. Th is phase requires great skill by the machinist in charge - a true craft sman. At this time the tone holes are re-reamed and serial numbers are added to the other three pieces: the long, wing, and bell joints. Th ese are carefully matched up for fi nish with the previously numbered boot joints. It is here that a new bassoon is “born” and numbered!

KEY MAKING AND MOUNTING

Th e addition of posts is next. Aft er they are drilled, screwed, and glued in and dried, the posts are then drilled out and fl attened on the inside to accommodate the key. Rods are also custom fi tted to the posts where they are needed. Th e key parts are either milled or cast, depending upon whether it is a simpler or more complex part. All of the cast parts are made from the initially hand made patterns by pouring mol-ten nickel-silver into a prepared mold. Th ese are then polished in a ceramic medium and fi nished on a belt sander. Some of the more complicated parts, however, must be shaped by hand and carefully fi led and sanded. Th ese parts can take up to a half hour per part to make.

Th e keys are then mounted on the bassoon and carefully fi tted

General shot of the interior of the Fox factory.

A Fox technician at his bench with a keyless bassoon in the background.

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and soldered for each individual instrument. Th e serial number is then etched into the key cup of each part. Th e fi tted keys are then buff ed and plated with either sil-ver or nickel, aft er which corks are then glued to the keys where needed. Th e tone holes then re-ceive a fi nal hand drilling to in-sure uniformity. Aft er springs are added to the posts as needed and the pads are carefully added and fi tted to the pad cups, the key work is fi nally assembled on the instru-ment. Spring tensions and key heights are then carefully checked and adjusted, and as a fi nal step, key guards are added where they are needed.

BOCAL MAKING

A future bocal begins its life as a fl at piece of brass, which is turned around a straight mandrel and sealed with a compound, followed by heating to almost 1000 degrees Fahrenheit by a blow torch. Th e blank is then cooled and carefully fi tted around the fi nal master mandrel. By fi lling the inside of the bocal with a special metal that melts at about water boiling temperature and is then cooled by dipping it in water, the bocal can then be quickly bent to standard shape around a shaper without denting the metal fi lled bore. Th e bocal is then re-heated and the metal drains away to be used again. Cork is added to the end of the bocal and identifying marks are stamped in on the side.

FINAL TUNING

Now comes the fun part. Th e bas-soon is assembled and played for the fi rst time in the Tuning and Intonation room by master bas-soonist Mike Trentacosti. Mike, a Bernard Garfi eld trained art-ist, has been at the Fox factory for almost 30 years. Besides playing bassoon in the Fort Wayne Phil-harmonic, Mike is responsible for the fi nal tuning and adjusting of all the bassoons before they leave the Fox factory. In some cases this involves some complicated adjust-ments such as undercutting tone holes, key adjustment, bore revis-iting, etc., especially on the pro-fessional-level model instruments. With these fi nal adjustments, the

A long joint in the fi nal stages of assembly.

Alan Fox and Mike Trentacosti in the Tuning and Intonation Room.

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new bassoon is at last ready to leave the factory. Mike does his job very well, because year aft er year the Fox company turns out beautiful bassoons played by pro-fessional, amateur and aspiring student bassoonists all over the world.

THE LUNCH BREAK AND GOODBYES

No tour of the Fox factory in tiny South Whitley, Indiana, is complete without a lunch break at the local eatery, the Green Parrot, where one is given a remarkably non-gourmet, but good meal for a very reasonable price. It was here in this tiny restaurant on the tiny main street of South Whitley, Indiana, where one is struck with the anomaly of world class, beau-tifully built bassoons - a remarkable combination of “science, art, and craft smanship” – being turned out on a daily basis in this tiny town in northeast-ern Indiana which could easily pass as a model for any “small-town-USA”! An anomaly that borders on a miracle.

And so, gathering up my Heckel bassoon, and thanking Alan, Mike, and all the staff for a fascinat-ing visit, it was time to head for home. Before I did, however, Alan pressed a wonderful video tape into my hands: “Bassoon Making By Fox”, which proved invaluable in preparing this report. For those inter-ested in an in-depth presentation highly suitable for a master class presentation, or even a general music class I strongly recommend it. You can fi nd it in the Fox catalog.

If you didn’t take advantage of the close prox-imity of last year’s IDRS Conference at Ball State in Muncie to visit the Fox factory, I highly recommend it to any bassoonist in the future. Th is is especially true if you, like me, have ever wondered how this “miracle”, this beautiful musical instrument we hold in our hands and use to make music on a daily basis, ever came into being. ◆

THE LEITZINGER BASSOON AND A NEW MODEL FROM MOENNIG/ADLER: A REPORT104

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It is very encouraging to read in the ‘Rohrblat magazine from Germany, the offi cial publica-tion of IDRS Deutchland, of the continued de-

velopment of new bassoons and new bassoon makers. In two reports recently published in this publication word comes of such developments. Th e fi rst article by David Petersen appeared in the ‘Rohrblatt issue #4, December, 2005, pp. 219-220, and is reprinted below in an English translation by Melanie Gonzales with permission.

A YEAR WITH THE NEW LEITZINGER BAS-SOON IN THE GEWANDHAUS ORCHESTRAAn Experiential Report by David Petersen

What do you think of new developments in the in-strument market? Do you test new instruments every once in a while?

A new bassoon from the Leitzinger Company out of Hösbach has now been available for a year.

It (the company) has been known to many bas-soonists for years because of their bocals. Now, one can try out their bassoons.

I have been a customer of Stephan Leitzinger since 1990, have played with his bocals since then and will not try to hide the long friendship that has developed out of that. With the purchase of my Heckel-bassoon, that I played exclusively since my studies with Klaus Th unemann in Hannover up until one year ago, he professionally consulted with me; because it was an old instrument (no. 8024 from 1936) much work was necessary and he carried it out very well. In the end I had a large defect on the wing joint that required a replacement. Th e replacement piece was excellent – the instrument lost none of its specifi c qualities: a unique result as far as I know.

In the beginning of 2004 it was fi nally done. Th e new bassoon was ready to be played. Th ere was much excitement as we began its fi rst testing in the large au-ditorium of the Gewandhaus. I was already impressed with its outer appearance. A light instrument, one on which a person does not have to forego the “modern”

The Leitzinger Bassoon and a New Model from Moennig/Adler: A Report

Ronald KlimkoMcCall, IdahoTranslations by Melanie Gonzales

keys such as the high “E” etc., a nice lacquer, a slim but strong and well done craft smanship. And that a light instrument was able to create a loud tone was obvious from the very fi rst playing. A very vibrant in-strument, fl exible, rich in color and very able to hold a tone. All these qualities have proven themselves over time. Aft er a good year of breaking it in playing, its qualities have become an expected and well-liked standard. I have never before experienced an instru-ment that was so balanced in tone and intonation.

Aft er making a few tuning corrections I tested it in its fi rst use at the Gewandhaus Orchestra. As

David Petersen is a solo bassoonist at the Gewandhaus Orchestra in Leipzig.

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much as was possible, I told my colleagues nothing about my new instru-ment. I wanted to wait for their reactions. At fi rst there were none – so it was at least not worse than my previous bassoon, and then the fi rst positive reactions started coming. Mostly the string musicians noted the rich sound of the tones and the greater wealth of tone shadings. Reactions kept coming and coming, almost exclusively positive.

Th e Gewandhaus gave me such confi dence, that it was possible to use this fi rst instrument of Stephan Leitzinger as the offi cial instrument of the Gewandhaus.

Since then, I have played more than one season of my entire career on this instrument. Of course, it takes some time until one is able to completely acquaint oneself with an instrument. Certainly, I still have more to discover. What I have experienced this year was overall immensely easier playing. Th e blowing resistance is comfortably low, it does need a lot of air, but it is then “pulled away” without much compression from the instrument. Th is is very comfortable in the demand of moving from pianissimo to fortissimo.

Th e construction of my reed has been adapted to the instrument – and has changed much. Th e reed is lighter and freer. Th e intonation of the instru-ment is so solid that I don’t have to adapt my reed to any “sick” notes. Th e highest note does not require any special treatment.

In October of 2004, I played the Jolivet Concerto on this instrument. Lows and highs were easy to cope with. In the summer of 2005, it convinced me on a Japanese Mozart Bassoon Concerto tour.

But I have also played the 4th and 6th Tchaikovsky Symphonies, many concerts, operas, continuos, and chamber music. And the instrument has reacted fantastically everywhere.

I continually observe that in large auditoriums the tone range can com-pletely unfold. During a sound check, when my colleagues played the instru-ment, I walked all around the room; whether in the front or all the way in the back, the presence of tone was always the same – simply unbelievable for me.

In conclusion, I can say I am very happy with this instrument and will continue to use it in all of my concerts. It mixes in with chamber music and an orchestra and has potential for every solo concert; the intonation is very strong, the reeds have become simpler, and I am sure that I can still discover many pleasant aspects.

(Stephan Leitzinger, 45, runs his business in Hösbach - close to Aschaff en-burg - since 1989. Leitzinger, who studied and worked with his father at his business Heckel and also at Buff et-Crampon and Lorée and was already known for his bocals, began to craft bassoons in 2002.)

Th e next article appeared in ‘Rohrblatt Number 1, 2006, p47, and appears below also in English translation by Melanie Gonzales with permission.

SERGIO AZZOLINI INTRODUCES A NEW SOLO BASSOON FROM MÖNNIG TO THE BERLIN PHILHARMONIC

In preparation of this year’s Music Expo, the company Mönnig and Adler will participate. In Frankfurt, this company will, on the one hand, introduce completely new developed instruments and on the other will present modifi ed contemporary products that have undergone improvements in past years.

214 CS Moenig/Adler Bassoon

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In cooperation with Professor Klaus Th un-emann, the development of the Bassoon Compact model “Mönnig Brothers 214 CS” was successfully fi nalized. Th e instrument, since then also played by Professor Sergio Azzolini, is standard equipped with silver lined fi nger holes inside the bore projec-tion, off ering an extra strong sliver plated mecha-nism at one’s disposal with 27 keys and besides being delivered with a regally decorated leather case, it also includes an original “Heckel” bocal CC (length may be requested). On the 30th of Novmenber 2005, Pro-fessor Azzolini performed in a concert with his new instrument at the Berlin Philharmonic aft er only a short period of transition. In front of a high-rank-ing audience and supported by the virtuosity of the artist, this bassoon model had a grandiose baptism by fi re. ◆

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Historical Oboes 16. Anniversary Oboes by F. Lorée, Paris.

Robert HoweWilbraham, Massachussetts

Th is year is the 125th anniversary of the founding of the most famous French oboe maker, F. Lorée of Paris, an anniversary which I have marked in these columns. Th e oboes shown here seemed a fi tting way to end a celebratory year.

The Trieberts of Paris were the leading French oboe and bassoon makers of the 19th cen-tury; the modern oboe was developed almost

completely by their fi rm.1 Frédéric Triebert’s last fore-man, François Lorée (1835-1902), formed his own oboe making company in 1881, carrying on Triebert’s work and tradition. Acquiring the contract for sup-plying oboes to the Paris Conservatory in 1882, Fran-çois Lorée limited his atelier to making oboes and English horns. When François died in 1902 his son Adolphe Lucien Lorée took over the fi rm, developing the modern plateau-keyed oboe with Georges Gillet. Th e fi rm changed hands in 1925 when it was pur-chased by Raymond Dubois and passed to Dubois’ son in law, Robert de Gourdon, in 1957.

Now directed by Alain and Anne de Gourdon, the children of Robert, Lorée has always been the dominant French oboe maker of its time. Exports have fi gured prominently in Lorée’s sales; in fact, François Loree’s fi rst oboe was sold to Rudall Carte of London.2 Th e overwhelming infl uence of French conservatory-trained oboists in American orchestras of the 1900’s led to Lorée’s dominating the American market for most of that century.3 Rare indeed is the American oboist who has not owned a Lorée.

It is no mean feat for a small musical instrument-making fi rm to survive for a century and a quarter, tolerating two world wars, a German occupation, Pa-risian rents, and the small-business-crippling regu-lations of the European Union. At least twice in the fi rm’s existence, Lorée’s management has recognized this and produced a celebratory anniversary oboe.4 Th is column will look fi rst at the current 125th anni-versary oboe, then examine a most interesting speci-men from the 50th anniversary in 1931 (fi gure 1).

I learned of the “125 Ans” oboe in an e-mail from Anne de Gourdon in April 2006. Given my interest in the history of the Lorée fi rm, I was delighted to accept

Figure 1. Anniversary Oboes by F. Lorée, Paris. Left, AE85, 1931; right, QM74, 2006.

HISTORICAL OBOES 16. ANNIVERSARY OBOES BY F. LORÉE, PARIS.108

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her invitation to purchase one of these oboes, which are limited to 125. Travelling to the Lorée offi ces in September, I had the pleasure of trying three of them, one of which had been fi nished that very morning (fi gure 2). Th ey all played very well, but as one might expect, each oboe had its own feel and sound. I chose oboe QM74, a specimen with an unusually vibrant timbre and a very well-tuned scale. How do I like it two months later? It’s fabulous, the fi nest Lorée I have owned and one of the best oboes I have ever played (fi gure 3).

Th e 125 Ans is a variety of the Royal oboe, itself introduced in 1989. Notable features of the 125 Ans oboe are that they are made of wood that has been sequestered for ten years, rather than the fi ve that is usual for other Royals. Th e 125 Ans oboes’ posts and six main key touches are fi nished in gold, giving the oboe a shimmering, highly metallic appearance (fi g-ure 4). Also striking is the metal reed receiver, which is gold fi nished; it is larger than that of a typical Lorée (or other) oboe (fi gure 5). Th is aff ects how the oboe plays; since metal has a greater thermal conductivity than wood, the top joint of this oboe comes to playing temperature more quickly than that of an oboe with a standard reed receiver, thus coming to pitch more rapidly than other Lorée Royals I have played.5 Th e

Figure 2. Oboes at the offi ces of F. Lorée, September 18, 2006. Three 125 Ans oboes are at the front right; a violetwood Royal, PO24, lies supine (photo by Amy Carpenter).

Figure 3. Serial number of QM74.

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mass of brass creates something of a heat sink, so it remains very stable in pitch through the course of a rehearsal.

Th e case for this oboe is a modifi cation of the Royal oboe case, with purple rather than black leather; the trim and para-phernalia are fi nished in gold. Th e overall eff ect is thus of a strikingly handsome oboe (fi g-ure 6). Th e entire series of 125 Ans oboes has been made and sold; almost half went to oboists in the United States, with the very last going to a player in St. Petersburg, Russia.

Although the 125 Ans oboes are fi ner in fi nish and detail than the standard Royal, they are not fundamentally diff erent in design. For the company’s 50th anniversary, however, Ray-mond Dubois produced an un-known number of Lorée oboes of a design that is unique not just among oboes, but among woodwinds.

Figures 1, 7-9 and 11 show Lorée oboe AE85. Look at it again; it is not the metal-bodied oboe that it appears to be at fi rst glance. An x-ray of the top joint shows that the bulb and reed receiver are entirely of metal; however, the rest of this instru-ment is a wooden oboe which was encased in silvered brass. AE85 is unlike any other wood-wind I have ever seen except for one other Lorée oboe. Among the unusual oboes displayed at the Lorée offi ces is an oboe-sax of similar construction, which is without a serial number (fi gure 10).

My discussions with Ma-dame de Gourdon showed that there is no memory, nor easily accessable record, of the manu-facture of these oboes. One can-not doubt that AE85 was built for

Figure 4. Lower joint of QM74. Even without color, the gold shading on the key touches, posts and rings is evident.

Figure 5. Reed receivers of Lorée”125 Ans” oboe QM74 and Royal oboe PO24.

Figure 6. QM74 in its case.


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Figure 7. Lorée oboe AE85, front view, assembled.

Figure 8. Lorée oboe AE 85, front view (apart). The bulb and reed receiver are of a different fi nish than the rest of the metal.

Figure 9. Lorée oboe AE 85, rear view (apart). The screws for the thumb rest pass through holes in the metal sheath and into the wood. Note the wear on the silver plate near the octave key, exposing the brass underneath.

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the fi rm’s fi ft ieth anniversary, however, as the bell, which is the only joint to be stamped, is marked “HAUTBOIS // F. LORÉE // (star) // PARIS // 1931 // AE 85”. I am unaware of any other Lorée oboe marked with a date.

How would one go about making such an instrument? Studying it minutely allows us to infer how it was made. Each of the tone holes is drilled and counter-sunk in wood, not metal. Each of the posts goes through the metal sheath and into the wood underneath; they are not soldered to the metal sheath like those of a saxophone or metal fl ute. Th e thumb rest is not integral to the sheath and is held in place by the usual two screws placed into the wood. Incredibly, we fi nd in the upper joint that there are three pins in the sheath, in a location typical of an upper joint crack.

Th e craft smen who built this oboe thus must have started with the body of a typical wooden oboe, with tone holes drilled and countersunk. Th e silver-coated brass sheath, pre-drilled for the tone holes, was then fi tted to the body. Pilot holes for the posts were most likely drilled with the sheath in place, to allow perfect alignment. Key work could then be fi tted over the sheath in the usual fashion. Th e result is a wooden oboe encased in metal (fi gure 11).

How does this oboe play? Not all that well; the notes do come out, but the sound is that of any 70 or 80 year old oboe, being rather small and uninterest-ing. However, it is not fair to judge the sound of an oboe which is very dry, which seals imperfectly, and which may well be “played-out”. We can reliably infer from the instrument itself that in its day, it played well; the wear on the up-per joint where the player’s thumb rests shows that this oboe was much-used.

I enjoy this oboe for its rarity and its style. Even as the mark on the bell proclaims its date, so does the oboe’s appearance. Cecil Adkins has shown how design motifs in 18th century oboes mimic those of period architecture;6 simi-larly, this oboe has the sleek, metallic, Art Deco look that was fashionable in 1931. Comparing it to such Art Deco icons as the Chrysler Building, (fi gure 12) built 1928-30, or the Empire State Building, built in 1931,7 demonstrates how this style was applied to objects diff ering in size and mass by factors of several

Figure 10. Lorée oboe sax, circa 1930. Like AE85, it consists of a wooden instrument encased in silvered brass; it lacks a serial number. Courtesy Anne de Gourdon.

Figure 11. The bell reveals that a nearly-complete wooden oboe is encased by the metal sheath.


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millions. Truly, AE85 is a product of its time.While preparing this paper, I noted an image

that by rights should have been included in my last column, “Lorée Oboes of John Mack’s time”. Note in the background of fi gure 2 the photographs of Lorée’s customers; one easily sees Ronald Roseman, Elaine Douvas and other notable oboists, past and present. A young John Mack is visible on the left edge of the fi gure (see fi gure 13). I hope that his spirit guided me as I chose an oboe that day. ◆

NOTES

1 Th e Paris workshop of the Triebert family was active from 1810-81. More recent instruments marked “Triebert” are commonly found, howev-er, because the name was purchased by Gautrot upon fi rm’s bankruptcy in 1881; it was a licensed trademark of Couesnon until the mid 20th cen-tury. Instruments made by Guillaume Triebert have a castle in their mark, with three stones (merlons) atop the turret. Th ose made by the Treberts aft er 1844 have three merlons and are marked “brevete”, in accordance with a French patent law of July 5, 1844. Instruments made by Couesnon are marked “brevete” and have four merlons. William Waterhouse, Th e New Lang-will Index (London: Tony Bingham, 1993), 403-4. Note that I now spell “Triebert” without an acute accent on the fi rst “e” in deference to the usage employed by the fi rm. For detailed accounts of the Trieberts’ work, see Robert Howe, “Th e First Mechanized Oboes--Triébert’s Systemes 3 and 4”. Th e Double Reed 24:2, 17-29, 2001. Robert Howe, “Th e Boehm Oboe and its Role in the De-

velopment of the Modern French Oboe”. Galpin Society Journal, 56:27-60, 2003. Geoff rey Burgess and Bruce Haynes, Th e Oboe, (New Haven: Yale University Press, 2004), 133-145.

2 Th e fi rst page of François Lorée’s 1881-82 sales ledger is reprinted in Larigot 20: 28, September 1997.

3 Burgess and Haynes, Th e Oboe, 195, 198-207. Th e earliest reference I have found to a French oboist in America is Georges Longy in 1898; a Belgian player, Felix Boar, arrived to work with Th eodore Th omas in 1885. “Th e Discordant Oboe”, New York Times, November 14, 1885, 3.

4 No special oboe was made in 1981; however, Anne de Gourdon told me, when I bought this oboe on September 18, that buyers of new Lorée oboes that year received “a special gift ”.

5 Th ermal conductivity is expressed as a “k value”, which is the opposite of the “R value” one encoun-ters in considering home insulation. Th e greater the k value, the more avidly a substance will con-duct heat, and the more rapidly it will change temperature. Typical k values for brass and wood are 109-159 and 0.16-0.4, respectively; diff erences of about one thousand-fold. Th us, brass changes temperature much more quickly than will wood. www.en.wikipedia.org/wiki/Thermal_conduc-tivity. Accessed November 2, 2006.

6 Cecil Adkins, “Proportions and Architectural Motives in the Design of the Eighteenth-Century Oboe”. Journal of the American Musical Instru-ment Society 25: 95-132, 1999. Reprinted in Th e Double Reed 25:2, 61-75, 2002.

7 Th e Chrysler Building was designed by William Van Alen; the Empire State Building, by the fi rm of Shreve, Lamb and Harmon.

Figure 12. Top fl oors of the Chrysler Building, New York.

Figure 13. Portrait of John Mack, from the Lorée archives, Paris. Cour-tesy Anne de Gourdon.

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Cricklade, WiltshireFebruary 18th 1939

Dear Mr Chatwin,

Your letter needs no apology. It is the most interest-ing thing that I have met for months. My only trouble in answering is that you seem to know a good deal more about the oboe than I do. You see, mine is one of those lazy minds that are averse to the sort of re-search that is necessary in these matters, and I am only an old gasbag in his dotage. However, in this lat-ter capacity, I may be able to tell you something more or less amusing.

If you hope to get a complete history or a re-ally comprehensive view of these matters, I’m afraid you are doomed to disappointment. So many things get irretrievably lost, and the consequent gaps are enormous.

Take the case of the cor anglais. How did this en-gine come into existence and why? Nobody seems to know. Can you tell me the story of the Beethoven Trio for two oboes and cor anglais?1 If you can, I shall be delighted to hear it. And why did he write no more C.A. parts, and why did not anyone else for years?

To return from this digression - I never but once had a Boehm oboe in my hands, and it did not surprise me to learn subsequently that the instrument fell into disfavour because the system limited its compass2. I don’t think it could ever be constructed at all to give a bottom B fl at. Nothing that I could do would induce this specimen of it to sound above D in alt, and an en-gine that won’t do this is obviously useless. Th at any are still in use is news to me. Are you sure that these existing specimens are not oboes built in the main on orthodox lines, but incorporating one or two features of the Boehm fi ngering? I have seen (e.g.) a Cabart

An Historic LetterThis letter to Robin Chatwin was written by Edward Buttar, born c. 1875. The former was col-lecting information about woodwind players, prior to publishing a series of articles under the auspices of the musical instrument manufacturers, Messrs Boosey and Hawkes, in their Musical Progress and Mail (1938). In his earlier years, Buttar had been a gifted and well-connected semi-professional oboist, and had known many of the leading players of the period from about 1890 to the WW1 era. He was a man of extreme views and did not seem to think a great deal of women!

DRN is greatly indebted to James Brown for bringing this to light, and for his research in present-ing it for publication.

BritishDoubleReedSociety

(The article below is reprinted with permission from the Double Reed News of the BDRS, No. 76, Autumn 2006, pp. 30-34.)

oboe with Boehm right hand mechanism.3

Whether Lavigne4 consulted Boehm and when, appears to be entirely by the way. He was obviously consulting the wrong man. Boehm’s object was to get the fl ute in tune and give it the biggest possible tone. So his views on oboes are obviously distorted. Give the oboe a big tone and it immediately becomes coarse and very repellent, and no amount of skill will make it otherwise. Unless, perhaps, you can redis-cover the now quite unknown Handelian tone.

I am sorry I cannot enlighten you on any of the points you are aft er, in connection with this form of oboe, but I am inclined to think that you already know as much as is necessary about this rather weird animal. Th e rest of the story so far as I am concerned is anecdotal.

Th e late E.W. Davies,5 whom I knew well, had played second to Lavigne. Lavigne was then very old. He could play marvellous cadenzas and other orna-mental stuff , but E.W.D. did not seem very impressed otherwise. His latest Boehm oboe, with a big bore and no bell - it must have been uncommonly ugly - was acquired by James Kemp-Welch, with whom I used to play in the Handel Society, and he parted with it to Reynolds of Manchester. It would be very interest-ing if this oboe could be traced and run to earth, but I do not know how this is to be done. Possibly the Whittakers6 could help; I believe they were Reynolds7 pupils. Large numbers of Boehm oboes were made by Sharpe8 of Pudsey. Th ese instruments had a vogue in the North, and I fancy their bleakness of tone accord-ed well with the climate, but I know nothing practical about them.

Barret:9 I know only one story of this gentleman and it is not a very good one. My authority is again Teddy Davies. Davies never played with Barret but met him once in Morton’s workshop. Morton10 com-

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plimented him on his playing, which was still very accomplished despite his years. “Ah!” replied Barret, “If I play badly now, people say Poor old Barret!, and if I play well, they still say Poor old Barret!” When I asked Davies what sort of tone he produced, he said “Rather large”, but I gathered it was more ‘buzzing’ than the tone that prevailed at the time of my enqui-ry, which was when Lalande’s11 infl uence was preva-lent with persons of judgment.

All instruments for this country were stamped ‘Triebert a Paris, aussi Barret a Londres’ aft er the Barret infl uence set in, but I never heard of an oboe made by Barret himself. And I cannot picture Barret making a fl ute!

I possess a very admirable Triébert12 oboe (without Barret’s name), made of the violet wood commended in Barret’s Méthode. Probably late in date - but here is the usual date nuisance. It is a most unusual survival, as besides being in perfect condition, it has almost the resistance of an oboe 6 years old.

Players: Here we meet, in acute form, one of the diffi culties which I always feel in all departments of these matters; the want of precise dates. One wants to know where these people were doing their important jobs, and I don’t know this. Before Barret, the players became almost legendary. Th ere was Grattan Cooke,13 who died in about 1888 aft er a very long period of re-tirement. His chief title to fame is that Mendelssohn pulled his leg very eff ectively, and he seems to have been of no great importance, except in his own esti-mation. And there was Crozier.14 I fi rst encountered his name in the parts of a diabolical Selection, ‘as played in the Argyle Rooms’. Th is would have been in the 60s and 70s (?) of last century. Each wind part included a cadenza. Th e clarionet (sic) cadenza was ‘as played by Mr Tiler’, whose name as an excellent clarinet player is probably familiar to you. Th e oboe cadenza was ‘as played by Mr Crozier’. I enquired of Davies respecting Mr Crozier. He had never met him but knew that he was a big noise in his day. Grattan Cooke certainly, and Crozier probably (so Davies thought) were players on the old pre-Triébert oboe - like a kitchen chair-leg adorned with salt spoons. And there was the elder Malsch,15 whose son I will deal with presently. Much earlier were Florke and Irwin, who played in the fi rst performance (in England) of Beethoven’s Mass in D, and in Westminster Ab-bey in June 1834. But as I say, these people are now legendary.

Barret played at Covent Garden and was suc-ceeded - by whom? I don’t know; but possibly it was Dubrocq,16 and here we come to a name of real im-

portance. No living oboe-player, I suppose, remem-bers Dubrucq, unless his son Eugene is still about. I must have heard him because he used to play at Cov-ent Garden when I used to go there in my very young days. Davies, speaking in the days of Lalande and De Busscher17 - say the fi rst decade of the present [twen-tieth] century - raved about him. In his estimation, he was head and shoulders above anybody else. And here is a pointer to the extent of his accomplishment.

Dubrucq had a summer job in an orchestra at Eastbourne. He left in the middle of the season to take another job, and was succeeded at Eastbourne by Davies. He met Davies on handing over and said “Have you any decent reeds to play on?” Davies re-plied that he had some about as good as he could make them. Dubrucq inspected these reeds and said, “I can’t let you go into the orchestra with such stuff as this”. He produced a knife with which he touched each reed here and there, and replaced them without blowing on them either before or aft er the ‘magic touch’. “Th ose reeds,” said Davies to me, “were the best I ever had.”

And describing Dubrucq’s playing, he said there was nothing he could not do on the instrument - “And his tone was simply heavenly”.

Now, may I implore you to do justice in your ar-ticle to this great player, now so completely forgot-ten? Th ere are not many oboists on whose account eminent singers have interrupted rehearsals to come down to the footlights and applaud them. But this is what used to happen at Covent Garden: “Bravo Mon-sieur Dubrucq” they used to shout.

In the nineties, when I was fi rst beginning to take notice of these things, Dubrucq was not to be heard in London except at the Opera. He had gone to Manchester. Th ere was a Belgian player about whose name was H.G. Lebon.18 Lebon must have been rather like Gratton Cooke. He had a high opinion of himself that was not shared very extensively by other musi-cians. But he managed to impose his opinions on people somehow, because I remember a very curious thing about him. Th ere were no permanent orches-tras then except the Halle. Th e orchestra was always a scratch concern, got together for the occasion. And so an orchestral concert would be advertised say, on the front page of Th e Times, ‘Orchestra of 100, Leader Mr Alfred Burnett (or Mr J.T.Carrodus), Principal Oboe, Mr H.G.Lebon’.

Th is sort of advertisement must have represented the only terms (bar fi nancial ones) on which he could be induced to play. So, as I say, he must have im-pressed some people somehow. “Lebon,” said Davies,

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“was a mere workman on the oboe.”Th e best player in London in those days was Wil-

liam Malsch.19 Malsch occupied in London a position rather similar to that of Georges Gillet in Paris. He begot all the oboe-players worth mentioning. Th ere should be a fair number of his pupils about still. He was a kindly person as I know from experience, and a man of uncommon probity. His lips, his lungs, and his fi ngers were of iron, and technically there was nothing he could not do. Unfortunately, his tone was not very attractive, and I was myself painfully aware of this because I so frequently heard him in chamber music. In the orchestra this did not matter so much, and here his phrasing was oft en superb.

And then there was the above E.W. Davies, whose luck it was to be perpetually playing 2nd to Malsch. His technique was very good but not unlimited, his tone fl exible and very good. He was a delightful per-sonality and a true artist.

But I must turn to your questions and stick a lit-tle closer to them. I fancy that the contemporaries of Barret and Lavigne were very obscure people (Lavi-gne, by the way, must not be regarded as much more than a freak), and oboe-playing was really at a very low ebb in this country from, say, the time of Men-delssohn till the end of the century.

A typical pork-butcher of a player was George Horton.20 Th is individual was in the private band of Queen Victoria when the Prince Consort was still alive, and he was still Professor at the Royal Acad-emy of Music in 1887 or 88 (or later). He had a tone like frying sausages. Malsch, I think, was Professor at the Royal College then, and breeding good stuff , but I don’t know what G. Horton begot - except one of the fi rst female oboists, who ought to have been a warning to the rest of them.

And then matters revived with the advent of Lalande.

Fransella the Flute gave a chamber concert in the small Queen’s Hall about 1901, at which Lalande played a solo. I went to this concert and decided that very few instruments were as well worth playing as the oboe, and shortly aft er, I acquired one. Lalande was the son of the old bassoonist in the Halle Orchestra, and he was a pupil of Georges Gillet. I have an idea that Gillet did not regard him as one of his outstanding pupils. But he was a bit of a revelation in this country. He had the (then) typical French tone, very smooth and fl utey. He died before I carried out my intention of going to him for lessons, and he left nothing much behind him. A Belgian called Fonteyne21 sat at his feet for a time, but he was a bad

musician and never became very interesting. A more promising pupil was named Smith, but called himself Stanislaus22 for some reason. He got a job in Russia and I never heard of him again. Lalande’s 2nd oboe in the old Queen’s Hall Orchestra was a Dutchman named Bynevelt.23 He was said to be a superb player, but as I never heard him, I can’t say what he was.

Altogether, you may take it that Lalande was the outstanding player of his day in this country, but I don’t know how he would compare with people like Louis Bas24 and Gaudard25 in France. (I missed hear-ing Gaudard when he was here.)

Reynolds of Manchester was very remarkable. He was at Covent Garden for years, and there I used to hear him. Everything and everyone, of course, sounds well in that acoustically splendid building, but I heard Reynolds produce something there which has left me wondering ever since. In the last Act of Th e Flying Dutchman, in the introductory bars of Erik’s Cavatina, he made the oboe sound exactly like a cor anglais. I wondered at fi rst why he was playing it on the C.A., but he was in view and it was his oboe that he was playing on. I don’t say that this was an admirable proceeding. I don’t think it was. But it was an amazing accomplishment.26

He had a very large and broad tone. Richter was extravagantly fond of him. Whether you preferred him to Lalande or Lalande to him, I think would be entirely a matter of taste. Technically Reynolds was possibly the more accomplished, but perhaps in the direction of monkey-tricks, like inhaling through the nose whilst exhaling into the oboe - also a trick of Lavigne’s by the way.

Was Henri de Busscher exceptional? He most emphatically was. Perhaps I can tell you more about de Busscher than I can of most of them, because I oc-casionally played alongside him.

A few weeks ago, Henry Wood, talking about the old Queen’s Hall Orchestra, referred to the “in-comparable de Busscher”, and this set me wondering what the qualities really are which are most desirable in a performer. De Busscher was a heaven-sent mu-sician. Everything he did was musically impeccable. He had the most perfect taste - horrible word, but there seems to be no other - and his phrasing, in the largest sense, was fl awless.

But somehow one always thinks of wind instru-ments from the point of view of tone and colour. And here de Busscher seemed to me to fail completely. Without exception his was the smallest-toned oboe I ever heard. And there was no compensating ‘qual-ity’ about it. True, he played on an Albert oboe, and


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Albert oboes are (and were) notoriously ‘wiry’. But since the tone a man produces is the tone he has in his head, it could not have been entirely Albert’s fault. No, he had that little bee-in-a-bottle tone in his head, and here he was wrong.

* * * * * * * * * * * * * * * * * * * * *

“Who was the great oboe-player in England before Goossens?” We are now on rather ticklish ground. Alack and alas! I don’t admit that Goossens is a great oboe-player! Do I blaspheme? I had better get this off my chest before proceeding. Excuse the digression.

Goossens produces exactly the tone which my ancient maestro always warned me against, and for-bade me every time he heard me do it. He called it (appropriately enough now) “goosy”. It is altogether too unctuous and fruity. In style and “taste”, Goos-sens is the complete opposite of de Busscher, who was so admirable in these directions.

However, his playing is his own aff air. His pupils (male and female, principally the latter, owing, our friend Rendall once said to me, to his sex appeal) nat-urally reproduce all his worst features, and the din they make is excruciating. I don’t hear these people in the fl esh - heaven forbid that I should - and you may say that it is unfair to judge them by wireless. But a respectable wireless set is quite reliable for pur-poses of comparison, and I only know that (with few exceptions) if I want to hear oboe-playing with a little decency about it and not the soppy sounds of a libidi-nous honeymoon, 1 must switch [the wireless] on to Paris or (parts of) Germany. Now I have done and can return to your question. History is shorter than perhaps you think.27

But if Henry Wood was right and this player was really incomparable, then style is the important thing in playing, and of style de Busscher had any amount.

I forgot when de Busscher left this country [1913] for the U.S.A. (where he was commended for the smallness of his tone), but there is nothing much between him and Goossens. Th e latter, you must re-member, became Oboe 1 in the Queen’s Hall when almost a boy. (Henry Wood didn’t want him, but Lady Cunard insisted, such is the story.) Before the War there was Arthur Foreman,28 a good and stylish player (pupil of Malsch with a Lalande-ish tone), but I don’t know what has become of him; and there was Walter Hinchcliff (died 1928). Oboe 1 in the LSO and a very good player - on the cold side, but better this than the red-hot honeymoon business.

Hinchcliff started as an amateur, became Oboe 1 in the Scottish and played 2nd to Reynolds at Covent Garden - and 1st aft er Reynolds’ death. He founded the fi rm of Louis by chopping up a fi rst-rate Lorée oboe and producing exact copies of it. He was a very decent fellow and a good friend of mine. And just af-ter the War, I met a capital Irishman named Murphy, very talented. Perhaps you know where he is? I don’t.

Now we come to your last question, which is about Alfred Morton.

Th is weird individual was rather like J.M.W. Turner. He spent his latter days in a life of open sin with an elderly and horrible female, to the disgust of his legitimate family. His son Willie (G.T.) Morton deserves to be remembered as a player. He was so promising that Dubrucq taught him for nothing. Unfortunately, he had no discretion in the matter of alcoholic refreshment, and his fame as an oboist was eclipsed by the stories of his escapades. Some of these are quite good, but there is no room for them here.

His father, said Davies, was very useful in fi lling a gap aft er the death ofTriébert. But Davies added that his instruments, though very well made, had an ugly tone. He learnt his job from Uhlmann in Vienna, so his machines were probably slightly teutonic, in the teutonic manner of those days. I know several of the instruments, but I never had the curiosity to blow on any of them. Th ey were, I believe, very non-resistant. (To digress again. Morion’s most curious job was that of making an oboe with a separate octave key for ev-ery note. I believe it proved to be impossible).

Most people, I fancy, played on Morton’s engines at that time (1880 or so till 1900), but this is not to say that Lorée was unknown. It is rather an unsafe thing to say, but I believe I possessed (third-hand) the fi rst Lorée that came into this country under Lorée’s own name. George Foreman29 had it to play 2nd oboe to Dubrucq at Covent Garden, but I can’t give you the date. It was a beautiful instrument, with a unique tone, slightly veiled and edgeless. I greatly re-gret having parted with it. I don’t suppose that many Lorée oboes came into this country before Morton’s demise, and you must remember that a good many Triébert instruments were still going strong then (1880-1900).

About 1903, Hayward (of the Royal Artillery Band and subsequently Professor of Oboe at Kneller Hall) became agent for Cabart. Th ese were very much on the Lorée model - in fact indistinguishable at fi rst sight - and I think they were a little, a very little, cheaper than Lorée. Some were very good, some less good. I don’t know how long Hayward continued his

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agency, but they took some time to get a footing and then there were a good many to be seen.

I think this about all I can say to your fi ft h ques-tion, but no account of makers is complete without reference to that ingenious person Heckel of Biebrich. In some ways this old party is in advance of anybody else. I have an oboe d’amore of his and it possesses three octave keys instead of the customary two. Th is idea has never caught on but it is entirely sound. Th e whole oboe family calls for it - and the cor anglais screams for it. I believe I have mentioned this to one or two makers, but they remain unamused and go on making C.A.s with tender and uncertain middle Es and Fs.

Well, out of all this gas, you may be able to extract a modicum of information but I am not at all sure. Anything you like to ask I will answer with pleasure - if I can. I am particularly sorry that I know so little of the Boehm oboe but, at any rate in its original form, it is only an absolute freak.

I don’t know whether the fact that your article appears under the auspices of Messrs B&H30 is likely to have any infl uence one way or the other. I have certain views on oboes which would not commend themselves to these gentlemen. For example, I am still unconvinced that oboes can be produced to ad-vantage by mass production methods. But this view is not for B&H!

Consider the case of Triébert. Triébert spent his life trying to get the ideal tone into the oboe. In con-sequence, though most of his oboes are now worn out, he remains the Stradivari of oboe-makers. Any-body who thinks he has produced something better is grievously mistaken.

Salute Rendall on my behalf. I must try to have a night or two in town and shall hope to see him.

Yours sincerely,Edward Buttar

NOTES

1 In Vienna in the 1790s, although the three gift -ed oboe-playing Bohemian brothers TEIMER caused a number of Harmonie compositions to be written for them, the high-profi le fi rst perfor-mance of Beethoven’s Trio Op.87 for 2 Obs and CA, in Vienna on 23rd December 1797, included only Philipp TEIMER, (playing CA) together with J. CZERWENKA and REUTHER playing oboes. It was several years before the cor anglais

came into regular orchestral use, the basset horn becoming the preferred instrument. Beethoven seems to have ignored it, unlike the Opéra in Par-is where, thanks to Gustave VOGT’s pioneering brilliance on the instrument, many composers were inspired to write for it.

2 Th eobald BOEHM’s New System proved to be highly successful for the fl ute, but not so when applied to the oboe. Nevertheless, there were sev-eral eminent oboists who championed it, LAVI-GNE and SOLER being the most successful. However, the general feeling as to its sound was akin to Buttar’s.

3 CABART. A fi rm making oboes in Paris, 1842-69. Th ey then amalgamated with Th ibouville but, in 1893, returned to making oboes under their own name until 1950. It would be this second pe-riod of instruments to which Buttar refers.

4 Antoine-Joseph LAVIGNE (1816-86) had long been interested in the BOEHM system as ap-plied to the oboe. BUFFET had been in touch with Boehm, and Lavigne became a complete convert to his ideas. Th is seemed to give him a loud, penetrating sound, and many blamed it on his instrument. Nevertheless, he had a long and active career, and was for 16 years oboist in the Halle Orchestra in Manchester. But he fell on hard times and died destitute in a poorhouse.

5 Edward William DAVIES (1856-1920) was a performer, adaptable to play anywhere with any-one. He was regularly engaged to play in the ad hoc orchestras at provincial Music Festivals. He played with Malsch, Lebon, Lavigne, Lalande, G. Horton, G. Foreman and others, and being some-thing of a professional second oboe, had the ad-vantage of sitting next to the great British oboists of his time.

6 Th e Whittakers constitued a dynasty of musicians living in Manchester in the fi rst half of the twen-tieth century, playing a variety of instruments. Alee WHITTAKER (1901-72) was the only oboist amongst them and was a very likeable rough dia-mond and a real character. He held many posi-tions in British orchestras and was the original principal oboe in the Philharmonia Orchestra.

7 Charles REYNOLDS (1850-1917) studied in


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Manchester with Lavigne, who in 1871 adopted him as his second oboe in the Halle Orchestra (and elsewhere) for many years. By 1878 he had moved to London to start a long connection with the Royal Italian Opera Orchestra and with Cov-ent Garden in general. Although he was always principal oboe there, he developed a big reputa-tion for playing the cor anglais, playing the big solo at the beginning of Tristan and Isolde Act III in one breath! - having learned the art of circular breathing from Lavigne. He had a reputation as a teacher, Leon Goossens being his best known pu-pil. Between 1881 and 1900, he purchased from Lorée in Paris, 51 oboes and 8 cors anglais.

8 Th e Musical Times, (London Jul-01 1868) adver-tised: OBOES. Th e NEW MODEL OBOE is un-rivalled for quality of tone throughout the entire scale; it has also the best and easiest system of fi ngering ever yet obtained. J.Sharpe, Oboist and Instrument Maker, Pudsey, Leeds.

9 Apollon Marie-Rose BARRET (1804-82) was born and trained in France. As a young man he held several important orchestral positions there. In 1834 he made his fi rst visit to England, play-ing as one of 11 oboes in the Handel Festival in London. In 1837 he returned to England, remain-ing at the heart of its music-making for the next 40 years. He taught extensively and his Complete Method for the Oboe became a standard peda-gogic work. In 1859, he was appointed Director at the Royal School of Military Music, Kneller Hall, West London, until his death in 1882.

10 Alfred MORTON (1827-98). In 1847 he ended an apprenticeship in Vienna, aft er several years with the distinguished oboe-manufacturer, UHLMANN. He developed his own business in London, supplying for a while much of the musi-cal profession with his instruments. He was de-scribed as a professional oboist for the fi rst time in a Musical Directory of London dated 1874. He was also a professional reedmaker. When he died in 1898, the fi rm was taken over by Hawkes and Son.

11 Désiré Alfred LALANDE (1866-1904) was born and trained in France. He came to live and work in England in 1886, where his father was principal bassoonist in the Halle Orchestra in Manchester. He played in several diff erent orchestras all over

the country, infl uencing many English oboists with his French style of playing. In 1896 he was invited to play at Bayreuth, a rare distinction for a Frenchman. 1897 to 1904, he was with the Queen’s Hall orchestra in London, under Henry Wood, but died very suddenly while still young. He possessed a beautiful tone, great powers of re-fi ned expression and a perfect technique.

12 Charles Louis TRIÉBERT (1810-67), a son of Guillaume T., wind-instrument maker and founder of the family fi rm. Charles was greatly occupied with this, but at the same time became an excellent oboist, with many important or-chestral positions. He was appointed Professor of Oboe at the Paris Conservatoire in 1865. His brother Frédéric T. (1813-78) was his partner who, despite also being a fi ne oboist, decided to devote his time and inventive genius to the fi rm of Triébert et Cie, established in 1853. Th ey be-came the biggest manufacturers of Boehm oboes. Aft er his death in 1878, the assets of the fi rm passed to other hands, but his son François, who had been foreman in the fi rm, developed the oboe further and retrieved the trade mark, setting up in partnership with F. Lorée in 1881.

13 Henry (a.k.a Grattan) COOKE (1808-89) was a founder student at the RAM in London in 1823. He had studied briefl y with GRIESBACH (1769-1825), the preeminent oboist of German origin who for many years had been associated with the Royal Philharmonic Society’s orchestra. Cooke adopted a smaller reed and an eight-keyed heavi-er oboe, which led to Triébert instruments being brought to England. He was fi rst choice obo-ist almost everywhere until he was 40, but then faded quietly, becoming an Army bandmaster in 1849. Whilst in the RPS orchestra, he became in-volved in a cause célèbre in 1842, when Mendels-sohn was conducting his Scottish Symphony. At rehearsal, Cooke had the greatest diffi culty with one particular passage, nor did he apparently succeed with it at the performance. One of the critics suggested that Alfred NICHOLSON, his second oboe, should play it in his stead. A long and acrimonious correspondence then followed in the national press, with Cooke coming out of it very unfavourably - in fact he gave up playing the oboe only a year or so later. (See A Storm in a Musical Teacup by Fritz Spiegl, from “A Book of Musical Blunders”, published by Robson Books.)

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14 William CROZIER (pre.1855-1870) was a pupil of Barret, working in several of the London and provincial orchestras. He was Oboe 1 in the Hal-le for the 1863 season, and in Jullien’s Orchestra in London. He enjoyed an excellent reputation, playing occasionally as a soloist.

15 Henry MALSCH (1803-72) came to England from Germany. He became well established in London’s musical life, and at one time was a mili-tary musician in Queen Victoria’s Private Band at Windsor Castle. From 1846-67, he played second oboe in the RPS orchestra next to Cooke, Nich-olson, Lavigne and Crozier. He was the father of William Malsch.

16 Antoine DUBRUCQ (1836-88) was a Belgian obo-ist who came to England in about 1870, staying for the rest of his life. 1881 to 1888, he was principal oboe of the Halle Orchestra in Manchester, with REYNOLDS latterly his second oboe. He built a huge reputation for himself in London and, aft er a performance of HUMMEL’s Septet, the Musical Standard said: ‘Exceptionally remarkable was the playing of Mr Dubrocq; his phrasing and tone were indeed perfect’.

17 Henri de BUSSCHER (1880-1975) was born in Belgium, coming fi rst to London, where he played principal oboe in the Queen’s Hall Or-chestra aft er Lalande (1904-13), then to the New York Symphony (1913-20) and fi nally to Los An-geles, where he played in the LA Philharmonic from 1920-46. He also had a distinguished career in the Columbia Film Studio Orchestra.

18 H.G. LEBON, a Belgian oboist, arrived suddenly in London in the 1870s, managing to insinuate himself into the London musical scene.

19 William MALSCH (1855-1924): a son of H.G. Malsch. He was in his day the preeminent oboe player in London, teaching as he did at the RAM, RCM and the Guildhall School of Music. He was technically amazingly equipped, but his tone did not appeal to many. Th e young Léon GOOSSENS was at one time a student of his at the RCM. Find-ing himself double-dated - for he was already much in demand - Goossens asked Malsch if he could help him out by replacing him in an en-semble, just for the rehearsal. Malsch - a very kindly person - was happy to oblige, but Goos-

sens received an admonition to ‘never send that man again!’

20 George HORTON (1825-1908) had a long and successful career as a player and teacher, despite one reference to his thin reeds and no refi nement. He was very busy for almost 40 years at most of the provincial Annual Music Festivals, as well as in London.

21 Joseph Lievin FONTEYNE (1875-p.1906) came to England from Belgium where he became a spe-cialist on the cor anglais. He played with the LSO, Royal Opera House and Queen’s Hall orchestras.

22 Henry Horatio STANISLAUS (1882-1937) must be the person to whom BUTTAR refers; he was born in Kidderminster under the surname, SMITH. He played from 1904-8 in the Queen’s Hall Orchestra, and it was some time during this period that he changed his name to STAN-ISLAUS. He did indeed go abroad - the reason that Buttar lost sight of him - not to Russia but to the USA, where he played for many years in the Boston Symphony Orchestra, alongside Fernand GILLET.

23 M.M. BIJNEVELT was a Dutch oboist who played in the Concertgebouw Orchestra in Am-sterdam from 1888-95, and then worked in Lon-don as second oboe to Lalande in the Queen’s Hall Orchestra.

24 Louis Jean Baptiste BAS (1863-1940) studied with GILLET at the Paris Conservatoire, going on to positions in the Opéra, Société des Concerts and Chatelet orchestras in Paris.

25 Charles Augustin Louis GAUDARD (1868-p.1905) left the Paris Conservatoire with a 1er Prix in 1890. He was for some time the Oboe Solo of the Band of the Garde Républicaine; but with an ever-growing reputation, he became a founder member of the Société Moderne des Instruments à Vent, a very successful wind ensemble. He also played in the Concerts Chatelet, the Concerts Col-onne and the Opéra.

26 In “THE GOOSSENS”, a 1993 biography of the whole family, written by Carole Rosen, Léon re-counts how “even Reynolds, who played fi rst oboe at Covent Garden as well as in the Halle, had to


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spread a handkerchief over his music-stand and play into that for the Wagner operas, otherwise he couldn’t get quiet enough for accompanying, and for all the lovely little solos in Parsifal and Tristan.” Could not this have been how this un-usual sound that Buttar heard had been so unob-trusively produced?

27 [Melvin Harris relates that “When Léon Goos-sens read the above he laughed freely, and said that “Something similar was also said about me by a conductor, who said that ‘Goossens makes the oboe sound like a comb-and-paper.’ What Buttar and that conductor (who shall remain nameless) forgot, is that the oboe is a REED instrument, not a fl ute or a recorder. It always has to have an edge to express its true personality. If you thicken or over-refi ne the tone, it then loses its sensitivity and becomes too bland and prosaic. Th e oboe should be able to move from a silvery ecstasy to a men-acing snarl. You will not fi nd that in the type of playing that Buttar admired. Indeed, he actually expressed preference for the German school. And he wrote of my playing as embodying ‘the soppy sounds of a libidinous honeymoon’. Poor chap! But not everyone has a clear vision on all points. As for me, I am ever grateful to Sir Henry Wood for bringing Henri de Busscher to London from Belgium. When I heard de Busscher play, I met up with something magical. Th ough I never had a lesson from him in person, I am proud to think of myself as his pupil.”]

28 Arthur FOREMAN. One of two oboist sons of George FOREMAN.

29 George FOREMAN, the father of oboists G.A. and F.G. Foreman, was a very successful free-lance player with regular connections. In the 1880s and 1890s, he was a valuable second oboe to many distinguished players. As he purchased 17 Lorée instruments within a short period of time, he must also have had a good reputation as a teacher.

30 B & H - Boosey & Hawkes were probably the fi rst and biggest mass manufacturer of military band instruments, and for many years cornered the market. It was their clarinets and brass instru-ments that enjoyed the best reputation, but their oboes never achieved a comparable reputation.

FOOTNOTE

Th is letter was formerly in the possession of Philip Bate and, later, of Melvin Harris. Each of them was a great collector. Bate amassed a huge number of woodwind and other instruments, now all housed and displayed in Oxford University’s Bate Collec-tion. Harris’s collection was no less remarkable, com-prising many hundreds of fascinating, sometimes unique, recordings of oboists and other wind instrumentalists, from the earliest days of the wax cylinder onward. Th e Harris Collection recordings are in Th e University of Washington School of MusicLibrary, Seattle.

James Brown is grateful to Michael Finkelman for his editorial suggestions.

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Ezra Laderman’s excellent Bassoon Concerto, which I was fortunate to perform at the 2006 IDRS Conference in Muncie, has quite a his-

tory. It was originally written for Bernard Garfield, the renowned, now retired, principal bassoonist of the Philadelphia Orchestra, whom the composer had known since each were twelve. Mr. Garfield remembers:

“Ezra and I were students together at the New York High School of Music and Art. While he played the flute there, he was also writing music. He composed an attractive Piano Concerto that was premiered at one of the school’s annual concerts. I still have a clear memory of this piece and hoped he would eventually write a concerto for the bassoon, which he did. I had the pleasure of playing it with the National Orches-tral Association orchestra, (early 1950s), Leon Barzin conducting. Many years later he wrote a Concerto for Flute, Bassoon and Orchestra, which was premiered by the Philadelphia Orchestra. The flutist was Murray Panitz, the orchestra’s principal flutist, who, inciden-tally, was also a Music and Art high school student at the same time as Ezra and me. The Bassoon Concer-to, which he revised some years ago, was based upon the original work. It is a complex work which requires a virtuoso bassoonist, as the solo lines require a facile low register with many rapid staccato passages. It is a welcome addition to the bassoon repertoire.”

Mr. Laderman added further to the narrative:

“The Concerto, I believe, was written for Bernie in 1954. He never performed it publicly. It was given a reading with Leon Barzin and the National Orchestral Association Strings at a rehearsal room in Carnegie Hall. Bernie played the piece beautifully and that was the last of it. 1954-55 was a time in my creative life when was I moving rather forcefully into serial tech-niques. I, therefore, stupidly let this piece and others that I wrote at this early period of my musical life languish. It wasn’t until I began to return to tonality (the late seventies) that I thought about revisiting the piece. It was due to David Ross that the work in its

A New Bassoon Concerto by Ezra Laderman: A Report

Frank MorelliNew York, New York

new guise (a different second movement) exists.”

The Concerto sat idle for more than 40 years. David Ross, a professional music engraver, as well as bassoonist of the Syracuse Symphony for some 35 years, adds this to the story:

“Ezra knows that I am a bassoonist, and one day while we were chatting on the telephone, he mentioned that he had written a Bassoon Concerto long ago (1954) for his school chum, bernard Garfield. He said that it was in manuscript, just the score, actually, and would I be interested sometime in engraving it? So I volunteered to engrave the Concerto as a kind of birthday gift to Mr. Garfield.

When the score arrived, it was obvious this was a BIG concerto, and the bassoonist that played it would have to be at the top of his or her game. Ezra said he wasn’t happy with the second movement and changed it to its present form. The Concerto was originally scored for bassoon and string quartet, but later Ezra added the contrabass part so that it could be played by an orchestra.

After Frank Morelli took the Concerto under his wing, he and I pestered Ezra to make a piano reduc-tion so that it could reach more players. I’m happy to say that was completed this summer [2006] and is available from G. Schirmer.”

Indeed, Mr. Laderman revisited the Concerto in the year 2000 for Nancy Goeres, the excellent princi-pal bassoonist of the Pittsburgh Symphony. Her fine recording of the bassoon and string quartet version of the work can be found in Volume 5 of The Music of Ezra Laderman performed by the Pittsburgh Cham-ber Music Project available from Albany Records (Troy 537). Ms. Goeres provided this insight:

“I met Ezra Laderman at a chamber concert in Pitts-burgh where his Sextet was performed (mixed strings and winds) and he was in attendance. I liked the piece and enjoyed meeting him afterwards. He told me about the piece he had written for Garfield and I also told him how much I liked the piece of his that I had

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just heard. Soon after that, Dick Page (who organized the chamber concert with Ezra) told me that he was interested in reworking the piece for me to perform.”

While learning this work, I had the opportunity to compare the original version with the current one. Th e composer tightened up the fi rst and last move-ments, thinning out string textures in places as well. Th e completely new second movement is built upon motives found in the outer movements. As a result of the juxtaposition of this new second movement, one hears the thoughts of a man pondering his cre-ative life and perhaps communicating with himself over the span of half a century. I fi nd the music in the second movement touching and profound. Th e outer movements are more rollicking, but contain thought-provoking interludes.

Ezra was very fond of my dear, late teacher, Ste-phen Maxym. We spoke of our mutual aff ection for him when, as Dean, Mr. Laderman invited me to join the Yale faculty upon Mr. Maxym’s retirement. Sev-eral years later Ezra wrote a beautiful Elegy for solo bassoon when Mr. Maxym died. Th is most sincere form of love and respect certainly had its aff ect on me! Ezra had provided me with the revised version of the Concerto along with Nancy’s excellent CD. Th e opportunity arose for me to perform this work at the Norfolk Chamber Music Festival, Yale Sum-mer School of Music with the popular young Calder String Quartet. Since then I have performed the work a few times with the Biava Quartet, another won-derful young ensemble, as well as at the Manhattan School of Music (in the orchestral version) with Yoev Talmi conducting.

When invited to perform at IDRS 2006, my fi rst thought was to play the Weber Concerto (hardly cut-ting edge) as I felt I had some diff erent views on the piece that I looked forward to sharing (and hopefully, some would enjoy hearing.) Th en it hit me! Th is was a golden opportunity to present Ezra’s Concerto in a setting where the greatest number of bassoonists would become familiar with its existence in one shot. Hoping to give the listeners a sense of the depth of this music, I poured myself into it, as did the fi rst-rate IDRS 2006 Orchestra led by the wonderful conduc-tor, Stuart Malina. I am grateful to have had the op-portunity to play it for my colleagues in the presence of the composer, and, as with everything I play, in memory of my teacher. ◆

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My Fulbright project to Germany under-scores the ever-important cultural ex-change between American and European

oboe players, a venture that I believe highlights the same mission as the International Double Reed So-ciety. Th is mission calls all double reeds players to partake in an important artistic dialogue, to greater develop and evolve our art in a world where classical music is losing ground. I hope to use this space in the journal to share some of what I’m learning during this year and to explicate (and encourage) as best I can the

The Fulbright Experience: Life as an American Oboist Abroad

Merideth HiteBaden-Württemberg, Germany

importance of cultural and musical exchange.I’d be lying if I said I wasn’t scared when I fi rst

arrived in Germany. Th e many hurdles of a settling in and feeling comfortable with a new language and a new place were at fi rst a bit daunting. Th ough as I began to meet people and get down to the busi-ness of making music, I felt immediately at home in Trossingen.

Trossingen itself is a town with 15,000 inhabit-ants (530 of them Hochschule students), whose long-standing history of folk music tradition has given it

Merideth Hite (far left) with Nicholas Daniel (fourth from left) and other music students in Germany.

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the name “Musikstadt.” Trossingen is the home of the original Hohner Harmonica Factory, the producer of the world’s premiere harmonicas since 1857. Located in Baden-Württemberg on the eastern edge of the Black Forest, the “Musikstadt” stands almost equi-distant from Stuttgart and Zurich. I’ve rarely expe-rienced a community as welcoming as Trossingen’s. Th e mayor himself invited all new students of the Hochschule to the town hall for a welcome reception, complete with a variety of wines of the area as well as complementary harmonicas.

Th e highlights of my time in Trossingen each week are my lessons with Professors Nicholas Daniel and Martin Stadler. Th e oboe studio is comprised of twelve students, ranging in degree programs (from the American equivalent to a bachelors, masters, artist diploma, in education, performance or cham-ber music). It is quite the international group; Ger-many, America, England, Japan, Korea, and Poland are all represented in the studio. We have a regular oboe class, as well as a student organized school-wide “Performance Night” on most Friday evenings. Th e atmosphere within the studio and the school is an open and friendly one. Many of the oboists traveled together to England in early November to a concert where Professor Daniel premiered a new work by John Tavener with the Britten Sinfonia in Queen Elizabeth Hall in London. We were able to sit-in on a rehearsal and meet the composer! Being with my col-leagues, sharing such an amazing concert experience was really a treat.

Trossingen being so small, you might ask why do all these musicians come here to study/teach? To paraphrase Professor Daniel, “What one needs to practice enough and to be successful in their work is a quiet place without distractions and plenty of fresh air.” Th at’s just what Trossingen off ers. Having just fi nished a very intense and busy degree in America, I’m amazed and excited each day to fi nd enough time for focused practice on both instruments.

In my lessons with Professor Daniel, we work thoroughly on technique, through extensive work with scales and etudes (Gillet, Bozza) and in-depth study of two to three pieces from diff ering time pe-riods, most notably at the moment Herbert Howells’ Sonata for Oboe and Piano. Professor Daniel accom-panies me on piano in each lesson; something I believe makes all the diff erence in my overall understanding of the work(s). As for reeds, most of the students play on reeds with a short scrape, something I’ve been ex-perimenting with as well, but Professor Daniel and my colleagues are open to whatever works for the in-

dividual player. I’m impressed with how much longer short-scraped reeds last compared to mine, I’m very interested in at least being able to make and play on them. Th at’s defi nitely a goal for the year. I’m always excited to spend time playing in lessons and with the studio when Professor Daniel is here; however, it’s also important that he goes away, so I can scurry off and work up everything for my next lesson!

In Baroque lessons, I’m learning to forget a lot of what I’ve learned on modern oboe. Not totally of course, but since the embouchure, fi ngerings, reeds, and the use of air feel so diff erent; one must clear their head a bit. My fi rst assignment was Aria No. 20 from Bach’s Saint Matthew Passion, “Ich will bei meinem Jesu wachen” which proves the point rather dramati-cally that playing anything with lots of chromaticism is diffi cult for beginners! Playing in tune has been the biggest challenge, but one I appreciate, as it’s mak-ing my ears get much better on all fronts. Professor Stadler teaches me in German, as I think it’s best to have lessons in the teacher’s native language when possible, although his English is perfect, just like ev-eryone else’s it seems! I’m truly amazed at how much of what I learn on the old instrument transfers back to the way I play Baroque music, or anything really, on the modern oboe. Standing behind and blowing through the earlier instrument just gives me a totally new and important perspective.

Th e year has gotten off to an amazing start. Our fi rst oboe class recital is coming up next week. Two other oboists and I are opening the program with James Macmillan’s Intercessions. I’m looking forward to sharing the stage with such inspiring people! ◆

Merideth Hite, a Fulbright Scholar for the 2006-2007 academic year, currently studies Modern and Ba-roque Oboe in the Staatli-che Hochschule für Musik in Trossingen, Germany under Nicholas Daniel and Martin Stadler, respec-tively. Merideth is a native of Abbeville, South Caro-

lina and graduated with a Bachelor’s of Music degree summa cum laude from the University of Cincinnati College-Conservatory of Music in June 2006 where she studied under Mark Ostoich. She hopes to share her experiences in Germany through a set of articles printed throughout her time abroad.

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Morelli, Frank. 2004. Bassoon Brasileiro. MSR Classics, MS1110. Works by Francisco Mignone and Heitor Villa-Lobos. With Benjamin Verdery (guitar) and the Orpheus Chamber Orchestra. Available at http://www.morellibassoon.com

Schweizer, hary. 2005. Com licença!… [Excuse me!]. Author’s edition, HS01CL.Works by Júlio Medaglia, Heitor Villa-Lobos, Chiquinha Gonzaga, Achim von Lorne, Emilio Terraza, Tom Jobim, Benny Wolkoff, Ernesto Nazareth, Andreas Herkendrath and Benedetto Marcello. With Gustavo Koberstein and Flávio lopes Figueiredo Jr. (bassoons), Elza Kazuko Gushikem (piano) and Paulo Marques (drums). Available at http://www.haryschweizer.com

Music is one of the strongest vehicles for the construction and experience of national culture. When it is the bassoon (as every-

one remembers, an originally European instrument) that meets Brazilian musics, Brazilian musicians (interpreters, composers, and arrangers) and Brazil-ian luthiers and woods, the interaction produces a world of its own and our expectations for something originally increase. But why and how do music and the bassoon cross paths in Brazil? This review is an attempt to delve into these encounters or, perhaps, to ask permission to play with a few answers to this question: What is the Brazilian bassoon (or just a bassoon brasileiro) in these two distinct projects? My aim here is not to compare the recordings. Rather, I will briefly separately review each CD and follow that with a juxtaposition of what Morelli and Schweizer offer us musically and the possible significance for bassoonists and Brazilian music enthusiasts alike.

Frank Morelli titled his recording Bassoon Brasileiro, and it is coherent with what the listeners will experience throughout this 20-track album: two words in two different languages, a 70+ minute en-counter between music for bassoon written by two of the most important Brazilian composers of the 20th century and a U.S. bassoonist. Morelli presents

Two New CDs of Brazilian Music: A Review and a Comparison

Ernesto DonasNew York, New York

his own view on Brazilianness. Morelli innovates by giving new light to mainly canonic Brazilian art mu-sic works for the (just Brazilian?) bassoon with pas-sionate phrasings, captivating sonority, outstanding technique and mature interpretation. The CD opens with Francisco Mignone’s Concertino for bassoon and chamber orchestra, a piece rich in traditional-style melodies and rhythmically complex passages that demand virtuosity and use the entire range of the instrument.

Two pieces by Heitor Villa-Lobos follow the Con-certino. The first is an adaptation of the Aria from Ba-chianas Brasileiras No.5 (originally for soprano and cello ensemble and later adapted for soprano and gui-tar). In this extremely lyrical aria, Morelli’s subtle nu-ances in timbre contribute to the melody’s intimacy. This is one of the two pieces recorded by both Morelli and Schweizer (more on this later). Second, the Ci-randa das sete notas, a mix of virtuosity, traditional sounding melodies and harmonies, and a Stravin-skean air, serves as a bridge from the accompanied to the unaccompanied bassoon. Each “frame” of the ciranda is clearly shaped and conceived, with a mag-ic timbre in the upper register particularly in parts of the last section of the piece. The orchestra shares in this with good balance and sharp interpretation. The last C of the ciranda, in pianissimo, serves as a prelude for Mignone’s sixteen waltzes for unaccom-panied bassoon, written for French-Brazilian bas-soonist Noël Devos, whose recording of the complete series was, until this CD, the only recording. Morelli’s challenge (and that of everyone who doesn’t play on a French bassoon) was to combine the overt lyricism and virtuosism of the waltzes with particular agility and versatility in the high-upper register with ease. However, Morelli could have minimized here the use of reverb to preserve the natural, actual sound.

Morelli himself wrote the liner notes which, de-spite some errors, are rich in historical information about Brazilian modernism in music and the album’s recorded works. This information is preceded by the title “The rise of Brazil’s musical identity” which may be read as “The search for a Brazilian musical identity by the musical avant-garde in the early 20th

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century.” Does a country have an inherent identity or a syncretic set of practices based on the meeting of cultures (Brazilian musical culture meeting with Western instruments and composition)? Th e bassoon has defi nitely contributed to this search, and the two CDs are a vivid proof of this.

Hary Schweizer, Brazilian of German descent, shaped a repertoire based on music written by Brazil-ians (including the tangos of Argentine-born living in Brazil since 1959 Emilio Terraza) and Germans (one of them Schweizer’s former bassoon instructor in Munich). Th at’s an example of the inherent hy-bridity of Brazilianness and articulated throughout the recording and liner notes. Unlike Morelli, this is Schweizer’s fi rst solo album. As a former student of Schweizer, I can say Com licença!… is a sonic sto-rytelling of his life as a musician, professor, bassoon maker and (Brazilian) human being; or, following Schweizer’s liner-notes, something of a suite repre-senting moments in his life career as a bassoonist and bassoon maker. Since this 21-track CD has a quite contrasting repertoire, I won’t get into each piece in detail (rather, I intend this review as a motivation to listen to both Schweizer’s and Morelli’s albums).

All the pieces in the CD share the clear and beau-tiful sound of Schweizer bassoons, including the “junior” model for children in Mahle’s Melodias da Cecília which all of Schweizer’s students play in their fi rst performance. Th e album displays Schweizer’s versatility in interpreting music as varied as popu-lar works (by Medáglia, Jobim, Nazareth, Wolkoff , Gonzaga), new tango (Terraza), reworked traditional music (Mignone, Villa-Lobos), Christmas music (von Lorne), a baroque sonata (Marcello), and jazz (Herk-endrath). Some of the pieces here were written to be fi rst played on a new Schweizer bassoon! Th e double meaning of the title of the CD supports Schweizer’s type of innovation: asking permission to enter or a certain freedom of interpretation. Schweizer’s var-ied repertoire includes some fi rst recordings, like Jobim’s previously unknown Mágoas de fagote, ad-aptations (again, Villa-Lobos’ Bachianas Brasileiras No.5) and free versions of particular pieces (such as adding drums to Marcello’s sonata in e minor!) with coherent and intimate interpretation, bright tech-nique and charming sound (including the close to absent key noise of his bassoons). He also shares the recording with some former students (Figueiredo Jr. and Koberstein) and their non-Schweizer bassoons, and with other musicians who have been close to him at important moments of his career. Th e liner-notes are mainly testimonial and therefore an opportunity

for the reader and listener to know more about the singularity of Schweizer’s life and the context of this project (including pictures of Schweizer’s atelier and of bottles of his unforgettable home-made cachaça).

Th e two CDs contain two works in common: Vil-la-Lobos’ Aria of Bachianas Brasileiras No.5 and Mig-none’s waltz Aquela modinha que o Vila não escreveu (“Th at modinha that Villa[-Lobos] didn’t write”). Th e two adaptations of Villa-Lobos’ piece diff er in instru-mentation (guitar versus piano accompaniment) and in the mid-section. While in Morelli’s recording the guitar more closely resembles the original cello en-semble than the piano in Schweizer’s CD (although beautifully played it sounds too distant to me), Sch-weizer’s idea of an “instrumental interlude” avoids the repetition of notes originally written with lyrics, but proving excessive when played on the bassoon. Mignone’s waltz is an example of two contrasting in-terpretations of a very transparent modinha (diminu-tive of moda or fashion, a song genre): Morelli opts for more rubato while Schweizer decided to change the last four notes of the waltz to an octave higher, perhaps seeking a more melancholic end. Th e over-lapping of only these two pieces is symbolic in the sense that, despite his fabulous oeuvre, “what Villa-Lobos didn’t write” Mignone supposedly did. And, similarly, I believe that what Morelli or Schweizer didn’t record others will.

Morelli and Schweizer present diff erent sounds, disparate concepts of sound recording, and distinct projects, both Brazilians in their own ways and to their own extents. Brazilianness in these cases en-compasses a whole spectrum of possibilities in tim-bre, musicality, virtuosity, musical interpretation, se-lection of repertoire and type of production. Morelli follows a legacy of well-known musicians who focus on a Brazilian musical repertoire and, as I feel it, of-fering a long meditation on the moods of the bassoon brasileiro. Schweizer opts for a rather personal and passionate, more eclectic and cosmopolitan project based in Brazil and using a Brazilian bassoon. Th is all means there is more than one possible bassoon brasileiro and, again, I hope more bassoonists will engage in adding their own takes to Morelli’s and Schweizer’s marvelous initiatives of giving sound to the encounter between diff erent Brazils and bas-soons. ◆

Ernesto Donas is bassoonist and PhD candidate in Ethnomusicology at Th e CUNY Graduate Center, New York.

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Writing to commission was very much the norm for composers in the seventeenth and eighteenth centuries - it both paid

the rent and provided the icing on the cake. A tal-ented composer was an adornment to any court and wealthy patrons were always wanting music for spe-cifi c occasions, or as a form of self-advertisement - without Hello! magazine there had to be other ways of showing off , and the ‘celebs’ of the time liked noth-ing better than to be associated with a fi ne symphony or opera.

Commissions have remained an important source of new music throughout the centuries, though the trend has been away from individual to ‘collective’ commissions, by which I mean corporations, trusts, arts foundations, orchestras and ensembles. Many companies have set aside funds for sponsorship of the arts: some because they have an enlightened Board whose members believe that this form of sponsor-ship is a way of giving something back to the society or community which has supported them, but also (in some cases) because they feel it off sets or detracts from the less benevolent aspects of their business! Government used to be a signifi cant patron of the arts until it changed its social priorities and had little cash left over for anything that could not be oriented by focus groups, overmanaged by so-called Trusts, and only sanctioned if it satisfi ed the lowest common denominator - a pretty good defi nition of what art in any form should NOT be.

To give you an example of the extent of the change, with the notable exception of one or two of Beethoven’s later symphonies (laudably commis-sioned by the Royal Philharmonic Society of Lon-don), most of Beethoven’s commissioned works were commissioned by individuals (I include his pub-lisher, who was obviously doing so for commercial reasons). Compare this to Samuel Barber. His Second Symphony was commissioned by the US Air Force; his ballet Medea (for Martha Graham) by the Ditson Fund; various vocal works by the Coolidge Founda-tion, the Library of Congress and the Koussevitzky Music Foundation; his operas Vanessa, and Antony

BassonicusDiplo-Diversions - or the Art of Commissioning a New Work

Jefferey CoxGodalwing, EnglandReprinted with permission from the Double Reed News of the BDRS, No. 72, Autumn 2005, pp. 18-19.


and Cleopatra by the Metropolitan Opera; his 1962 Piano Concerto by his publishers, Schirmer; his Piano Sonata by the League of Composers; and so on. Th e private commissions fell mainly in his early years, be-fore he had made his name by winning two Pulitzer Prizes for music.

Against this background, the commissioning of a 15-minute piece for piano and a wind instrument back in 1997 might seem hardly worth mentioning except that it was for bassoon and piano, and I was the person commissioning it!

It happenened this way: William Waterhouse was visiting Munich in 1996 with his family when I was on a Foreign Offi ce posting there. Th e family came to dinner and, not surprisingly, the conversa-tion turned to matters bassonical including what was available in terms of good modern literature to the aspiring bassoonist. I think I must have wished there was more because William asked why I didn’t there-fore commission a piece myself! I don’t recall taking the idea at all seriously at the time - aft er all, what-ever else you may spend your money on, buying a composer’s time and expertise is hardly likely to fi g-ure high on your list of priorities - always assuming you could ever see yourself doing such a thing! And yet the idea was sown, and I found myself wondering whether I shouldn’t pursue it aft er all.

Th e key factor was that I did happen to know a composer, and that composer was likely to be bet-ter equipped than most to write for the bassoon. Th e person in question was none other than William’s son, Graham, who as a composer, professional cellist teacher, was making a career as a musician in Mu-nich. Graham was already the Music Director of the Prinzregenten Wind Ensemble I had helped found in Munich, and we therefore had some experience of working together. I decided to ask Graham whether he was prepared to accept such a commission - and he accepted.

Commissioning a work is in many ways a gesture of faith and a leap into the dark. While you may have a general idea of the composer’s style, you do not know what particular ideas your commission will generate.

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You may have some preconceptions of the fi nished piece, but the composer may go about his business in an entirely unexpected way, and the fi nished article turn out to be entirely diff erent. In the best case you will receive a work that is fresh, exciting and exceeds your expectations in every way. In the worst case you could be landed with a lemon that you listen to once and never want to hear again! And then you’ve got to grit your teeth and pay the fee! Th ere is no shortage of examples of the latter. To take just two: Barber’s Violin Concerto was rejected by its commissioner, who fl atly refused to pay Barber’s fee. Walton’s Viola Concerto was rejected by Lionel Tertis and ended up being pre-miered at short notice by Hindemith! (Tertis became reconciled to the work some time later, however, and did perform it occasionally aft erwards.)

Anyhow, to revert to my commission: my brief to Graham was to write something substantial, and suitable for a recital. It could be a sonata or a suite and something which showed off the bassoon’s capa-bilities. It also should show off my abilities, such as they were, rather than show up the weaknesses in my technique (of which Graham was all too well aware!). Graham responded by suggesting the suite format because it was less academic and off ered the possi-bility of choosing an overall theme with contrasting pictures. I liked this idea and we moved rapidly to choosing the theme - scenes from a diplomatic life - and the elements which might make up the individ-ual pictures. Diplo-Diversions emerged as the front runner for the overall title, and ‘OHMS’ (On Her Majesty’s Service); ‘Th e Great Game’; and ‘Echoes of Empire’ as the names of the individual pieces. Gra-ham began by writing three such pieces, but decided to add a fourth, which we called ‘Flying the Flag’.

Clearly there was going to be an element of au-tobiography in all of this, and I was impressed by the way Graham took the trouble to ask me what I thought about diplomatic life and whether there had been particular episodes that were important to me personally. His intention was not to create a musi-cal diary of my life, but to establish what I felt and thought in terms that might condition the overall mood of the piece.

Several weeks passed while Graham grappled with ideas and their musical expression. Eventually he re-surfaced and we agreed on an evening when he could present me with his thoughts. Th is was the big moment, and the one that I both dreaded and looked forward to with tremendous anticipation. Graham passed me the bassoon part and I unpacked my instrument.

My fi rst reactions were mixed. Firstly, I realised immediately that in terms of diffi culty it was on the outer limits of my ability. Secondly, it made no con-cessions to the ‘easy listening’ brigade: it was spiky and demanded a lot from the audience. Th irdly, al-though it showed off the bassoon, it did not always lie easily under the fi ngers, and there was some room to develop one or two of the musical ideas a little further.

Th ese were minor niggles, however. Th e suite had the feel and weight I was looking for and I loved the acerbic sound. Th e individual pieces were well con-trasted and Graham’s interpretation of ‘Th e Great Game’ was masterly - menacing and mysterious! As regards diffi culty, well, I was just going to have to do some serious practice!

Th e formalities of accepting delivery of the com-mission came as something of a surprise. Did I want sole performing rights? And if so, for how long? Would I allow the work to be published? I reminded Graham that the purpose of the exercise as I saw it was to put a new and worthwhile piece onto the market for the benefi t of as many players who could play it, so did not want to put any restrictions in the way of that. Fortunately, Graham’s German publish-ers adopted the piece more or less as soon as it was completed and it can now be obtained through June Emerson.

Diplo-Diversions had its world premiere at the IDRS in Tempe, Arizona, in 2002 where it was played by the Waterhouses - father and son - and its UK pre-miere at Chetham’s School in May 2005 (when Gra-ham Salvage of the Halle was the bassoon soloist and the composer was at the piano). It was on this occa-sion that Graham informed me that the third piece in the suite has been taken onto the examination lists of both ABRSM and Trinity College (now Trinity Guildhall). Graham is currently preparing a second edition of the work for publication later this year. He intends to simplify the piano part and ‘tweak’ one or two of the bassoon passages to refl ect his father’s advice.

I fi nd it both remarkable and exciting that Dip-lo-Diversions is acquiring a life of its own, and that what started out as a small private commission is making its mark in the wider world. I believe that the quality of the work will be recognised, and that sooner or later it will be recorded as part of a bassoon recital disc. I am very grateful to Graham for the care and commitment with which he has carried out my request and I sincerely hope that readers of this article will sample this fi ne work for themselves. ◆

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During the many years that I’ve been writing about medical topics for the IDRS, I’ve dis-cussed a lot of problems that involve the in-

strumentalists’ hand. Some are common, while some are distinctly unusual. Unfortunately, there is a long list of things that can go wrong with our hands, so there’s plenty of topic material available.

In previous columns, I’ve alluded to certain hand lumps or masses, and even devoted one column to a specifi c one, Dupuytren’s process [Dawson WJ: Ask the doctor: Dupuytren’s “disease.” Th e Double Reed 2003;26(1):100-101].

Now I feel the time has come to provide a more complete discussion of many conditions than can produce lumps on the hands, wrist, or fi ngers. Some of these are quite benign and require no specifi c treatment, while others are a bit more serious. Not all of them will interfere with our playing, and of those that do, the interference may not be continuous. Also, not all of them cause pain or discomfort.

THE COMMON ONES

Ganglions are perhaps the most common type of lump that people under 50 years of age may notice. Th e ganglion is a gel-fi lled sac that is actually a type of hernia. When ligaments around a joint become thinned or weakened, the lining of the joint can bulge out through this weak spot and form a sac. Th e lubri-cating fl uid within the joint is produced by the lining of the joint, so the sac fi lls with fl uid as well, and it becomes gelatinous with time.

Ganglions can occur wherever there is a weak-ness of ligaments around a joint. Th ey are most com-mon around the wrist, more on the back (dorsal) side than the palm side. (Figure 1, Figure 2).

However, they can occur also at the outermost joints of the fi ngers (where they more commonly are known as synovial cysts or mucous cysts) (Figure 3). Unlike the wrist, fi nger cysts usually are associated with degenerative arthritis of the outer joint. When the herniation occurs behind the knee in teenagers or young adults, the conditions is called a Baker’s cyst.

Ask the Doctor: What’s This Lump on My Hand/Finger/Wrist?

William J. Dawson, M.D.Glenview, Illinois

Most of the time there is no specifi c history of injury or trauma to the wrist that might have caused this problem. On those occasions when an injury can be identifi ed, it still may not be the cause of the ganglion. Pain, when present, oft en arises from the

Figure 1. Dorsal wrist ganglion

Figure 2. Palmar wrist ganglion

Figure 3. Synovial cyst of fi nger tip

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“torn” or stretched ligaments and is worse when the wrist moves about. In other people, the ganglion pro-duces irritation of the tendons that connect the fore-arm muscles with the fi ngers and thumb. Th e gan-glion sac oft en displaces these tendons that lie over the joint, and the resulting irritation can cause local infl ammation of the tendons and their coverings, a condition known medically as tenosynovitis. Th is can occur especially if the ganglion is large and is located on the dorsal side of the wrist.

Treatment of wrist ganglions depends on the lo-cation of the lump and what symptoms, if any, are present. Many people can play without pain and re-quire no treatment. For some, temporarily limiting the wrist movements by using a a brace not only re-

lieves the pain, but may allow the sac to collapse to some extent. A large, uncomfortable ganglion on the back of the wrist may require removal of the contents through a needle, with a small amount of locally act-ing steroid placed inside thereaft er to limit further fl uid production. Th is procedure is usually done under a local anesthetic and is called aspiration; for many, it is a cure. Only a small minority of patients ever require surgical removal of the ganglion, but even then there is no assurance that it will not recur. Fingertip cysts and ganglions on the palm side of the hand are the most common candidates for surgical treatment.

Ganglions of lining tissue can occur also in the palm, where they arise from the gliding tissues sur-rounding the tendons that fl ex or bend our fi ngers (Figure 4). Th ese are more likely to cause pain when the person grasps something and puts pressure on the palm. A ganglion as small as one-eighth inch (3 mm) in diameter may cause pain when something like an instrument case handle hits it. Surgical re-moval of the small sac is done under local anesthesia, and these are less likely to recur than ganglions at the wrist.

Degenerative arthritis of the fi nger joints may produce another kind of lump. When the edges of the bones are involved with arthritis, they enlarge and form thickenings next to the joint. Th ese are visible on the outside of the hand, where they are called He-berden’s nodes (Figure 5).

Not every person with degenerative arthritis will develop these nodes, and they are not usually seen in people under age 50. Th ey also do not usually require any treatment, but they can limit some of the outer joint motion if they become quite large and the joint surfaces become irregular and narrowed from the ar-thritic process.

Dupuytren’s disease is also a condition seen in older people, more in men than women, and espe-cially in people of British Isles ancestry. Although it is much less common than hand arthritis, it is po-tentially more troublesome for instrumentalists. Th e sheets of connective tissue in the palm and fi ngers thicken and contract, and thus may limit the spread of fi ngers, especially the little one (“pinky”). Surgical removal of the aff ected tissues in the palm or fi nger is the only treatment, and, unfortunately, there is no assurance that other fi ngers or areas of the palm will not develop the condition later. Further details of Dupuytren’s process appear in my previous article (see above).

Figure 4. Location of cyst on a fl exor tendon sheath

Figure 5. Heberden’s nodes on outer joints of fi ngers

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THE UNCOMMON ONES

True tumors can occur in the hand, but thankfully they are both uncommon and almost always benign. Perhaps the most common one is a lipoma, a benign tumor of fatty tissue that may occur in the palm. It grows slowly, usually over a period of years, and in general does not interfere with movements or with function of the nerves in the hand. Surgical removal is the only treatment, and recurrence is rare.

Other unusual lumps are not true tumors but may look like them. A condition called a xanthoma occurs in the fi ngers; it is oval in contour and lo-cated between the joints (Figure 6). It is a benign, slow-growing collection of yellowish tissue inside a membrane or sac. Interference with function, when it occurs, is mechanical; the enlarged digit may rub on an adjacent digit during use of the hand.

Finally, an epidermal inclusion cyst usually arises on the palm side of a fi nger, and is a complication of a puncture wound (Figure 7). Th e wound drives small bits of skin tissue deep inside the digit, where they continue to multiply and degenerate; the debris formed inside this sac is cheesy and thick. Like the other conditions I’ve mentioned, it is benign, grows slowly, and should be removed surgically.

Figure 6. Xanthoma

SUMMING UP

I’ll conclude with a few comments about surgery in the musician’s hand - an important topic for those who might face such a possibility. As both a hand sur-geon and a double reed performer, I’ve experienced both sides of the issue. (1) Most surgical treatment of the lumps mentioned

above is routine for a trained hand surgeon, and most procedures can be done in an out-patient setting under local or regional anesthesia. In many cases it’s possible to return to playing with-in a few days.

(2) Tell the surgeon and the offi ce staff that you are a musician, and perhaps even bring your instru-ment to the fi rst offi ce visit so he or she can see how your hands function while you hold and play it.

(3) Ask what postoperative techniques (bandaging, splinting, rehabilitation, etc.) the surgeon can use so that you can return to playing as quickly (and safely) as possible. ◆

Figure 7. Epidermal inclusion cyst

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As a musician, you will know that yours is a hazardous profession. Musicians, as result of practicing their art, are likely to suff er some

form of pain and injury during their careers. Risks vary depending on the instrument; for example:

• Pianists - carpal tunnel; • Trumpeters - facial dystonia; • Flautists - ulnar nerve entrapments;• Violinists - hand, arm and shoulders disorders;• String players – focal hand dystonia Th ere has been no study on risks for pain and

injury suff ered by bassoonists. Th is study, conducted by Paula Brusky, PhD candidate at Th e University of Sydney’s Australian Centre for Applied Research in Music Performance under the supervision of the Director of the Centre, A/Professor Dianna Kenny, will provide data on injury rate, potential causes, and available treatments for bassoonists.

Th e aim of this study is to identify the extent and type of pain and injury suff ered by bassoonists. Th e goal is to give bassoonists a chance to CONFIDEN-TIALLY compare their experiences to others in the fi eld and to compile information on what methods are currently available to assist in the prevention and treatment of performance related musculoskeletal disorders in bassoonists.

Bassoon-Related Pain and Injury: A Proposed Study

Dianna T. Kenny, PhD; andPaula C. Brusky, Sydney, Australia

Specifi c questions to be addressed by this study include:

• What is the prevalence of performance related musculoskeletal disorders among bassoonists?

• Are there areas of the body where bassoon-ists typically experience pain?

• Do bassoonists suff er common patterns of injuries?

• Do bassoonists agree on possible causes for pain?

• Do bassoonists actively seek relief from pain and are there specifi c treatments that are fre-quently used?

• How is pain and injury perceived by bassoonists?

You can participate in this study anonymously and confi dentially in three ways:

1. By going to www.paulabrusky.com and completing the on line survey.

2. By obtaining an electronic or paper copy of the survey by emailing Paula at [email protected] or

3. By writing to Paula Brusky, ACARMP, SCM, University of Sydney, C41, Sydney NSW 2000, Australia.

Aft er completion, an article will be submitted to Th e Double Reed and results will be posted on www.paulabrusky.com.

Th ank you in anticipation of your support for this study. ◆

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In the wee hours of pre-dawn, I woke with sur-prise at having slept at all. I had tossed with fret all night worrying about our new house sitter.

What woke me was Elmo (our hound) baying like a fi end outside. Th e horses were galloping a thunder inside their circular corral. I looked out the window and barely made out the form of a bear in the dim moonlight. It was inspecting our property like a for-est ranger seeking to issue a citation: trash stored in house, check. Fuel put away, check. Horse grain locked in garage, check. No violation of good housekeeping policies would be found on this mountain property. Th e bear eventually moseyed on to our neighbors’ home. Elmo continued his noisy tirade.

I immediately thought of our house sitter again. Since we moved to this new home, we lost the ser-vice of our old house sitter, who knew of rural ways. We had to fi nd someone in a hurry to care for our animals while we went to Alaska for the next three weeks (I was playing bassoon in the Juneau Civic Op-era). A friend recommended this young man from Denver who contacted me via email. I immediately liked his personality. He said he loved animals. I had a good feeling about him even though he was only 19 years old, is a drummer in a rock band, and wanted to bring friends up to our mountain home while we were away. Using a city-boy made me apprehensive, but I hired him anyway.

Now, I wondered how he would react to a bear? Would he quit while we were gone and abandon our animals? Elmo kept “mumpfi ng” quietly at the reced-ing bear. I watched the fuzzy behemoth loose interest in our neighbor’s junked vehicles and amble off to its secret place in the woods. Th e bear would probably have little interest in returning to such a noisy place having been suffi ciently “hounded” by Mo. It found no treats on this foraging trip.

All the next morning my anxiety grew. ‘How could I trust our home and animals in the hands of such a young and inexperienced stranger?’ I couldn’t concentrate on anything else. Th ough I had a million errands to run, I eventually just fl ounced on the sofa and waited for the kid to arrive. He was coming up for the day in order to meet me and to get trained in

“The House Sitter”(Music Appreciation in the High Country)

Michele MurrayLake George, Colorado

the ways of running our household. When he fi nally knocked, I opened the door and standing before me was Carlos Santana with his band! Th e kid’s Afro was bigger than Jimi’s and he had three other lanky com-panions with him (T. Bone, B.B., and Muddy!) Th ey quietly entered my home and were immediately be-sieged by our people-starved dogs.

“DOWN! DOWN! D-O-W-N!!!!” I yelled and grabbed at collars. My pups intended to maul the boys with slobbers and paws. Two of the kids backed out of the house. Later, I saw them draped over the corral fence petting the horses on their noses.

I learned from “Carlos” that the other three guys were his cousins visiting from Los Angeles, all be-tween the ages of 17 and 19 and all played in rock bands. Th ey seemed very gentle-hearted. Aft er an hour of showing the house-sitter-proper (that is, the one I was paying) how to run the house (he had never made a fi re before and we use a wood stove for heat) I asked if they’d like to go fl oating the river in inner tubes?

Well, of course they would! Th ey had driven up in “Carlos” mother’s dinky little car and had no room for the inner tubes. So, I put the four of them and two huge inner tubes into one of our junker cars and told them to follow me in my other car. I drove through the National Forest so they could see the scenery. When I looked back in my mirror, I noticed they were all waving their teenage rock-n-roll forearms out the windows doing that air-surfi ng thing with their hands in the warm wind. I made a mental note to tell them when we got there that the only way to close the windows is by tugging them upwards with your fi ngers.

At the river, three boys got out of the car but not “Carlos.” Of course not - the door doesn’t open from the inside without a secret procedure! I reached through his open window and pushed the door latch forward while pulling back on the lever to engage the latch (we once trapped a valet attendant in our car by forgetting to share that information). Th e others were trying to open the back hatch to retrieve the in-ner tubes. Th ey thought the door was locked, but it wasn’t. You have to put your foot on the bumper and

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lift the door with one knee. Once freed from the car with the inner tubes, “Carlos” put the single key in his big shorts pocket.

“Oh, don’t do that – don’t ever take your car key into the river!” I warned.

“But we can’t get the windows up to lock the car,” he answered. I put his comment on hold and looked to the approaching thunderheads.

“I need to show you something else.” Th en, I dem-onstrated to him how to stick his fi nger into a hole in the steering column to turn the windshield wipers on and pull a little screw sticking out of the dash to turn the headlights on. Th en, I showed him how to pull the windows back up into place with fi ngers.

“You can leave the key in the ignition. We can only hope someone steals it.” He agreed.

When I left , I saw that the boys had paired up: two to a tube, with their skinny legs and knobby knees sticking up in the air like fl oating kindling. Th e thunder began to roll as I left them in the river fl oating in all its six inches of fury at the speed of a migrating shadow.

Back at the house, I quickly fi nished whittling on my reeds before the bolts of lightening crashed into the forest knocking the power out. I saw one strike a ridge and dirt fl ew up into a column of dust - I’d never seen that before! My horses were gallop-ing through the aspen with their beautiful manes and tails streaming behind them in the growing wind. Th ey weren’t frightened - they were thrilled. I watched the storm approach from the dark of my living room, with only the fl ashes of electricity to il-luminate my surroundings.

Th e young men returned home shortly aft er the storm started. Th ey were wet and shivering to the bone. I made hot chocolate and nachos, for which they thanked me. Th ey sat in a quiet stupor at my kitchen table and fi ddled with my reed making tools. I wondered when they were planning on leaving? I wondered if they were planning on leaving? Maybe they thought I wanted them to wait for my huzbun to come home? I didn’t ask. Th ey seemed absorbed in the storm’s performance.

When electricity returned, I selected my hippest music to entertain my young guests - a CD burned for me by a friend in Juneau: Th e Drop Kick Murphies. Th e guys were familiar with the music and seemed impressed by my collection. I learned that the three from L.A. were only here for one more day. Fernando, (that’s Carlos’ real name), is studying music at the Au-raria Campus in Denver. He is a scholarship student.

Th ey asked me what I knew about Jimi Hendrix.

Why did he play the national anthem like that? I told them about Vietnam and that our country never de-clared war on North Vietnam, that it was a military confl ict for strategic interests. I told them that Jimi Hendrix was exaggerating the hypocrisy of our de-mocracy by playing the sounds of the national anthem and mimicking sounds of the air raids, bombs and si-rens mixed in. I said that he was considered a musical genius for his ability to create new sounds with the electric guitar as it had never been performed before. I made an analogy to modern composers like Phillip Glass, Schoenberg, and Stravinsky.

Th en, I told them about my recently deceased brother, Herbie, and his love for Hendrix, that aft er he died, my mother and I listened to Herbie’s Hendrix albums in the basement the night before his funeral. We worked on his eulogy and tried to connect with him again through his passion for music. Aft er this story, my guests requested I play bassoon for them, which I did - I was currently working on Rossini’s, Barber of Seville passages for the opera in Juneau.

We talked about majoring in music, how young people are discouraged from seeking a career in the arts - any of the arts - because they are not considered “real jobs”. We talked about the roots of jazz in Black History. I introduced them to Benny Goodman. Aft er listening to the raw sounds of timpani, trum-pet, and sax in, Sing, Sing, Sing, we speculated that perhaps those clean-cut, well-mannered white guys might have smoked pot? Goodman’s band seemed so enlightened to artistic expression for their times, but we agreed that in order to play rhythms so tight with each other they had to be straight.

“No one who does drugs can focus very well over time,” T. Bone said.

We listened - I mean really listened - concentrat-ing on the music until the thunder passed. Aft er-wards, the one I thought of as “B.B.” asked for my permission to walk in the woods and I told him,

“You don’t have to ask permission - that’s your land. It’s National public property.”

We watched him disappear into the woods. Th e horses watched him go, too.

Fernando asked, “Will he be okay with the bear out there?”

I told him, “Th e bear will run away from him long before he sees the bear.”

“Why would a bear run away from people?” “Because we are predators - we are the worst ones.

People kill everything, even bears. People are the big-gest, most dangerous predators that have every lived on the planet.”

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When the errant one returned from his hike he told us that he saw, “Giant deer! Not deer, but GIANT deer!”

I told them those are elk.Eventually, seemingly without any coercion, they

left . I stood at the door and returned their waves of good-bye as their little sedan disappeared down our driveway. I felt peaceful and glad to have met them In my heart, I fi nally felt at ease with our new house sitter. A year later, I learned that the one who walked with the elk, “B.B.” had been killed in a car accident. For the life of me, I wonder about the quality of his short life. I wonder about his contribution to the lives of his loved ones and his own appreciation of the sim-ple beauty of the forest, a horse’s soft nose, holding a hand out in the warm wind on a dirt road driving through the mountains. I am grateful for the same simple things and for sharing an aft ernoon of thun-der, the river, and music appreciation in the High Country with young people. ◆

Michele Murray lives on the brink of South Park, Colorado. She is contributing editor for the Moun-tain Gazette and writes intermittently for Discover the Outdoors, EQUUS, Fly Fishing World, Native People’s Magazine, New Tribal Dawn, Th e Aquarian, and other literary journals. She writes creative non-fi ction stories for coloradofi shing.net and wyoming-fi shing.net, and is included in two anthologies: Hell’s Half Mile: River Runners’ Tales of Hilarity and Mis-adventure, published by Breakaway Books, 2004, and Comeback Wolves: Western Writers Speak for Wolves in the Southern Rockies, published by Johnson Books, 2005. She is also an accomplished bassoonist, a pub-lished illustrator, and a professional geologist.

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OBOE

Kissing the serpent,split tongued, silverscales unlock black wood. Oboe venom,

mantic sibilance,a mouthful of hissesdistilled to a womanwailing over a broken

god. Tonight, Oboe liesdismembered in a box the size of a child’s casket. Looking back,

I sat, my palms betweenthe cold folding chairand my thighs. I wantedto be more than another

clarinet. When he lift edthe oboe I raised my hand.It has been years since passion played light

and loose in fountainnotes. Still a bride, she tries. Kneeling before the coffi n,

she reassembles Osiris.Breathing her life into him, they are wholefor a night.

-For Wendy

James Raines is an M.F.A. student studying poetry at Th e University of Alaska, Fairbanks.

Oboe Poetry

James RainesTwo Rivers, Alaska

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Big Horned Owl appears as solid in the Cot-tonwood as the oversized branch that sup-port its four foot height. Eating something

with its back turned towards me. A big crunching sound. I’m watching from a wooden step leading up to the back of the house.

“Hey, Horny, what you eating?” I holler up into the tree.

Damned beast barely stops munching long enough to turn a head 180 degrees and then, back again. Morning light just enough to see through leafl ess branches. It’s cold, getting into heavy winter frosts.

“Hey, big guy,” I persist. “Don’t you see I’m talk-ing to you? You got your nerve just sitting up there ig-noring someone who played the bassoon for mighty conductors like Zubin Mehta, like Lenny Bernstein, like Horatio Zits.”

Bird fi nishes off its chewing, stretches a span of one wing about three feet. Th e hooked, black beak preens feathers that appear to be about fourteen inch-es long. A large crow hangs precariously on a branch over the beast and scolds a steady stream of hysterical invective. Th e black feathered nuisance looks the size of a parakeet compared to the Great Horned.

“I ever tell you about the time I played in tune?” Th e owl turns his head. Something vaguely familiar in the tilt of the head, the glare of the eyes. Yeah, par-ticularly the steady, malevolent glare of the eyes that suggest you’re the next meal.

“As I say, I played in tune in 1976. A State Depart-ment tour. Before the Iron Curtain melted. Zagreb, or Poland. Or Turkey. It’s all a blur now, but surely one of those romantic places you see on magazine covers -- minus the half-dressed woman and the azure ocean in the background. Just woefully gray streets and Russian Generals in doormen’s brown uniforms with the low-hanging haze of diesel fuel as backdrop. ”

Th e other wing comes up and the beak changes sides. A suggestion of an inarticulate beat, trying to be a four-four beat, but appearing as something close to a fi ve-and-a-half.

“Maestro Steinburgh, is that you?!” I’m stirred to memory. Th e owl looks like he’s contemplating fi r-

A Bassoon Lite, Please...Return of The Glare

Alan GoodmanBedford, Wyoming

ing a magpie from a nearby tree. “Maestro Reiner?? What’re you doing in my tree?”

I sense I’m in contact now. No doubt. “Well, Maestro, you remember we used to play heavy duty romantic stuff on tour, important stuff , the kind of stuff you can’t fi nd in trees. Ein Heldenleben, Tschai-kovsky, maybe a nod to Bartók. Something that kept the audience on a long journey through the bow-els of angst, pangst, meaning and moaning and us musicians trying to decipher cues. Ahhhh, the old days. Hey, Lenny, you listening to this memory lane stuff ?”

Damned ugly sonofabitch turns the half circle routine with the head. Glares down right through me to a count of four and a half. Typical. Th en turns his back towards the violins. With a head that turns like that it could be Erich Leinsdorf. Sure, sure, he’s lecturing the crow on the importance of touring. Th e kind of important stuff the world hinges on. I imag-ine when the LA Philharmonic toured the world the guy at breakfast in suburbia always asked his wife, “Honey, where is my toast and the town’s bassoonists today?”

Th e monster lift s both wings, leans forward and glides past a few branches. Leinsdorf coming in for the kill during Beethoven’s Eroica Symphony. Bern-stein levitating for the ultimate cue. Seven foot wing-span minus the baton. Sounds like a helicopter fl ap-ping over the house. He lands one hundred feet away. Only the violas are between us now. Th at should be enough to stop even the most formidable conductor.

“Hey you! While you were conducting hirings, fi rings, auditions, and dismissals in the woods here, I was struggling to fi gure out your beat. Mozart, Beethoven, Brahms, all rippled bye in a fl urry of fi ves, sevens, nine and a halves, and a few elevens thrown in for eff ect.”

Th e bird sh*ts. Comes drooling down like a gray/white rain. Disgusting display of indiff erence to my squinting up into the heavens for a decent cue. Or maybe the result of conducting in three continents in three days.

“Hey, I got it now! You’re Zubin Mehta! Remem-ber the time you called me into your offi ce to tell me

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you thought I was improving, but if I move around a little more I’d get more musical in a hurry? I fi gured you simply wanted me to know you were giving me a break, that you had decided to stretch some other poor minstrel on the rack for a change.”

Sure, sure, I can tell now. Th e eyes are boring right into me. I’m about to be stretched on the rack, boiled in oil, hung from the yardarms, cued to death with impunity. It’s Zubin fur Chrisakes! One of the greats of the podium (I know he was one of the greats. He confi ded that to me himself). Giant Horned Owl glares away. At me, the Great Improver. Th e great mover.

Zubin Mehta. I shoulda known from the way he was chewing on that violinist -- chair and all.

“Zubin! How in hell are ya?!”“Whoooooooooooooooooooooooooooooooooo

oooooooooooooooooooooooo?????????” ◆

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In issue 72 of DRN, the famous oboist Malcolm Messiter wrote much useful information regarding the use and the teaching of circular breathing, and I would like to share more thoughts with you on this subject. I think Messiter is correct saying that there is not anything circular in this kind of breathing; in fact I use a diff erent term, cyclical, since this kind of breathing is a cycle, especially if one thinks to the trip of the air.

As a teacher I have to stress that there is also a trend, nowadays, to speak of double-circular breath-ing. Th is term is incorrect because it would mean the presence of a double air stream inside the nose at the same time, while we can only inhale or exhale. I remember, in the past, Pascal Gallois speaking of it, but our nose is only a one way: of course one can inhale or exhale from the nose while playing but this does not mean we can do both simultaneously.

I learnt the cyclical breathing by myself even though my fi rst oboe teacher, Federico De Sanctis, was really a master of it; unfortunately he died 25 years ago while I was attending the 4th of a 7-year study in oboe at the Conservatory of Music in Flor-ence. I remember one day during the lesson of a peer he demonstrated his cyclical breathing, playing for several minutes and with perfect intonation despite a poor reed of the pupil; and this was incredible for me considering that he retired from the position of fi rst oboe in the Maggio Musicale Fiorentino Orchestra over 10 years before (he played there for 40 years!). He was the fi rst Italian oboe player who performed the Strauss Oboe Concerto during the early sixties, and many conductors (Toscanini above all) and play-ers considered him a master in music and playing. I think learning the cyclical breathing is, today, a must for every player since it represents a colour in our pal-ette and an aid in case we need it.

Th e only point on which I do not agree with Mes-siter is in the statement at the beginning that “your body works better with lots of oxygen in the blood”. Th is is true, of course, but needs a further explana-tion because it does not mean that in our blood, be-fore or aft er a breath, we have a great diff erence in the oxygen concentration. Usually the concentration

Circular Breathing

Sandro CaldiniRignano S/Arno, Florence, ItalyReprinted with permission from the Double Reed News of the BDRS, No. 75, Summer 2006, pp. 26.


is around 99% and only with pulmonary diseases can we have a concentration of around 97% (a huge risk for our body). Moreover I would like to point out, as a teacher, to study it at fi rst inhaling only from the nose, and only later on to try to exhale from the nose while playing. One of the questions that occur at the early stage is, “What do I do aft er inhaling from the nose?” Th e answer is: “Nothing; continue to play”. If one thinks to resume normal blowing, it could break the air stream for a moment, risking interrupting the sound too. So, think of continuing to blow; there is nothing else to do.

I think it’s really useful in some virtuosic works, for example Le Api by Pasculli; and I suggest also not to consider the cyclical breathing a closed topic but try to develop it with staccato. I learnt it by myself also, using the staccato even if it seems a “taboo” for many players. I am honest and I am only able to do it with a slow staccato but I heard some pupils of mine doing it with a fast one. So, I have to practise more! ◆

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MUSICREVIEWS

Oboe

New Oboe Music by Ingram Marshall

Th e featured composer in this in-stallment of “Drastic Measures” is

Ingram Marshall (1942 - ), a composer of striking ex-pressivity and depth. I have had the pleasure of work-ing with him on all of the following compositions.

Ingram Marshall:Dark Waters for English horn, digital delay and reverberation units, and tape (1995)Holy Ghosts for oboe d’amore, reverberation unit, and tape (2000)(Tape parts are available on CD format.)Baghdad Blues for solo oboe with optional reverberation unit (2006)Available through Ibu Music:17 Rolfe Road, Hamden, CT 06517. Telephone: (203) 789-0874.E-mail: [email protected]: http://www.newalbion.com/artists/marshalli/ (Note: This New Albion Records website in-cludes an extensive profi le on Ingram Marshall from which some of the biographical informa-tion below has been quoted or paraphrased.)

Much of Ingram Marshall’s aesthetic was developed in the mid-sixties to mid-seventies when he spent hours in solitude working in the sonic cave of an elec-tronic music studio. Even though he now composes more for instrumental ensembles or mixed media, his early experiences with electronic music helped to shape his painterly approach to music making. Aft er his work at the Columbia Princeton Electronic Music Center, Marshall moved to California and enrolled at California Institute of the Arts. Th ere he fi rst studied Indonesian gamelan music, and he later incorporated its slowed-down sense of time, melodic repetition,

and dreamy evocativeness into many of his compo-sitions. In the eighties, Marhsall began to develop a series of instrumental works that require real time electronic manipulation through tape delay and other processing. Examples include his best known work, Fog Tropes, (1982) for brass sextet and tape, as well as Dark Waters and Holy Ghosts, discussed below.

Ingram Marshall has been called a New Roman-tic, Minimalist, Downtowner, or California School composer, none of which fully describe him. He has referred to himself as a post-modernist, confessing that he uses avant-garde techniques to achieve old fashioned goals, that is, the composition of appeal-ing, expressive music. His friend and fellow com-poser, John Adams, described Marshall’s work most eloquently:

It is a music of almost painful intimacy, and as such is not for the casual listener. Its essence is deep and brooding, and although its generously layered surfac-es are often painted with a rich, almost opiated luxuri-ance, the message is, never the less, always spiritual, one might even say religious, in context ... It is also an overtly emotional music and by its very nature stands in direct contradiction to the cool, uncommitted pos-ture of Modernism.

Dark Waters for English horn, live electronics, and tape, exemplifi es these emotional, spiritual, and sonic qualities. Marshall uses Sibelius’s tone poem, Th e Swan of Tuonela as source material. Th e tape part samples and manipulates a lush 78 RPM recording from the Twenties, and the English horn melodies, amplifi ed and played through a digital delay and re-verberation unit, are largely generated from snippets of Sibelius’s original. Th e Swan of Tuonela is an im-age from the Finnish epic poem, the Kalevala, about a legendary swan who glides over the dark waters that separate the living from the dead. Ingram Mar-shall evokes a dreamy, almost underwater, feeling throughout this achingly beautiful composition.

Holy Ghosts for oboe d’amore, reverberation unit, and tape, also quotes earlier music, in this case, the aria, “Et in Spiritum Sanctum” from J.S. Bach’s B Minor Mass. Th e composer has written, “Th ere, two oboes d’amore interweave lines with the singer which suggest not so much a rarefi ed “holy” spirit but a dancing one; the music has grace, fl ow, and spright-liness. I have taken some of the snatches of melody from these parts and recreated my own take on the Holy Ghost. As the oboist plays the Bach fragments, digital delay processors echo them back and cre-

DRASTIC MEASURES:New Oboe MusicREVIEW BY LIBBY VAN CLEVENew Haven, Connecticut

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ate spiraling rich textures which build up to create “ghosts” of the original material. Over this, longer, lyrical lines are heard, almost as resultant melodic ideas from the repeated build-ups. Somewhere in the middle of the piece, there is a melodic migration to remembered Balinese modes, but there is still a con-nection to Bach, and there certainly are sprightly ghosts in Bali.”

Th e original version of Holy Ghosts employed complicated real-time processing with multiple digi-tal delay units, a set-up that proved to be extremely complex. In response, the composer created a version that can be performed with just a reverberation unit and CD playback. I have played the piece both ways, and fi nd the simpler version is just as eff ective with many fewer potential technical problems - and ac-companying worries. Th is version is not complicated to perform, and has been enthusiastically received by a wide range of audiences.

Ingram Marshall’s newest oboe work, Baghdad Blues is a short solo work that intensely conveys both the horror and sadness of war. He based the piece on melodies played by the soulful oud player, Mu-nir Bashir. I’m amazed at what power and profun-dity Marshall can squeeze out of a fi ve-minute oboe solo! Using his great ear and musical sensitivity, he includes extended techniques such as multiphon-ics, harmonics, and fl utter tongue. Th ese alternative timbres are very eff ective, particularly a whisper-soft melody played entirely with harmonics and the fi nal double harmonic chord. Th e piece can be performed unamplifi ed or amplifi ed with a deep reverberation setting. It would be a fi ne introduction to extended techniques or simple electronics to an oboist inter-ested in exploring these areas.

Dark Waters and Holy Ghosts are included on the New Albion CD, Dark Waters. Ingram Marshall’s music has been widely recorded and can be heard on the Nonesuch, New World, and New Albion labels. My favorite recordings are Th ree Penitential Visions/Hidden Voices on Nonesuch, and Savage Altars on New Albion. Bassoonists will be interested in a recent composition, In Deserto, for bassoon, violin, electric guitar, and percussion, commissioned in 2003 by the chamber group Clogs.

Libby Van Cleve is an oboist specializing in new mu-sic. Her contemporary music performances are fea-tured on the New Albion, CRI, Aerial, Centrediscs Tzadik, New World, OODisc, Braxton House, What Next?, and Artifacts labels. Numerous compositions

have been written for her and have been commis-sioned by organizations such as the National Endow-ment for the Arts, Connecticut Commission for the Arts, Canada Council, and Minnesota Composers Forum. She is the author of Oboe Unbound: Contem-porary Techniques (Scarecrow Press,) and the co-au-thor 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 consid-ered for inclusion in this column, please send it to Dan Stolper; Oboe Editor, Th e Double Reed; 7 Her-mosillo Lane; Palm Desert, CA 92260-1605.

Hautbois et Musique (suite de la methode Le Hautbois facile du meme auteur) orOboe and Music (follow-up to The Oboe Made Easy method by the same author)Volume 2From the David Walter CollectionBy: Bernard DelcambrePub: Billaudot

Oboe and Music, Vol. 2 is a very creative way of teaching not only oboe playing, but total musician-ship. It has intrigued me so much that I am in the process of acquiring the other books mentioned in the foreword:

“Following Oboe and Music, Vol. 1 and The Oboe Made Easy, Vol. 1 & 2, which were studied in parallel with J. Sellner’s method, Vol. 2 (Billaudot, ed.) Oboe and Music, Vol. 2 is an introduction to advanced technique and a decisive step towards a complete mastery of the instrument. There are two more volumes in prepa-ration that will round off the study of scales, up to Cs Major/As minor, Cf Major/A f minor, and up to extreme high G.

The wide range of musical excerpts, most of which taken from the repertoire and therefore readily avail-able on CDs, allows both teacher and student to select the appropriate piece(s) that will help the student gain musical autonomy and discover – and enjoy! – differ-ent musical styles. All excerpts should be sight-read. Some will be selected for their pedagogical interest

REVIEW BY LESLIE ODOM Gainesville, Florida

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and benefi t from an in-depth study. Technical studies and exercises take after J. Sellner’s examples. They serve as a good preparation for the sight-reading and fi ngering diffi culties to come at the next profi ciency level. They must always be practiced in accordance with the performer’s ability, slowly and smoothly.”

Originally written in French, an English translation is provided alongside the author’s comments. In addition to musical etudes, there are additional activities which encourage creativity and musicianship in the player. Although the information provided is brief and introductory, it still will be a great learning tool as well as a starting point for more in-depth discussions between student and teacher of what music is and how it is made. For example, the author starts a piece with the articulations marked and then instructs the player to add his/her own. Similar types of exercises are used when working with places to breathe and breath marks. In addition, one fi nds discussions on types of musical styles and thematic analysis. A collection of dance movements is provided so that the student may compare and contrast these movements.

Additional “bonus” information included at the end of the book is a time line of history which lists a wide variety of composers with their dates organized by centuries. A Glossary separates each key area (G Major/e minor; D Major/b minor; and A Major/fs minor) with terms and composers taken from the musical excerpts from the previous section. Although the list is quite long, the actual information is a brief defi nition or explanation.

A tremendous amount of information is provided throughout the book. Th e instructions, which are included at the end of each example or exercise, are very straight forward, oft en in one to two sentences. Commentary is provided by either Delcambre or David Walter throughout the book. Th e student is instructed to sight read the music and then read the instructions at the end. However, I might suggest having some of the instructions actually printed at the beginning of some of the examples. Th is might prove more benefi cial for the student so that he/she has a better idea of what is expected in a particular music excerpt.

When teaching ornamentation, a score with three individual parts is provided. Th e top line is the original melody and the bottom line is the original bass line with the fi gured bass included. Th e middle line provides an ornamented version of the original melodic line. However, when the ornamented line

duplicates the original melody, the measures in the ornamented line are left blank. Th is requires the player to jump back and forth between the top line and the middle line. Th is is even more diffi cult when the player’s eyes must also jump to the next score! It might be more user-friendly to have all of the original melody printed in the ornamented line as well. Perhaps using a diff erent size of note head or ink color might help to distinguish between the original and the ornamented version. I would still include the original melody on a separate staff in addition to the ornamented version. In a later example, the student is asked to add his/her own ornamentation. Leaving a staff blank provides the student a place to write in his/her ornaments.

I enjoyed playing through many of the pieces myself. On the whole, the level of music is appropriate for medium and advanced players. Th is book would be an excellent source for supplementary material with our standard methods as it would present diff erent types of challenges for players of many levels. A good variety of music is provided, including duets, solos, and excerpts. Several of the exercises have metronome markings, oft en with a range of suggested speeds. Th is gives some fl exibility for the level of player. Much of the music is taken from our repertoire and encompasses a wide variety of time periods and styles. Some of the composers found are: Hotteterre, Telemann, Rameau, Mozart, Geminiani, J.S. Bach, Lalo, Schumann, Mendelssohn, and Grieg just to name a few.

A fi ngering chart is included at the beginning of the book. Although the labeling is clear, the actual numbering system seems quite haphazard (for example - #2 is the left F; #3 is the low C key; #4 is the low B key; and #5 is the fi rst octave key). In the body of the book, new fi ngerings are introduced with the appropriate numbering system from the chart. Unfortunately if one does not know which numbers correspond to which keys, the system is not much help. One may fi nd it easiest to make a copy of the fi ngering chart and keep it handy while working through the book. Trills are introduced throughout the book as well as presented in their entirety in a chart at the end. However, again – one will need to refer to the original fi ngering chart to be able to decipher what fi ngers to use. An unusual addition is a section on double trills or very fast trills. Essentially, these are trills that entail alternating keys which produce the same note (for example alternating the left F with the right hand F key for a trill from E to F).

Occasionally, there are some references to Vol. 1 of this series. In particular, a “brief historical survey of the oboe family is given in Oboe and Music Vol. 1,

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pg. 8” is mentioned at one point. Although this sounds very intriguing, it proves to not be much help if one does not have this volume!

Overall, I recommend this book to those who are looking for additional material for the inquisitive student. I, myself, look forward to receiving and examining the other books in this series as I expect to fi nd a similar approach to overall musicianship in Vol. 1 that I have found in Vol. 2.

FlirtationsLauren Murray, oboe and English horn; Robert Murray, trumpet and fl ugel horn.The music and CD can be found at:http://cooppress.hostrack.net or http://cdbaby.com/cd/sybrandon.

Flirtations is a new CD of fi ve highly amicable works for oboe by contemporary composer Sy Brandon. Th e fi rst piece is Th ree Flirtations, composed for Harmonie del Sur, the husband-wife duo of Lauren Murray, oboe and English horn, and Robert Murray, trumpet and fl ugel horn. Th e three-movement work is very listenable with wonderful lyrical lines, especially in the second movement in which the players switch to their lower instruments. With impeccable intonation between them, both performers are fi ne players who fl ow from each other seamlessly and blend together beautifully.

Th e second work, Prelude, Bachanal, and Reverie, begins with broad sweeping lines beautifully played by oboist Anita Ranucci Brandon, ably assisted by pianist Maria Corley. Th e Bacchanal has interesting cross rhythms and syncopations that give it a quirky lilting feel, along with more sweeping, lyrical lines that occasionally fl oat on top of the rhythmic piano. Th is moves directly into the Reverie, which is styled as its title would indicate. Notable are numerous appoggiaturas begging to be leaned into. Th is work, with its slow-fast-slow grouping of movements,

RECORDING REVIEWS

OboeREVIEW BY SUSAN LAIB Mansfi eld, Pennsylvania

provides ample opportunity for the oboe to show off its ability to make beautiful, expansive lines.

Th e Suite for Oboe and Piano, also commendably played by Anita Ranucci Brandon and Maria Corley, has an abrupt end to the “Introduction,” which takes the listener by surprise. It is followed yet again by another beautifully lyric moment with the “Song,” answered by a unique quirkiness in the “Danse” and a more angular “Finale.”

Lyric Piece and Dance is just as the title indicates. Yet Dr. Brandon cannot hide his innate lyricism which alternates with more angular moments in the Dance. Again, the work is admirably played by the same oboe-piano duo.

Divertissement, composed for Th e Cadence Music Ensemble of Tricia Wlazlo, oboe, Alan Stocking, percussion, and Sandra Carey-Sheaff er, piano, is clearly the most acrobatic work on the recording, notably in the opening “Intrada.” Th is directly contrasts with the return to lyricism in “Nocturne.” “Valse” is a lilting waltz with 21st century harmonies and interplay between the drum, oboe and piano, followed by a Prokofi eff esque “Marche.” With sprinkles of stardust sounding from the percussion, there is ample room for rubato and expressive shaping of the oboe lines in “Romanza,” and the “Galop” provides a romping end to an enjoyable work. As a whole, this is possibly the most demanding ensemble work on the program, but still quite accessible to performers and listeners alike, and superbly played by this unique trio.

Overall, the CD is enjoyable, listenable 20th century contemporary classical music for the oboe and friends. All works are worthy additions to the oboe player’s repertoire. As this CD clearly indicates, Dr. Brandon knows how to exploit the oboe’s greatest asset of lyricism, and the infl uence of at least one of his teachers, Warren Benson, is clearly evident throughout. In addition, the performers on the recording are all fi ne players who give these new works their just dues. For those oboists who enjoy soaring, lyrical lines, this music is for you!

Dr. Susan Laib - double reeds professor at Mansfi eld University of Pennsylvania since 1989; principal oboist in the Orchestra of the Southern Finger Lakes (New York) and the Williamsport Symphony (Pennsylvania); frequent clinician and performer throughout the Twin Tiers of New York/Pennsylvania. Previously taught at Tennessee Technological University and was a member of the Cumberland Quintet and Knoxville Symphony Orchestra. Degrees

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from the Eastman School of Music, University of Colorado, and Florida State University.

Felix Mendelssohn – Romances sans parolesDavid Walter, oboe, oboe d’amore, and English horn; Claire Desert, pianoPolymnie POL 170 633

Mendelssohn wrote eight books of Romances sans paroles (Songs without Words), each containing six songs for solo piano. These songs are probably Mendelssohn’s most personal expressions in music, including regret, contemplation, nostalgia, consolation, sadness and passion, a wide palette of emotions that is truly impressive.

David Walter has artfully transcribed these unique melodies to fit particularly well within the tonal range, timbre, and lyrical quality of the oboe family (oboe, oboe d’amore, and English horn). This CD contains a selection of the 32 most successful adaptions, including songs from Op. 19, Op. 30, Op. 38, Op. 53, Op. 62, Op. 67, and Op. 102. Walter has arranged four songs with the option that the solo part can be played on the oboe or oboe d’amour, and two with the option that the solo part can be played on the oboe or the English horn.

Born in Paris in 1958, David Walter was only 29 years old when he was appointed the youngest-ever oboe and chamber music professor at the renowned Paris Conservatoire. He has also taught at the Guildhall School of Music and Drama in London since 1997, and regularly gives masterclasses all over the world.

In an attempt to enrich a relatively limited oboe repertoire of the romantic era, Mr. Walter has proved himself a tireless and authoritative transcriber: to date he has made more than 230 arrangements. He also encourages new works by young composers such as Gilles Raynal or Thierry Escaiche, and is himself a composer (14 works to date).

Mr. Walter’s sensitive playing is so well suited to these “Songs without Words”. He truly sings through his instrument and makes each nuance and inflection as though he were singing words. He always seems to take his listeners by the hand and leads them through so many different colors, interesting timbres, and sounds.

The fine playing of pianist Claire Desert makes this a wonderful collaboration, and an album that is a delight for any oboist.

Reviews by RobeRt J. KRause Canyon, Texas

w. a. Mozart - oboe sonatas: in F major, K 376; in G major, K 379; in B-flat major, K 378 eduardo Marinez Caballer, oboeRiccardo Cecchitti, PianoVERSO 2021

Although these three sonatas were composed for the violin rather than the oboe, Riccardo Cecchetti relates in his notes that until the end of the nineteenth century, it was common to play music written for one instrument on another. Because of this, Misters Martinez Caballer and Cecchetti “have confronted this challenge by taking up the old and extended practice and preparing a new version, with the oboe instead of the violin, adapting sound and phrasing to the combination of piano and oboe.” Mozart probably would not have objected, as he was very familiar with important oboists of the time and the oboe’s timbre became one of his favorites. After hearing Mr. Martinez Caballer and Mr. Cecchetti’s accounts of these lovely sonatas, it is hard to believe that they were not intended for the oboe in the first place. My only objections to the transcriptions are the places where the violin (oboe) part serves as a broken chord accompaniment to the melodies in the piano. These passages work very well with the violin, but are not quite as effective with the oboe.

I was most impressed with Eduardo Martinez Caballer’s wonderful control and ability to float pianissimo notes in the upper register. His high c’s in the first movement of the F major Sonata have such a wonderful singing shimmer that it makes me want to dub him the Montserrat Caballe of the oboe. He has also mastered another trait so prominent in good vocalists, the mezza di voce. The eveness and control of his crescendo and decresendo on a single pitch is so very beautiful.

Mr. Martinez Caballer has studied with Heinz Holliger and Thomas Indermühle. Since 1991 he has served as principal oboe in the Granada City Orchestra, and since 1997 has been invited regularly to give the “Musical Specialization Courses at the University of Alcalá de Henares”.

Eduardo Martinez Caballer’s playing, with Riccardo Cecchetti as a graceful and sympathetic partner, makes it clear that they understand the style of Mozart and just what the music is all about. This is a most enjoyable disc, well recorded, and very well played.

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Souper Galant with the Bach Family and Friends (performed on period instruments)Alfredo Bernardini, baroque oboeMasumi Nagasawa, single-action harpEtcetera KTC1293

Compositions include:J. S. Bach, Sonatas BWV 1020 & 1031J. C . Bach, Sonata I & VIC. P. E. Bach, Sonata in G for solo harpChristoph Schaff rath, Duet in BCarl Abel, Sonata I

Th e so-called pre-classical period, beginning around 1720, was labeled by the French, style galant. Th is style arose in courtly, aristocratic circles and galant was a catch word that applied to everything that was thought to be modern, smart, chic, elegant, easy, ornate, and sophisticated. Th e music of this period consisted of simple melodies with delicate ornaments and light accompaniments.

Th e compositions on this disc are all representative of the galant style, and Alfredo Bernardini and Masumi Nagasawa have arranged all but the C.P.E. Bach for the baroque oboe and the single-action harp.

Th e single-action harp was introduced in France around 1740. It soon became fashionable as one of the most enchanting instruments in France through the Age of Enlightenment and Romanticism. It was a favorite and played by ladies of the aristocracy such as Mme. Pompadour, Marie-Antoinette and the Empress Josephine of France.

Alfredo Bernardini was born in Rome and moved to the Netherlands to study baroque oboe with Bruce Haynes and Ku Ebbinge. He has taught baroque oboe at the Conservatory of Amsterdam since 1992 and at the Escola Superior de Musica de Cataluna in Barcelona from 2002 to 2005.

Masumi Nagasawa, besides her performances on a variety of harps, has composed and arranged various pieces for the harp which have been published and recorded. She teaches at the conservatory in Maastricht.

Bernardini s playing is charming, and his tone is rich and full. Th e combination of the sound of the baroque oboe and the harp is really very satisfying. Both instruments compliment each other and sound very elegant, delicate, and sophisticated. Th e performances are very lively and stylish and well represent the galant style of the pre-classical period.I highly recommend this fi rst-rate recording.

MUSIC FROM TREVCO MUSIC P. O. Box 4, Tallevast, FL 34270 Tel: 941-907-6944E-mail: [email protected]: http://www.trevcomusic.com

Jacobo Ficher (1896-1978): Sonata para Fagot y Piano (1970) Op. 32, No. 4TCO 3107

Th is is another beautiful edition of a previously unknown modern Sonata for bassoon and piano by an equally unknown Russian/Argentinian composer. Jacobo Ficher was a Ukranian born and trained composer, conductor, violinist and teacher who immigrated at the age of 27 with his family to Buenos Aires, Argentina, in 1923. Th ere he remained active and infl uenced a group of Latin American composers greatly in the European modern musical style. Th is group was called Grupo Renovación, and it became the leading organization for the promotion of new music in Argentina in the early 1930’s.

Ficher’s own musical style, as exemplifi ed by this late Sonata, composed only 8 years before his death, is one of expanded tonality - sometimes bordering on atonality, but never losing sight of fundamental triadic and tonal harmonic scope. Aft er earlier experiments in 12 tone technique, this more conservative style is somewhat reminiscent of Paul Hindemith at times, but without the emphasis of chord relationships of the perfect 4th and 5th. Th e chordal relationships in Ficher seem to be more based on root movement up or down by step instead. Th e melodic writing also is expanded chromaticism, but still lyrical and not overly pointillistic.

Th e Sonata follows a more or less “classical” structure of three movements - fast, slow, fast - all connected by attaca sections, which blend the work into a single movement concept. Th e fi rst allegro section also is divided between three diff erent themes, not unlike sonata form, with each theme having its own

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tempo variation. The slow second section is lyrical, but, as is the composer’s style not overly sentimental - more “classical” in its concept. This leads directly to the finale, which divides itself between two contrasting themes. This section increased in intensity toward the end into a dynamic conclusion.

I would see this work as being fairly challenging technically, probably a Grade IV-, although the range of the work is no higher than high b2. Still, the piece calls for some pretty rapid-fire technique at times. Interestingly, however, there is no perceived (or audible) Latin influence in the work, despite the fact that Ficher lived in Argentina for a large period of his life. He was not part of the nationalistic movement (a la Piazzolla, etc.) of a later generation that gave us (and continues to give us) the lovely Latin music we non-South Americans keep discovering lately! Nevertheless, I recommend strongly this neat, modern (but not too much so) work for any serious bassoonist looking for a challenge on their next recital.

FRom InTeRnaTIonal musIc DIvIsIon24 rue Etex, 75018 Paris, FranceTel: +33 (0)1.53.06.39.40Fax: +33 (0)1.42.29.03.04E-mail: [email protected]: www.arpeges.com

Jean–Daniel braun (?-1740): Six Sonatas for Two Bassoons or Two ’Cellos Vol. 1: IMD 545; Vol. 2: IMD 547

This is a nice series of publications edited and published by two French bassoonists Philippe Hanon and Jean-Paul Blandinières (both of whom were students of the late IDRS Honorary Member Maurice Allard at the Conservatoire in 1984, when I spent my sabbatical year in Paris). This publication, as is true of all the following works reviewed in this series, is beautifully printed and laid out in such a way that both performers can play from the same score and all the page turns are fully worked out. These six Sonatas are very easy Grade III- works, that could be readily used as sight-reading exercises or as concert pieces by high school and older students. They are divided into two volumes with three Sonatas in each volume. Each of the works, however, follows a slightly different movement structure: slow- fast-slow-fast for number one; fast-slow-fast for number two, etc. Stylistically they are a bit Baroque at times with contrapuntal imitation, and a bit Rococo at other times with a single melody and accompaniment

- which one might expect, given the composer’s known death date of 1740. In all they are a nice, easy, readable set and I recommend them strongly to all bassoonists, especially active teachers.

Joseph bodin de boismortier (1691-1755): Six Sonatas, Opus 40 for Two Bassoons or Two ’Cellos or Two Violas.Vol. 1: IMD 548; Vol. 2 IMD 549

Similar to the Braun Sonatas, this set of six is also varied throughout in format: from the traditional Baroque slow, fast, slow, fast; to the more Rococo three movement fast, slow, fast pattern; to the Baroque suite setup of Allemande, Courante, Sarabande (or here Largo), and Gigue of the 6th Sonata. Stylistically, however, Boismortier is more Baroque than Braun, beginning most movements with (more “old-fashioned”) imitation and relying quite heavily on standard Baroque ornamentation. The editors Hanon and Blandinières, moreover, have been very careful in this edition to maintain the original articulations and ornamentation indications found in the premiere edition of the work, which dates from 1732 - a nice touch. Again, these are easy, readable Grade III- works, which could be nicely used by both a teacher/student or an all student performance. One other difference from the Braun is that both parts are completely equally matched technically in this set; whereas in the Braun the first part is sometimes the stronger of the two. They are a good complementary set to the Braun, however, and I recommend them both strongly to bassoonists at any level from Grade III up.

eugène Jancourt (1815-1901): Cavatine de “Donna Caritea” (Mercadante) Opus 60 for Bassoon and PianoIMD 551

This is another of the Hanon/Blandinières series - the only one so far for bassoon and piano. It is one of the Jancourt transcriptions of operatic arias for use by his students when he was professor at the Conservatoire in the 19th Century. This work is from a relatively obscure opera by Mercadante and, as with most works of this genre, enables the bassoon to “show off ” nicely in this flashy piece. It follows the usual format of a slow introduction ending in a cadenza-like passage, that leads to an Allegro. The fast part then builds in technical complexity to a spirited ending. This particular piece is not overly difficult. I would rate it a Grade III+, with a range only up to high c2, and with

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fairly straightforward passagework. It would make a nice recital piece, contrasting well with more serious works on the program. I recommend it strongly as a nice addition to the sparse Romantic music repertoire available to the bassoon soloist.

Georg-Friedrich Fuchs (1752-1821): Two Duos Concertants, Opus 65 for Two BassoonsIMD 564.

Th ese are a couple of two movement Duos more in the style of Mozart and Haydn, rather than the Baroque/Rococo style of the previously reviewed works. Again, however, they are a relatively easy Grade III- to III in diffi culty. Th e two parts are treated with total equality in these works, so that the performers, if students, should be more or less of equal ability. Th ere is a lot of repetition of the homophonic thematic texture with the voices fl ip-fl opping on the repetition.

Both works begin with a simple Sonata form fi rst movement: Andante in the fi rst Duo and Allegro in the second, with repeats indicated at both the end of the Exposition and the Development/Recapitulation as well. Th is is followed by a fi ve-part Rondo (ABAC-relative minor key-A) in both works. In all, this is pretty simple and straightforward music, which would be good for sightreading and/or early performances by young bassoonists. As with the above works of International Music Division, I am happy to recommend them strongly to the active teacher/performer.

MUSIC FROM LRO PUBLISHING51 Dalebrook Road, Bloomfi eld, NJ 07003; Tel: 973 338 7534Fax: 973 338 6795E-mail: [email protected]

Francisco Mignone (1897-1986): Music for Solo Bassoon -Sixteen Waltzes and Sonatina

We can thank New York area bassoonist Harry Searing for fi nally making the music of Latin American composer Francisco Mignone available to us in beautifully printed editions. He has entered into an agreement with the widow of Mignone to publish all the composer’s wonderful music for solo bassoon and bassoon ensembles. Th is edition is the second one bearing the fruit of his eff orts. (Th e fi rst was LRQ 1: the Concertino for Bassoon and Small

Orchestra, with the piano reduction by the composer and the orchestral material-2 fl ., 2ob., 2cl., and strings - available for rental. More editions of works for two bassoons, and works for three and four bassoons are also in preparation.)

Besides the lovely printing job, besides the careful editing and performance instructions, besides the translations into English of the oft en-clever titles for the individual Waltzes, Harry has also provided us with a up-to-date discography for the 16 Waltzes, including both complete and partial performances, as well as a clever reference and web address for Benjamin Coelho’s excellent article on performing and understanding the Waltzes, which is printed in Vol. 26, No. 2 (p.43 ff ) of Th e Double Reed. Another nice touch in this edition is the beautiful reproduction of Impressionist composer Edgar Degas’ Th e Orchestra of the Opèra, with bassoonist/friend Desere Dihau at the center of the painting. Th e fi nal touch, however, is a double printing of the third page of the 6th Waltz, with instructions to carefully cut this out and paste it to the other two pages to create a three page foldout and avoid a phrase-interrupting page turn in the middle of a performance. All the other Waltzes are either one or two pagers. Indeed, this edition is a full package in every way!

If by some strange fate you are unfamiliar with the 16 Waltzes of Mignone, they are not for the “faint-of-heart” technically. Originally composed for his bassoonist friend, Noël Devos, a French and French bassoon trained Brazilian émigré, Mignone spared nothing technically, especially the range extension up to high f2. Th is is easy on the French-system bassoon, but a fair challenge on the German-system instrument. I would give this collection a solid Grade IV+ in overall diffi culty, with lots of technical and musical challenges, of which the expanded range is just one example.

Less well known, and less extensive is Mignone’s Sonatina for Solo Bassoon, which is also published in this collection. It is a modest three movement work (Moderato, Andante, Allegro), which appears to be quite atonal - even possibly dodecaphonic in its conception. I would suspect it to be a youthful work from the 30’s when 12 tone atonalism was very popular.

Technically the Sonatina is still pretty challenging, perhaps a III- to IV-, but the range is only up to a more modest high df2, and the only tenor clef music is found at the very end of the third movement when the df2 occurs. As interesting as the work is, I feel it lacks the Latin suavity and intensity that is so prevalent in the Waltzes, and indeed all the later “latinesque” music

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of the mature Francisco Mignone.I cannot recommend this wonderful edition strong

enough. It is a must-have for every serious bassoonist performer. Congrats to Harry for a wonderful accomplishment. Keep ’em coming, Harry!

Romance & Caprice. Frank Morelli, bassoon; Gilbert Kalish, piano; Harry Searing, bassoon.MSR Classics 1172, 2006.Available at www.msrcd.com or www.morellibassoon.com.

Frank Morelli’s new disc of original and transcribed romantic works is a worthy successor to his two previous solo discs, Bassoon Brasileiro and Baroque Fireworks, both on the MSR Classics label. Mr. Morelli is one of the great American bassoonists and pedagogues active today, performing with the New York City Opera, Orpheus Chamber Orchestra, the American Composers Orchestra, and with the renowned wind quintet Windscape, and serving on the faculties of Juilliard, the Manhattan School of Music, Yale, and SUNY Stonybrook. On this present recording Mr. Morelli demonstrates time and again his remarkable level of musical artistry: in his hands playing the bassoon is never an end in itself, but a means to creating powerful and original musical statements. Aiding him in these eff orts are the incomparable pianist Gilbert Kalish and excellent bassoonist Harry Searing, who was also featured on the Baroque Fireworks disc.

Th e title of the disc, Romance & Caprice refl ects the choice of repertoire: on the side of romance we have works of Schumann, Elgar, and Rachmaninoff , while the caprice comes in the form of works by Rossini, Weber, and Paganini. Purists may be wary of an album containing a number of transcriptions of works written for other instruments, such as the well-known Schumann Romanzen for oboe, but Mr. Morelli points out in his perceptive liner notes that composers oft en specifi ed alternative instrumentation for many of their lighter works, hoping to appeal to a broader audience

RECORDING REVIEWS

BassoonREVIEW BY PETER KOLKAY Columbia, South Carolina

and achieve commercial success. Mr. Morelli makes a commanding musical case for performing these works on the bassoon - in the case of the Romanzen, which open the disc, had Schumann heard this masterful performance he would have undoubtedly approved.

Consistently delectable tone, impeccable intonation, and seamless phrasing characterize Mr. Morelli’s performance of the Romanzen. Particularly stunning is the opening of the third romance where, due to the transcription for bassoon, the bassoon and piano are in unison rather than octaves; Mssrs. Morelli and Kalish blend so perfectly that one cannot believe there are actually two distinct instruments playing at the same time. Th ese two performers make these short works sound like miniature masterpieces. Mr. Morelli also includes Schumann’s Fantasiestücke (originally for clarinet) on the album, and these pieces fare equally as well in his capable hands.

In keeping with the “romance” element of the disc’s title, Mr. Morelli presents the Elgar Romance and captures both a sense of resignation and longing in this short piece. Of particular note is Mr. Kalish’s short introduction, which for this listener conjures up the a bleak English landscape and sets the stage for the drama that unfolds in the bassoon line. Also in the romantic vein is the famous Rachmaninoff Vocalise in which Mr. Morelli demonstrates his artistry in spinning out a seemingly endless melodic line. More than one vocalist would benefi t from hearing his seemingly eff ortless phrasing in this gem.

Two works on this disc fall into both the categories of “romance” and “caprice”: the Saint-Saëns Sonata and Weber Andante and Hungarian Rondo. Mr. Morelli takes the fi rst movement of the Sonata slightly slower than this listener is used to hearing it, but to great eff ect - the music has an autumnal quality that reminds one that the composer was at the end of his life during the work’s composition. Too oft en this movement can sound like a mere introduction to the rest of the piece, but here it stands alone and sets its own mood. Th e following scherzo is rambunctious but elegant, and Mr. Morelli blazes across the potential technical traps with nary a second thought. Th e fi nal run up to the high E is tossed off without any hint that it might be diffi cult - the top notes just pop out as if they were always meant be played on a German-system instrument. In the last movement of the Sonata, Mr. Morelli invokes the spirit of the Baroque in his long-breathed melody, always buoyed by Mr. Kalish’s supportive and elegant playing. Th e performers choose not to take the coda too fast, which helps give a sense of thoughtful closure to the entire work.

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Hearing the Weber Andante and Hungarian Rondo alone is worth the price of the disc. Note the beautiful color changes Mr. Morelli manages in the Af major variation of the Andante and the elegance with which he approaches the last variation, which is so oft en played with empty virtuosity. He makes the case that the Andante stands on its own merits, not as mere prelude to the fun and fi reworks of the Rondo. But what a Rondo we get here! Listen to the way Mr. Morelli uses a variety of articulations throughout to create diff erent moods and characters, not to mention the incredible technical work on the last page. Th is is simply great music-making by a master artist who happens to play the bassoon.

Th e last two works to mention here fall squarely onto the “caprice” side of the album. Mr. Morelli is joined by Mr. Searing to give us three selections from Rossini’s Il Barbiere de Siviglia as arranged by Gebauer but adapted by Mr. Morelli to more closely correspond to the original source. Th ese are delightful duets and performed with aplomb by both bassoonists, who seem to share a lack of fear when presented with the most extreme technical feats. Take the central section of “A un dottor della mia sorte,” which contains a lengthy passage of incredibly fast articulation for both players, yet performed here in the service of music-making rather than as a parlor trick. Mr. Morelli fi nishes out the disc with a tour de force, performing his own adaptation of the famous 24th Caprice by Paganini. Needless to say, this awe-inspiring performance is one that must be heard to be believed. Fingers, tongue, high notes, tone, phrasing - they’re all there in spades, but presented with such assuredness that one forgets that a bassoon just isn’t supposed to be able to play this sort of thing. Mr. Morelli’s adaptations of both the Rossini/Gebauer and Paganini pieces are available through TrevCo Editions.

In summary, Romance & Caprice is yet another fantastic disc by a true artist. For those readers smart enough to purchase it, be forewarned that it will be impossible to listen to the disc and not want to run to the practice room to try to emulate what Mr. Morelli can do. In the past three years, he has given us defi nitive versions of the Villa-Lobos Ciranda das sete notas, the Mignone Valsas, the Telemann Sonata in f minor, just to name a few, and now this disc sets the standard in the romantic repertoire. Dare I ask what Frank Morelli will give us next? Whatever it is, I look forward to it with anticipation and admiration.

About the authorPeter Kolkay is assistant professor of bassoon at the University of South Carolina. He studied with Frank Morelli at Yale University from 2000-2002.

Th e following review fi rst appeared in the Double Reed News, Issue #70, p. 49, of the BDRS and is reprinted with permission. Ed.

Antonio Rosetti: Bassoon Concertos. Eckart Hübner, bassoon; Deutsche Kammerakademie Neuss

I was delighted to receive this CD. I fi rst met Eckart some years ago when the London Sinfonietta and Ensemble Moderne were involved in a joint project in Berlin and we became good friends. Since then he has been the solo bassoon in various German orchestras and is now professor of bassoon and ensemble work at the University of the Arts in Berlin, as well as a member of the Albert Schweitzer Quintet. He has made many solo recordings and this one of the Rosetti Concertos with the German Chamber Academy of Neuss on the Rhine is his latest.

Antonio Rosetti (c.1750-1792) is known to have composed nine bassoon Concertos of which only six survive. Th e CD cover provides much information on bassoon music at this time and especially about Rosetti and his works. Suffi ce it to say that these Concertos are very virtuosic. Two fi ne bassoonists, Franz Czerwenka and Christoph Ludwig Hoppius were around at this time and it is most probable that the four Concertos on this CD were written for them.

On fi rst hearing a mixture of associations came to mind – Mozart and especially his operas; Hummel and his virtuosic writing; and Schubert, who apparently much admired Rosetti as “one of the most popular composers of our time”. All the Concertos follow the format of Allegro, Adagio, Rondo and make great demands of the player. All this is handled by Eckart with great aplomb and the brilliance of his technique is a delight to listen to. Th e playing throughout from both Eckart and the Ensemble (directed by Eckart) is extremely tight, and mention should be made here of the excellent and extremely high horn playing. Th e slow movements are beautifully phrased and lyrically played.

I can heartily recommend this as a CD of exceptional quality and of repertoire that deserves a much wider audience.

John Orford

GUEST BASSOON RECORDING REVIEWReprinted from the Double Reed News of the BDRS

THE DOUBLE REED 151

1. Puchner bassoon, serial number 8501 (1976), stolen from Albrecht Holder, Lindpaint-ner strasse 81, 7000 Stuttgart, Germany, in Copenhagen, Denmark, when the Stuttgart Philharmonic Orchestra was on tour.

2. Loree oboe, serial number EM67; stolen March, 1983, in Wichita, Kansas (Witchita State University Campus), from Susan D. Laney, 612 E. Boone St., Tahlequah, Okla-homa 74464, Tel.: (918) 456-2298; stolen while attending Wichita State University.

3. Heckel bassoon, serial number 11953, stolen from Nusio Kato, of the Orchestre de la Suisse Romande, Geneva, at Carnegie Hall.

4. Oboe: Loree, serial number AY28. Stolen December 12, 1987 in New York City at 9th and Broadway. Contact Ernest Meyer, 7916 Burholme Ave., Philadelphia, PA 19111. (Tel.: 215-725-3249).

5. Marigaux oboe, serial number 15552, stolen February 23, 1988 in Philadelphia (Tem-ple University campus), from Lesley Nowell, [email protected]

6. Lorée oboe, serial number ER 08, stolen March 2 from the Tobey-Kendall dining hall, University of Northern Colorado, Greeley, Colorado. Contact Benham Ignacio at 10913 Bannock Street, Northglenn, CO 80234. (303) 452-7832, or at 3044 West Logan, Chicago, IL 60647. (312) 252-2963.

7. Bassoon: Fox model 101, serial number 8874, stolen March 7th 1988, from the home of Michael and Lori Garvey, 854-48th Ave., San Francisco, CA, Please contact Michael or Lori Garvey, 542 Center Ave., Martinez, CA 94553. Tel.: (925) 370-6272.

8. Oboe: F Loree, serial no. DD89. If found or recovered contact Marianne Ingels, 2310 Revenwood, Norman, OK 73071. Tel.: (405) 321-1008.

9. Loree English horn, serial no. GL-28. Stolen in Kingston, Ontario, July 20, 1989. Con-tact Etienne de Medicis, 428 Duff erin, Sherbrooke, Ont. J1H 4M8 Canada. Tel.: (819) 346-2093.

10. Heckel bassoon, serial number 10800, stolen from Martin Hoff er, P.O. Box 111633, Anchorage, Alaska 99511, Tel.: (907) 346-2572.

11. Bassoon: Fox Renard Model 220, Serial #14f993. Stolen from the York High School band area locker rooms on Friday, February 23, 1990. If found contact Kenneth Potsic, 444 Rex, Elmhurst, IL 60126. Tel.: (708) 832-6782.

12. Oboe: Fox model 300, serial number 4098. Stolen in Osaka Japan on November 1, 1987. In a french style case and a Jean Cavallaro case cover. Please contact Mike Mor-genstern, 10777 Bill Point Crest, Bainbridge Island, WA 98110, USA. Tel.: (206) 842-1155.

13. Oboe: Lorée, serial number FV56. Stolen August 27, 1989 in Westwood, LA near UCLA. Contact Michele Forrest, 1725 Camino Palmero, #322, Hollywood, CA 90046. Tel.: (213) 969-8205.

14. Heckelphone: Serial #3283. Stolen in Detroit, MI, July 7, 1983. Contact Frederic Dut-ton, 19553 Gault St., Reseda, CA 91335-3624. Tel.: (818) 344-2513.

15. Stolen: Oboe: Lorée: Serial IA06, an AK model. Stolen in NYC on October 2, 1991. If found contact Robert Walters (215) 748-7354.

16. Püchner Bassoon, No. 759O. Stolen from the Secondary School of Music (Hritfeldska Gymnasiet), Gothenburg, Sweden, 30th of August, 1989. When the bottom cap on the butt-joint is removed, a mended crack can be felt (and seen) in the larger bore. If found, please contact Rebecca Ekenberg, Nordhemsg.45 C, S-413 06, Gothenberg, Sweden.

17. Oboe: F. Gillet, serial # C42. Th e case is from a Rigoutat oboe. English Horn: Marigaux, serial #4697. Stolen July 22, 1991 in Foster City (San Francisco peninsula). Please con-tact Rich Wash-ington at (415) 493-2056 or (415) 725-3859 with any information.

18. Stolen: Oboe - Lorée: Serial # HQ93, Tabuteau Model. Also, Korg tuner and 15-reed case. Stolen April 20, 1992, in Durham, NC. Contact: Bo Newsome, 122 E. Seeman St., Apt. A, Durham, NC 27701; Tel.: 919-688-2298.

19. Stolen: Wooden oboe – Lorée serial # GY 23 from NYC apartment. Reward off ered. Call 212-689-3083.

20. Lorée oboe #DY27, stolen from a San Jose, California-bound Greyhound bus in December, 1982, Purchased from Pat McFarland in June, 1980. Reward for return. Contact SSG David L. Wheeler, PSC-457, Ft. McPher-son, GA 30330.

21. Loree oboe #JS96 stolen on October 2, 1992 in Tucson, Arizona. Please contact Alyssa Tomoff , 544 Glenwood, Prescott, Arizona 86303. Telephone: 602-778-2626.

22. Püchner Bassoon: Student model serial #6201, stolen from Lionel Hampton School of Music, University of Idaho, in the Spring, 1991. Reward. Contact: Richard Hahn, Director; L.H. School of Music; University of Idaho, Moscow, ID 83843. Tel: (208) 885-6231; FAX: (208) 885-8964.

23. Lorée oboe (serial #DG66). Stolen last winter between Dec. 15, 1991 and Jan. 14, 1992 from a locked school locker at Williamette University, Salem, OR. Any information should go to: Robert or Joanne Wilgus, 28060 Farmhill Dr., Hayward, CA 94542, (510) 889-6176.

24. Rigoutat oboe, serial number 598AJ; stolen on June 8, 1993 in Prague, Czech Republic. Please contact Pirkka Sipila, Juhaninv. 2, SF-60150 SEINAJOKI FINLAND. Tel. + 64 4121 242. Reward for return.

25. Laubin English Horn #1057. Stolen from Sue Goff with Loree Oboe CF 37. Contact A. Laubin, Inc., 638 Central Ave., Peekskill, NY 10566-2007.

26. Rosewood Laubin Oboe #1482. Stolen from David Woolsey in New York City with Loree Oboe BP 24 - circa 1970. Contact A. Laubin, Inc., 638 Central Ave., Peekskill, NY 10566-2007.

27. Laubin Oboe #1465 and Laubin EBH #C42 – from Jessica Murrow. 212-663-9042 or A. Laubin, Inc., 638 Central Ave., Peekskill, NY 10566-2007.

28. Rosewood Laubin Oboe #1405. Stolen from Josh Siegel, 914-858-8526 or A. Laubin, Inc., 638 Central Ave., Peekskill, NY 10566-2007.

29. Barre Oboe #522. Stolen from Judy Rabinovitz. Contact A. Laubin, Inc., 638 Central Ave., Peekskill, NY 10566-2007.

30. Laubin Oboe #1546. Stolen from Jonathan Darnell, 914-834-9354 or A. Laubin, Inc., 638 Central Ave., Peekskill, NY 10566-2007.

31. Laubin Oboe #1651. Stolen from Matthew Dine – November, 1988, 914-793-9383 or A. Laubin, Inc., 638 Central Ave., Peekskill, NY 10566-2007.

32. Laubin Oboe, #1494. Stolen from Alice Monego. Contact A. Laubin, Inc., 638 Central Ave., Peekskill, NY 10566-2007.

33. Barre Oboe #7404. Stolen from Joan McDonald, April, 1989, 203-259-0342 or A. Lau-bin, Inc., 638 Central Ave., Peekskill, NY 10566-2007.

34. Laubin Oboe #1366. Stolen from McDuff Sheehy, April, 1990, from dorm room Brown University, 914-763-5158 or A. Laubin, Inc., 638 Central Ave., Peekskill, NY 10566-2007.

35. Laubin English Horn #966. Stolen from University of Texas at Austin, Feb. 1991. Con-tact A. Laubin, Inc., 638 Central Ave., Peekskill, NY 10566-2007.

36. Heckel Bassoon, serial #9266, stolen in San Francisco, September, 1964, from Bob Zimmerman. If found contact him at P.O. Box 1182, Chemalis, WA 98532.

37. Fox Bassoon, Model 1, Serial #12966 with case, black leather cover and Fox 2 cvx and 3 cvx bocals. Stolen from Heather N. Schneider at the University of Maryland, College Park, MD. If found, please contact Heather N. Schneider at (410) 761-7078 or (301) 314-3079.

38. Lorée English Horn serial #DC 48; purchased on June 17, 1974 from Claude Reynolds, Dallas. It was stolen from the music department offi ce in late July, 1993, Montana State University, Bozeman, Montana. Please contact Lorna Nelson, Music Dept., MSU, Boz-eman, MT 59717. Th e EH was the property of MSU MUSIC #053756.

39. Rigoutat Oboe, French conservatoire system (with third octave). No. 433 AD. Stolen in Paris between February 12 and 19, 1994 from Katrin Steinke, Am Hoelzle 50, D-78628 Rottwell/GERMANY. Tel. +49741/15960.

40. Oboe: Springer-Pfoff enhofen No. 9283. Stolen in Joensuu, Finland, from Keijo Aho.

Stolen Oboes and BassoonsThis is our continuing list of known stolen oboes and bassoons. It is hoped that the listing of these instruments, along with particulars leading to their disappearance, might be of assistance in their eventual recovery and return to their original owners, as well as serving as a source for identifying suspected contraband instruments. If there is some way the Society can further discourage the theft of so vital a tool to the performing artist, further suggestions are encouraged from the readers. Please add to (and hopefully, delete from) the list by writing to the oboe and bassoon editors. The list will be printed in all future issues of the publications. Please include as much information as you can pertinent to the instru-ment (distinguishing characteristics, special keywork, etc.) and to its theft (where, when, etc.).

STOLEN OBOES AND BASSOONS152

Contact at Mäntyläntie 274 FIN-82210 Suhmura. Tel. 358-73-749227.41. Heckel Bassoon, Serial #5712 w/French Key System (“World System”). Stolen in St.

Paul, Minnesota on April 10, 1994. Reward for return. Contact St. Paul Police (612) 292-3748, complaint #94-045-489) or Mary Banti at 15194 75th Ave. No., Maple Grove, MN 55311, Tel. 612-420-9803.

42. Fox (RENARD) 222 serial #16187, September, 1994, Montreal, Quebec, Canada. Any information contact B. Finch, 33274 Whidden Ave., Mission, B.C. V2V 2T2 (604) 826-6285.

43. Lorée oboe, serial number HV96, stolen in Irving, Texas, September 1994. Contact Dan Gelber, Band Director, Lamar Junior High School, Irving, TX. Phone: (214) 986-9155.

44. Lorée oboe, serial number HL78, stolen September 16, 1994, near NCSU campus in Raleigh, NC. Contact Carolyn I. Shull, 8512 Southbriar Drive, Raleigh, NC 27606-9618. Phone: (919) 851-5471.

45. Lorée oboe, serial number LC45, stolen September 16, 1994, near NCSU campus in Raleigh, NC. Contact Carolyn I. Shull, 8512 Southbriar Drive, Raleigh, NC 27606-9618. Phone: (919) 851-5471.

46. Two Fox Renard oboes, serial numbers 4194 and 5567, stolen from the University of South Florida, Tampa, Florida, in January, 1994. Th ey also had USF decals with num-bers 160352 and 175651 respectively. If found, please contact Nancy Warfi eld at (813) 974-2311

47. Lorée oboe, serial # GJ22 - thumb plate modifi ed to a Conservatoire System, entire body of high intensity plastic. Stolen in Calgary, Alberta on November 23rd, 1994. Send any information on its whereabouts to Mr. Richard H. Lea, #24-2323 Oakmoor Drive SW, Calgary, Alberta, Canada, T2V 4T2.

48. Fox Bassoon: Model 220, Serial Number 12910, stolen on Jan. 4 1995. Contact Dr. Nicholas J. Contorno, Director of Bands and Orchestra, Marquette University, Varsity Th eatre, 1324 West Wisconsin Avenue, Milwaukee, WI 53233. Tel. (414) 288-7476.

49. Bassoon: Gebruder Monnig serial #11377 (University of Delaware tag 120489) missing from the campus of the University of Delaware since 1990.

50. Fossati Tiery oboe, serial #1452, in a black “Orly” case, with accessories, stolen July 6, 1995 from City Centre, Manchester, England. Please direct any information to Joseph Nagy, 4 Kirkup St., Bay Shore, NY 11706-6900. Tel. (516) 665-5946.

51. Laubin oboe #1995 was stolen on Dec. 2nd, 1995 from John Wright, 4425 Tise Ave., Winston-Salem, NC 27105.

52. Bassoon: Heckel Serial Number 12782/2. Stolen from Fernando Traba, Mexican bassoonist studying at the Juilliard School in New York. It was stolen from him in a jewelry store on West 47th St., while he was shopping with his wife. Contact the IDRS bassoon editor if the instrument is located.

53. Bassoon: Schreiber, model 5014, serial number 29014, with accessories, stolen on July 12, 1995, from the home of Marcelo Padilla. Please contact him at the following ad-dress: Casa J-5, Los Colegios, Moravia, COSTA RICA, or phone number (506) 236-7246.

54. Oboe: Loreé JC29 AK, Model stolen from Karen Hosmer in Philadelphia. If found contact K.H., 319 N. 34th St., Philadelphia, PA 19104.

55. Gordet oboe, serial #A331, stolen February 1996, in Springfi eld, Illinois, from locked school locker. (Springfi eld Southeast High School). Approx. 30 yrs. old, wooden, third octave key. From Allison B. Baker, 3301 Ivyton Drive, Springfi eld, IL 62704. (217) 787-6372.

56. Oboe: Lorée, Serial # BC-36. Its Northern Illinois University number is 37727. Stolen in DeKalb, Illinois, from the Northern Illinois University School of Music, April 15, 1996. Please contact Jennifer Swenson, Large Ensemble Offi ce, Northern Illinois Uni-versity School of Music, DeKalb, Illinois 60115. (815) 753-1551.

57. Oboe: Loree, serial number LN13. Stolen from high school locker on May 28, 1996 at South Lakes High School, Reston, VA. Contact Don Pittenger, 12343 Coleraine Ct., Reston, VA 22091. (703) 860-4419.

58. Lorée Oboe: AK model LM26, stolen September 30, 1996 from my apartment in Cincinnati, Ohio, together with a Korg tuner and a Seiko metronome. Contact me at: Janna Leigh Ryon, 2247 Hidden Cove Road, Cookeville, Tennessee 38506. (615) 528-2340.

59. Loree Oboe: Serial number II34, stolen in June, 1993 from my home in Lucas, Texas. Contact Jennifer Allen. (972) 727-4456.

60. Leblanc Wood Oboe (Serial #1317) no left F. Stolen on September 17, 1996 from the band room at Hamilton Music Academy, 2966 South Robertson Boulevard, Los An-geles, California 90034. If found, please contact music director Jeff Kaufman at (310) 559-9468.

61. Moosmann bassoon, serial number 91039, date of buy 05-03-91, stolen in the small southwest German village D-66620 Kastel (Saarland), Im Aller 3, with a housebreak-ing, stolen from Muriel Th iel. tel. 00496873 400 or 0033387 937145.

62. Marigaux, Serial No. 19892, with a thumbplate key (English fi ngering system). Stolen

from her hotel room in Winston-Salem, North Carolina, on 26 February, 1997, while on tour with the wind soloists of the European Chamber Orchestra. She can be reached at (44) 171 437 0493, Fax (44) 171 437 0495, e-mail: Toby Scott <[email protected]>.

63. Heckel bassoon #6698. Stolen from the rooming house of Willard Elliot on March 12, 1945. If found or located contact Willard Elliot at 6731 Trail Cliff Way, Fort Worth, TX 76132. Tel.: (817) 346-9508.

64. Oboe of Lorée, Paris. No. EY 64. Lost in Bat-Shlomo, Israel, July 4, 1997. Has distinct mark... worn spot on the silver of the F# key. Please contact Israel, Asaf Beéri, Ayelet-Hashahar 12200 (no need for PO Box). Tel.: 972-06-6932184 or 972-06-6932740.

65. Lorée oboe #CO33 stolen in Minneapolis in November, 1996. Please contact David Cantieni, 105 Hawks Road, Deerfi eld, Massachusetts, 01342.

66. Lorée oboe, #HQ25 stolen in Amsterdam, Th e Netherlands December 8, 1997. Please contact Kathy Halvorson, Kanaalstraat 158-l, 1054 XP Amsterdam, Th e Netherlands, Tel.: 31-20-689-8066, email: [email protected].

67. Lorée AK model oboe, #KT71 stolen in Amsterdam, Th e Netherlands December 8, 1997. Please contact Kathy Halvorson, Kanaalstraat 158-l, 1054 XP Amsterdam, Th e Netherlands, Tel.: 31-20-689-8066, email: [email protected].

68. Lorée oboe #JD88 - stolen during the LA Philharmonic’s 1992 tour to Salzburg. Please contact: David Weiss, 6226 S. Corning Ave., Los Angeles, CA 90056. Tel. (31) 337-0962, fax (310) 337-7431, email: [email protected].

69. Laubin oboe, serial number 1981. Stolen in October 1997 in New Haven, CT. Owned by Laura Chamberlain, 10 Frost Road, Lexington, MA 02173. (781)861-3759, mes-sages (781)736-2245. E-mailcontact: c/o [email protected].

70. Laubin Oboe #1981. Stolen in New Haven, CT in October 1997. Contact Laura Cham-berlain, 10 Frost Road, Lexington, MA 02173 Tel. (781) 861-3759; or contact A. Lau-bin, Inc., 638 Central Ave., Peekskill, NY 10566.

71. Oboe: Lorée, #DP82, stolen in Oklahoma City on Feb. 26, 1998, and resold soon there-aft er in the Texas area. If found, contact Kim Monk at the Fenton Law Firm, 211 N. Robinson, St. 800-N, Oklahoma City, OK, 73102. (405) 235-4671 x 3316, fax: (405) 234-5247. Email: [email protected]

72. Rosewood Lorée AK-reproduction serial #MA-88, stolen on June 10, 1998 (it is the property of UT-Austin). Please contact David Garcia, 1071 Clayton Ln. #1217, Austin, TX 78723. (512) 452-8620, or contact the UofT police department.

73. Stolen: Fox 601 bassoon, serial # 23502, stolen Dec. 21, 1997 in Minneapolis. Contact Coreen Nordling, 612-925-0620 or e-mail cnordling @yahoo.com.

74. Heckel Bassoon #10704 stolen from Gainsville, Florida, on Nov. 3, 1998. Th is is a very distinguishable instrument with extra keys and custom features. $2000 reward for its return. Contact John Tileston at 352-338-1800 or e-mail at [email protected].

75. Lorée Oboe AK, serial #IW99, stolen from Lisa Geering in Chicago, Illinois in March, 1997. If found contact Lisa Geering at 920 Via Cartago, #13, Riverside, CA 92507. Tel: 909-369-3387. E-mail: lgeeringtomoff @earthlink.net

76. Marigeaux Oboe, serial #9459, stolen from the Leeds University Music Building, Eng-land, on April 21, 1999. It is gold plated and gorgeous! If found, please contact Helen Woolliscroft , 22 Hurstleigh Drive, Steate RH1 2 AA, England. Tel: 01737 763727, E-mail: [email protected]

77. Stolen: Laubin oboe, serial #1240 from Univ. of Iowa, Voxman Music Bldg., May 8-9. Please contact Christopher Scheer/Melissa Etling. Address: Northwestern University, Steate, IL, USA. Phone: (319) 354-1032. Email: [email protected].

78. Antique E-fl at oboe by Triebert, Paris, c. 1850, missing January 1999 from Royal (Brit-ish) Mail - U.S. Mail. Only 45.5 cm. long; missing its bell ring. Contact R.W. Abel at 814-374-4119, fax 814-374-4563, e-mail abel@csonline, net.

79. Lorée Oboe, Serial No. CQ78, stolen Dec. 18, 1999, at Cleveland State University, Cleveland, OH. If found, please contact Alice Mantey, Chesterland, Ohio. (440) 729-2869.

80. Lorée Oboe Full Conservatory, Serial No. MX27, stolen from Clear Brook High School, January 13, 2000. Contact John Stuckey, (281)-996-2763 or email [email protected].

81. Lorée Oboe, Serial No. CQ78, stolen from Cleveland State University parking garage, Dec. 18, 1999. Contact Alic Mantey, 8655 Camelot Drive, Steate, OH 45026. (440) 729-2869. email [email protected].

82. Lorée English Horn, Serial No. CQ22, stolen from my home in Edwardsburg, Michi-gan, May 15, 2000. Phone (616) 663-8230.

83. Bassoon: Heckel # 4878. Stolen in 1990 in transportation by a parcel service between Munich and Stuttgart, Germany. Please contact Robert Polzer, Föhrenstrasse 48a, D-83052 Bruckmühl, Bavaria, Germany. Phone; 08062/6992.

84. Schweizer Bassoon: student model serial number Op. 23 with a Puchner bocal CC 2, stolen from School of Music - UFRJ, Rio de Janeiro, Brazil, November 27, 2000. Owner: School of Music-UFRJ, Rio de Janeiro, Brazil, Rua do Passeio, 90, Steate RJ, Brazil, Phone: 55 21 5324649, Email: [email protected]

THE DOUBLE REED 153

85. Laubin oboe #334, stolen from luggage at Chicago’s O’Hare Airport United Airlines area on December 18, 2000. Please contact owner - Christopher Warmanen, 553 West Oakdale Avenue, #207, Chicago, Illinois 60657. Telephones: 906/875-2095 or 773/929-1968; Fax: 906/875-3193.

86. Laubin English horn #1150 missing from the Cincinnati Conservatory of Music. Th e case may have University of Cincinnati inventory ID #279751 on it. Contact Mark Ostoich, Professor of Oboe, CCM, at 513/556-9551 or at [email protected]

87. Loree oboe, Ferrillo model, #NP49. Stolen from the St. Arlington Church in Boston, MA on Sunday, February 18, 2001. Please contact Misa Dikengil at 973/543-2194 or via Email at [email protected]

88. Loree AK model oboe (with 3rd octave key). Th e serial number is LJ-57. Th is oboe was stolen at Orem, Utah at about 11:40am on April 14, 2001. Chase Chang, [email protected], (206) 919-3375

89. Heckel Bassoon: Serial number 14018-5, stolen: August 20, 2001 at National Superior Music School (CNSM), Lyon, France. Contact:Audrey Luzignant 92, gusi pierre Sige, Lyon 69006 France Tel:+66-246-3530 Fax + 049-327-3530

90. Bassoon: Puchner Serial number 6226, stolen: October 26-28 from East Carolina Uni-versity Fletcher School of Music, Greenville NC, 27858. Contact: (1) 252-328-4281 Email: ulff [email protected]

91. Stolen: Bassoon:Heckel Serial number 12523,stolen: October 20, 2001 (estimate) from the Garvey Fine Arts Center, room 319, the bassoon studio at Washburn Universi-ty,1700 College Avenue, Topeka Kansas 66621-0001 Contact: (1)785-231- 1010x1511 Email:[email protected] Comments: Th is instrument may also still have a Washburn University inventory sticker on it with the number 43225. Whoever stole this instrument knew what they were looking for as nothing else was taken,and there were two other lesser quality instruments in the studio at that time.

92. Stolen: Kreul Oboe, Serial number 44093, stolen: 28/10/01 at Stonebridge lane, Fulbourn, nr Cambridge GB. Contact: Camilla L. F. Haggett,7 Graft on Street,CAMBRIDGE CB1 1DS GREAT BRITAIN Tel:07771 761493 email: [email protected]

93. Stolen: A.Laubin oboe, Serial number 1048 stolen: September, 2001. Contact: Taka-hiro Yamada, 47-117, Miyazakicho, Chuo-ku, Chiba Chiba 2600805 JAPAN Tel:043-261-8660 Email: [email protected] Comments: granadilla body with gold plated keys.

94. Stolen: Puchner Bassoon,Serial number 9822, stolen: August 9, 2001,while being returned from Germany to the US in the US postal system. Contact:Christopher D. FitzGerald, PO Box 260, Shady Cove OR, 97477. Tel: (1)541-878-2726 Email:[email protected] Comments: By following my instructions that there was no need for a zip code, the bassoon never reached the Puchner fi rm and was sent back from Geramny. (Th ese were instructions given by the US postal Service to me.) Both parties cannot locate the instrument, the US postal service still says it has been deliv-ered. It has not. No one seems to know where it is. It may have been in the customs offi ce in the WTC, as I was told that is a possability.

95. Stolen:Loree automatique oboe serial number HP 89, stolen out of an apartment in Amsterdam. Contact: John Groeneveld, the Netherlands at: [email protected]

96. Portland oboe, Serial number 9934, one year old, wooden, covered hole, silver-plated, dual system. Stolen: October, 2001, during a break-in at a pupil’s home. It was in a BAGS case. Contact: Southampton Music Service, 5th Floor Frobisher House, South-ampton Hampshire, England Tel: 023 8083 3633 Email: [email protected]

97. Stolen: Springer Pfaff enhofen Oboe, Serial number 9283, Stolen in 1993,Owner Keijo Aho, Pajalahdentie 12 A 10, 00200 Helsinki 00200 Helsinki, Finland Tel: +358-1356510 or +40-5433227 Email: [email protected] (Stolen at the city of Joensuu, Fin-land, about 1993 from a baggage at the Concervatory of the City Of Joensuu. No sign of the instrument has been found since the theft . It is probable that this oboe, one of the fi rst ones that Hans-Peter Springer has made in this model, has been transported to Russia or elsewhere in eastern Europe.)

98. Stolen: Fox Oboe 400,Serial number 9309,Stolen on or about November 1, 2001 Own-er Charles Scurlock, 506 First Street, Langley Washington 98260 Tel: (360)221 8123 Email: [email protected] (Stolen in residential burglary at residence in Langley, along with 2 saxophones and three clarinets.)

99. Bassoon:Puchner, Superior model (U.S. model 6000) Serial number 12899. Stolen at: “McDonalds” in Moscow. Date Stolen: At the end of 2001. Contact:Prof. Valeri Popov, Malaya Bronnaya 21/13-34, Moscow 103 104, Russia, Tel: (7) 095-290 6643, Email: [email protected] Comments: Th is model is a top-model Puchner bassoon with engravings “Superior” on the ferrule of the wing joint, it is equipped with mother-of-pearl rollers.

100. Stolen: Heckel Oboe: Serial # 4956 (Brand New). Stolen November, 2001 from the private home of Edith Reiter. Notes:It was the last Oboe Heckel produced. It is a con-servatory system with silverplated keywork. If found, contact Edith Reiter at: [email protected]

101. F. Loree oboe, AK model, #MS26, stolen on June 9, 2001 from a car in a parking lot in Washington, DC at 2200 East Capital Street, S.E., Lot #8. Please contact: Emily Hay, 1230 Red Oak Lane, #202, East Lansing, MI 48823. 517/333-1505 or 443/416-8897.

102. Fox oboe, model 450, #12291, with a Cavallaro case cover. Stolen from 1531 Sherwin Avenue, Chicago, IL. Please contact: Sean McNeely at [email protected]

103. Stolen: Huller Bassoon, Serial number 48003104. Stolen: 1st November, 2001,from automobile in Upper Street, London, UK Contact:

Alan Anderson, 16 Whitwell Road, Norwich, NR1 4HB, UK Tel:+44 (0)1603 613604 , email: [email protected]

105. Laubin oboe #2003, stolen May 2, 2002 from Disa English in Barcelona, Spain.Contact her at 011 3493 650 0170 or at A. Laubin 914-737-3778

106. Stolen: Oboe by F.Loree Serial number NL70 Date Stolen: March 25, 2002 (from under the seat of an automobile parked in Modesto Junior College Lot A) Contact:Kathleen Talbert, 119 N. Oak, Oakdale CA 95361 Tel: 209-847-7173Email: [email protected] Comments: Th e instrument was marked with the Modesto Junior College’s ID at the time of the theft .

107. Stolen: Heckel Bassoon #7410, including a pre-war cc bocal, taken along with Mark DeMios’ van, which was stolen in Cincinnati, Ohio. Th e van is a 1992 Dodge Caravan, Gold in color, with OHIO license plates: WNY989. Contact: Mark or Liz DeMio at 216-870-1016 or [email protected].

108. OBOE: Rigoutat Evolution, Serial number 194-AM Stolen on 28 September 2002 Sto-len at: Villacast‚n, Segovia, (80 Kilometers Northwest of Madrid) Contact:Carlos del Ser Guill⁄n, c/o Fidel Recio nπ4 5πC, Valladolid Valladolid 47002 Spain, Tel:00 34 983 20 44 10/ Fax:00 34 616 89 46 34 , Email: [email protected]. Comments: In the oboe bag I had three reed boxes and accesories.

109. Oboe:Loree Serial number #LM02 Stolen on Aug.2,2002 at Boston/Somerville, MA Contact:Sandra Gresl, 4039 9th Ave., Seattle WA 98105, Tel:206-633-0573, Email: [email protected]. Comments: Deluxe professional case, custom Cavallaro case cover. Fresh Samantha Sticker

110. English Horn: Selmer, Serial number 2096. Stolen on Aug. 26, 2002, from the instru-ment room, room 214, in the upper level of Price Music Center at NC State University. Contact:Erika Westphal, 9704 Kingsford Drive,Raleigh NC 27606-9538. Tel: 919-362-5967. Email: [email protected]. Comments: Person who has an offi ce in room 214, told me I could put it right outside the offi ce, since they couldn’t issue me a locker, where he would watch it since he is there all day. He said apparently someone must have come in to use the copier and didn’t shut the door, then that thief came in and took the EH. I came back the next day and the EH was gone, as well as the Baritone next to it.

111. Bassoon:Puchner,Serial number 9043, Date Stolen: On october 28, 2002, Stolen at: On october 28, 2002 I was robbered near Galoushkin street, Moscow Th ieves took my bas-soon, Puchner 9043, with some family documents, including my passport. Th ere were also several bassoon accessories. Contact:Alexander V. Popov, Moscow, Russia Email: [email protected] or [email protected]

112. Oboe: Rigoutat,Serial number 332AJ, Date Stolen: October 24 2002, Stolen at: Uni-versity of Oregon, Eugene, Comments: Instrument has gold keys, Contact: Jennica H Smith,University of Oregon, 61199 Hamilton, Eugene Oregon,USA Tel:541-346-9233 Email:[email protected]

113. Oboe: Fox 330,Serial number 13991, Date Stolen: 11-13-2002, Stolen at: Antioch Bible Baptist Church 800 NE 72nd St. Gladstone, MO 64118, Contact:Jillissa Meek, 7516 Lake Rd.,Kansas City, MO 64151 USA, Tel: 816-741-0579. Email: [email protected]

114. Stolen: Oboe Artley 19Q, Serial number 100079, Date Stolen: October 26, 2002, Stolen at: Park Hill High School, Kansas City, Missouri, Contact: Julie Bredemeier,6913 NW 79th Street, Kansas City Missouri 64152, USA Tel:816-746-1348 Email: [email protected]

115. Stolen: oboe, Lorée, Tabuteau Conservatory, Serial number EI32, Date Stolen: March 20, 2002, Stolen at: Falls Church High School Auditorium, Falls Church VA, Contact: Robert LeChevalier,2904 Beau Lane,Fairfax VA 22031-1303, USA Tel:703-385-0273 Email: [email protected]

116. Stolen: Bassoon Moosmann - model 200A, Serial number 3664, Date Stolen: Novem-ber 22, 2002, Stolen from the back of his car (concealed, car locked) at Minnekhada Regional Park, Port Coquitlam BC Canada, Contact:Isaac Bull,1022 - 7th Avenue, New Westminster BC V3M 2J5, Canada, Tel:(604) 220-2753 (home) / (604) 267-2832 (work) Email: [email protected], Comments: Reward for return!

117. Stolen: Laubin Oboe Serial number 883, Jan. 25, 2003, Stolen at: 1218 Como Ave.S.E.,Minneapolis MN 55414, Contact: Lisa Skelton,3261 Zimmerman Rd., Duluth MN 55804, Telephone: 218-525-9459, Email: [email protected]

118. Stolen: Fox Renard Bassoon 240, Serial number 30488, Date Stolen: 1-28-03, Stolen at: Wilton High School Band Room; Wilton, CT, Contact:Cheryl A. Sickler,21 BALD HILL ROAD,Wilton CT 06897, Tel: 203-834-2058, Email: [email protected]

119. Stolen: Loree Oboe AK,Serial number ML 64, Stolen on: December, 2002 at New

STOLEN OBOES AND BASSOONS154

Braunfels High School Campus, New Braunfels, TX, Contact: Beth Bronk, Band Di-rector:New Braunfels High School, 2551 Loop 337,New Braunfels TX 78130, Tel:(830) 625-6271, Email: [email protected]

120. Bassoon: Heckel,Serial number 9975, Stolen on 2/19/03 from Wayne State Universy. Detroit MI., (Th e bassoon is a university instrument. It was taken from the directors offi ce area.), Contact:Jeremy Duby,43125 Carlyle Place #221,Clinton Twp. Michigan, Tel:(586)381-3847, Email:[email protected]

121. Stolen: Bassoon, Fox 220(or 240),Serial number 18214, Stolen from Room 206 of the Macalester College music building. 1600 Grand Ave. St. Paul, MN 55105, on Feb.26,2003, Contact: Morgan Feigal-Stickles, 1466 Fairmount Ave,Saint Paul MN 55105, Tel.(651) 698-0594, Email: [email protected]

122. Stolen: Fox Contrabassoon, Serial number #259, on 3/30/2003, Stolen from car at Logans Road House Restuarant 3060 Sand Lake Road, Orlando, Florida. Contact:John Kehayas,3420 West Leona Street, Tampa, FL 33629, Tel: 813-263-7739 Email:desmo67862aol.com

123. Stolen: Oboe Loree, Serial number FY28, Stolen on: March 28, 2003 from Kelly Walsh High School, Casper, Wyoming, Contact: Erin Culver, 1912 Rustic Drive, Casper WY 82609, Tel: 307-472-0369, Email: [email protected]

124. Stolen: Fox Renard Oboe 330, Serial number #18647, Stolen: May 2003. Stolen from the Baltimore County Schools (Baltimore, MD). Contact: Lt. Lanesman,Baltimore County Police Department (410) 887-1608

125. Stolen:Fox Renard Oboe 330, Serial number #20121, Stolen: May 2003. Stolen from: Baltimore County Schools. Contact: Lt. Lanesman, Baltimore County Police Depart-ment (410) 887-1308

126. Stolen:Fox Renard Bassoon 222,Serial number #25541, Date Stolen: May 2003. Stolen from: Baltimore County Schools (Baltimore, MD). Contact: Lt. Lanesman, Baltimore County Police Department (410) 887-1608

127. Stolen: Bassoon,Puchner Professional Model, Serial number 10097, Stolen on: 6/9/03 from apartment in NYC, Contact:Timothy Kulp, 201 E. 69 10-U,New York NY 10021, Tel: 212-535-1702, Email:[email protected]

128 Stolen: Bassoons: Puchner-Cooper #8208 and Fox Renard #20056, Stolen on Aug. 7, 2003 from a private home in Kingston, Ontario, Canada, Contact: Katie Legere, Tel: 613-544-9129, Email: [email protected]

129. Stolen: Oboe,Fox 300,Serial number 3195, Stolen on: June 2003, at: Residence (Pos-sibly stolen as early as January 2003) Contact: Richard Gehlbach,3321 Pepperhill Ct., Lexington KY 40502, Tel:859-269-6658, Email: [email protected]

130. Stolen: Bassoon, Puchner, Serial number unknown, Stolen on: 7-06-03,out of my car in front of my house. Description: Bassoon has a dent in the wood on the lower part of the boot. Th e key on the bell has a loose pad. Th ere is no place to screw in a hand crutch, it was replaced by a key guard made from a contra bassoon part. One of the bocals is split on the curve. Th e thief was seen walking down Harrison. Long hair, olive skin, 21-30 years old. Contact: Walker Kermode, 277 Harrison St., Ashland, Oregon 97520, Tel: (541) 552-0524, Email: [email protected].

131. Stolen: English Horn, Loree, Serial number LR80, Stolen on: 4/2003, at Rice University Band Hall, Contact: Rice University Bands, PO Box 1892, Houston TX 77251-1892, Tel:713-348-2346, Email: [email protected]

132. Stolen:Rigoutat oboe, Serial number AM 221, Stolen on: June 13, 2003,in Gent,Belgium, From the parking area of the St-Lucas kliniek, Contact:Stijn Heyde, Rechtstraat 304, Lokeren 9160,Belgium, Tel: 0032(0)475 805 604, Email: [email protected]

133. Stolen: Oboe, Loree Royale, # NINH 36. Stolen from a student locker at the University of Kentucky. Contact: Nancy Clauter, University of Kentucky Tel:859.913-3426 (cell phone) Email: [email protected] or Megan Bitzer, Tel: 859 492.1924.

134. Stolen: Bassoon, Heckel #12804. Stolen in Santa Barbara, California, October 10, 2003, Contact: William Wood, Tel:(323) 660 9473 Email: [email protected]

135. Stolen: 1) Lorée Royal Oboe (semi-automatic w/3rd octave) S/N MH 27; 2) Matching plastic top-joint for above, Lorée Royal, also S/N MH 27 in a custom made hardwood case (looks like a fl ute case); 3) Lorée oboe d’Amore, S/N II 66. (semi-automatic, no 3rd octave), in case w/brown canvas (Lorée) case cover. Stolen from apartment in Mon-treal, Canada. Contact: Victor Houle, Tel: 514-247-6263 or 514-398-5193, or Montreal Police at 514-280-0143 and quote fi le number 43-03090-016.

136. Loree oboe, #EG20. Stolen March 26, 2005 from a Super 8 hotel in Nephi, Utah. Char-acteristics: c.1978, grenadilla, full conservatory, no 3rd octave key. In black shearling case. Tel. 503-668-3656

137. Stolen: 2 Period Oboes in a luggage bag: 1) Baroque oboe by Pau Orriols (Stanesby model). Unstained box wood (light colour), in a dark red velvet cover. 2)Classical oboe (2 keys) by Alfredo Bernardini (Grundmann and Floth). Also unstained box wood and with an identical cover. Stolen on: February 19, 2006 Stolen from: A train at Gava (near Barcelona), Spain. Contact: Molly Marsh: Spanish mobile number: 0034 677271442 ; English mobile number: 0044 7713256227.

138. Stolen: Fox Bassoon (Renard) Model 240, Serial Number:35244. Stolen From: A

locker in Music Building of Georgia College and State University, Milledgeville, Georgia. Date Stolen: February, 2006. Contact: Kara Hardy, 124 Springbrook Drive, Cornelia,Georgia,USA. Phone:479-575-4177 or 706-499-0343. E-mail: [email protected], or: [email protected]:Th is is a unique Renard 240 with the following modifi cations: 1. rollers on: Bf/Fs/Af (on butt joint), low C/D ( on long joint),Cs/whisper key (on wing joint) 2. low C extension on long joint, 3. French whisper key (little fi nger, wing joint), 4. High A bridge on wing joint, 5. balance hangar.

139. Stolen: Bassoon, Schreiber Prestige Model, Serial # 34415, stolen around June 18th in the Valencia area of Spain. Contact: Kim Laskowski at [email protected].

140. Stolen: Bassoon, Soulsby, Serial # 21, stolen from a café in central London, England, May 2, 2006. (In a Wiseman case. Th e instrument has a leg rest fi tting.) Contact: Hugh Rosenbaum at [email protected].

141. List of musical instruments stolen from Midwest Musical Imports on November 13, 2005:Fox Model 300 oboe: Serial #23413Fox Model 400 oboe: Serial #23520Fox Model 800 oboes: Serial #23378 Serial #23458Fox Model 555 English Horn: Serial #638Fossati Tiery English Horns: Serial #8185 Serial #8199Lorée Model c+3 AK grenadilla oboes: Serial #QC85 Serial #QC89Lorée Model c+3 AK grenadilla with High D facilitator oboe: Serial #QD69Lorée Royal Model Regular grenadilla oboes: Serial #PW14 Serial #QA83 Serial #QC06Lorée Royal Model AK grenadilla oboes: Serial #QC53 Serial #QE20Lorée Royal Model AK grenadilla with High D facilitator oboe: Serial #QA30Model 220, Serial #41133Model 240, Serial #41298Model 240, Serial #41516Model 222D, Serial #41098Model 41, Serial #41212

THE DOUBLE REED 155

Contributing MembersThe Society thanks those who have given additional financial support by becoming contributors. Their additional support is vital to the accomplishment of our goals.

BENEFACTORCarlos E. Coelho WoodwindsEcraig3 Graphic Design-Edward CraigCarla DeForestLarry and Karen FestaJones Double Reed ProductsRichard E. KillmerBuff et Crampon USA - Francois KlocRichard MeekAlexander L. MillerFrank A. Morelli, Jr.Musik Josef - Yukio NakamuraLowry RigginsChristopher Weait

PATRONAmerican Bassoon Company, IncLewis Hugh CooperRaymond H. DustéMichael A. EllertK.A. FennerForrests Music - John GoebelFox Products CorporationKathy HenkelNorma R. HooksT. W. Howarth & Co.Charles B. King IIIAlain De Gourdon-LoreeMcFarland Double Reed ShopYoshiyuki NakanishiEdmund Nielsen Woodwinds, Inc.Michio Sugihara -

Pipers Magazine TokyoJames M. PoeSeth M. PowsnerLawrence M. Probes, M.D.James C. ProdanNancy Huang, President RDG Woodwinds, Inc.Philippe Rigoutat & FilsHarry G. SearingSharon’s Oboe ShoppeJohn J. WisniewskiWilliam E. Wright

DONORAlex Goldberg -

Accurate Double ReedsAlexander & Helen AckleyAnn M. AdamsLisa M. AlexanderRichard AronsonEdward T. Bowe, MDPierre Cotelle Arpeges Diff usionMark Eubanks -

Arundo Research CompanyWilliam P. BakerSue Schrier Bancroft Robert Barris

Blake BarrowBass Bags - Anthony MorganJeanne Marie BelfyCharles BellDavid J. BellOwen BerendesMark BergerJames T. BerkenstockBG Franck BichonB. Th omas BlodgettJeff rey BlumenfeldRegina BollingerFratelli Bulgheroni SNCDr. Howard J. Buss -

Brixton PublicationsPaul Buttemer Reed ProductsFerald Buell CappsGene C. CarterCascade Oboe ReedsNancy Jamieson CashCharles Double Reed CompanyPeter ChristAnthony Christlieb -

Christlieb ProductsMark Chudnow WoodwindsDale ClarkPaul Covey OboesJohn CraigTrevor Cramer - TrevCo MusicTong Cui - InnoledyCustom Music Company -

Fred MarrichMichael DavenportTh e Davie Cane Company -

Philip ShapiroJerryl DavisWilliam J. Dawson, M.D.Heiko DechertJohn J. DeeGilbert DejeanMichael H. DickerB & D Publications - David E. DuttonJan EberleTh eodore J. Eckberg, M.D.Herbert W. Fawcett, D.D.S.Michael W. FayMarc D. FinkFossati L’Atelier Du HautboisWayne B. GaverGem WW Products - Gary MoodyRobert G. GemmellJulie Ann GiacobassiAnne GilbyLauren Green GombolayMeg Cassell -

Good Tone Guild Double ReedDon T. GrangerPeter HandsworthWilhelm Heckel GmbH

Th omas C. HeinzeUdo Heng - Reeds ’n Stuff Martha Pineno HessJanie HicksLeonard W. HindellTh omas M. HinikerSally Jo Hinkle-TeegardenNorth Texas Oboe Reeds and CaneLisa W. Sayre - Hoboe MusicAnn Hodge - Hodge Products, Inc.Carolyn M. HoveYoshiyuki Ishikawa, DMAFraser and Nadina JacksonJapan Double Reed Inc.Jeanné Inc.Ke-xun GeJim KielPeter KlattJay C. KlemmeHarold W. KohnCharles J. KosterMarkianos KoutroulisEdwin V. LacyKim LaskowskiStephan LeitzingerStephane LevesqueSusan M. LundbergMichael LundstenDonald V. Mac CourtStephen Margolis, M.D.SML Strasser - Marigaux SADonald C. MattisonBruce McCallBeverly McChesneyProf. James R. McKayCarles Medir Huerta- Medir S.L.Midwest Musical ImportsRoger O. MillerAnne W. MillerJohn W. Miller, Jr.Th e Miller Marketing Co., Inc.James A. Moore, IIIBernd Moosmann, Ltd.Robert E. MorganJames H. MoseleyJames W. Mullins, Jr.US Army Music ProgramPrecision Music Products Ltd.Pascal Neuranter - GlotinNew England Sheet Music ServicePaul NordbyGeorg NorenMargaret Noble Oboe WorksEric P. OhlssonMark S. OstoichDavid M. Panicek, M.D.Fratelli PatricolaJenifer H. PattersonSteve Paulson

CONTRIBUTING MEMBERS156

Janet PolkJ. Püchner Spezial -

HolzblasinstrumentbauGregory QuickJean L. Smith, Pres. -

QUODLIBET INC.Robert P. Raker, M.D.Carl RathJohn RichardsonDaniel RigottiRKM Double ReedsRoger RoeDan RossBruce M. SaladTh omas L. SefcovicLeo H. Settler, Jr.Richard D. SimonGregory J. SmithScott W. Snyder, M.D.Robert and Bailey SortonMichael T. Spevak, Ph.D.Stellar Oboe ProductsGordon StengerVirginia K. StittHitomi SugawaraSandra SvobodaRykle van der HeideHarry A. Vas DiasCharles O. VeazeyAllan VogelGail Warnaar Double ReedsLyndon WattsDavid Weber - Weber ReedsArthur WeisbergKarl-Friedrich WentzelAlan J. Werner, Jr.Westwind Precision MachiningRichard O. WhiteCharles C. WickerWilliam WielgusJan Henrik Eyvind WieseJohn J. WisniewskiGuntram WolfWomble/Williams Double ReedsDorothy WoodRichard C. WoodhamsWilliam S. W oodwardTh e Woodwind and Th e BrasswindWilliam E. W right, M.D.Yamaha Corporation of AmericaYe YuDavid ZarYilu ZhouWilma Zonn

SUSTAININGSusan AaronAccurate Manufactured Prod. -

Mark S. FrankoRodney F. AckmannAnn Caldwell AdairJames E. AddisonCarol Padgham AlbrechtMeyrick AlexanderRobert F. AllenBrenda L. Alony

Barbara J. AndersonArundo Reeds and CaneKeith C. AtkinsonErnest BakerAlexander BakkerFrédéric BaronPaul H. BarrettLindsey M. BartlettJohn H. BaxleyScott J. BellMichael A. BenoitJohn E. BentleyLantz and Karen BeretsMichel BettezDonald BeyerE. Edwin BloedowDonna BoganTom BostelmannMindy BraithwaiteJames and Kimberly BrodyPeter BrowerDr. Andrew F. D. BrownWesley A. BrownGonzalo BruscoWilliam F. BuchmanDr. Truman C. BullardMichael J. BurnsJames Butterfi eldDonald W. ByoMichael K. ByrneSandro CaldiniJanet F. CarpenterBrenda L. CascianiRené CastroJohn Tim ChanceDr. Joseph C. CiechalskiNancy ClauterTimothy ClinchPerry V. ClissaFredric T. CohenStephen ColburnJack ColeRoger ColeCedric ColemanJulia C. CombsDonna Conaty-CooleyDavid P. CoombsSilvia Fanny CoricelliJohn H. CorinaDavid CowdyTimothy H. CroninDavid CushmanJerry A. DaggCecil F. DamKermit DanielGlen R. DanielsonLewis J. DannRobert DanzigerWilliam D. DavisTroy DavisJuan A. de GomarDavid A. DeBoltRenee Anthony DeeDoris A. DeLoachSharlotte A. DeVere & Mark Dalrymple

José A. DiazSteven A. DibnerMatt DineMichael A. DiPietro, M.D.Jonathan DlouhyLyle Dockendorff Elaine DouvasBarbara Jackson DukeDan J. DuncanDaryl W. DurranHarold Stephen EmertPamela S. EppleManuel Pérez EstellésFrances EstesTerry B. EwellNancy Greene FarnetaniPhillip D. FeatherJulie A. FevesLewis T. FitchMaryAnne & Harvey FleetSolomon M. FosterElizabeth FousheeDr. Nancy FowlerAnita FoxJames M. FranklinJens FrederiksenDean A. FrickJonathan FriedmanMasahito Furukawa, MDAdrienne C. GallagherTrina Baker GallupLawrence A. GardnerBernard Garfi eldDr. Edward L. Gaudet, DDSGeralyn A. GiovannettiAlain GirardIrving W. GlazerNancy E. GoeresHarold M. GoldnerDoris and Albert GoltzerJennifer Gookin CavanaughKazuhiro GotoGene Marie GreenAnn E. GreenawaltJulie A. GregorianPeter GrenierH. Gene GriswoldHafsteinn GudmundssonArnie GundersonJames M. HallDavid S. HannerPer HannevoldLisa Harvey-ReedJohn M. HeardDonald E. HasslerTh eodore C. HegerSandra G. Hirby-MooreFelicia HolleyCharles G. HuebnerRobert G. HumistonSteven and Jennet IngleArnold IrchaiJunji IshibashiSuzanne JacksonPeter Aaron JanickJames Jeter

THE DOUBLE REED 157

Ronald L. JohnsonStacie JohnstonRichard A. KandetzkiCharles L. Kaufmann, Jr.Wayne KawakamiMary C. KemenLeo KenenBurton KesterAndrew Jonathan KingBruce P. KingNancy Ambrose KingStanley E. KingJay C. KlemmeRonald James KlimkoEdward A. KnobDavid B. KnorrPhillip A. M. KolkerLisa A. KozenkoLawrence D. Kramer, M.D.Robert Kraus, M.D.Cecile LagarenneMiriam LaheyAndré LardrotA. John LarsenDavid P. LeRoyRobert P. LewisSteven LichtensteinMartin S. LipnickVincente Llimerá DusRobert LohrRichard W. LottridgeJosé LozanoJeff rey G. LymanJulie MaduraJan Irma Maria de MaeyerAlice H. MagosDr. Kenneth MalhoitDennis ManclRobert ManzoTilden MarbitMary MaabjergSheri L. MattsonMichael A. MaxwellWendy K. MazerHolden P. McAleerSusan Lawrence McCardellEvelyn McCartyD. Keith McClellandSusan McCollumCharles McCrackenBret McCurdyDonald J. McGeenDr. Janis L. McKayEugen MeierKristy L. MerettaDennis P. MichelAlbie MicklichW. Stuart Mitchell, JrGene E. MontoothPaige R. MorganKay MorrisCandi MorrisDorothy E. MosherL. Bud MouldFranklin Pieter MulderBojin Nedialkov

Rev. Greg W. NetelerAmelia Russo-Neustadt, MD, PhDBo Nathan NewsomeJan Joris NieuwenhuisDaina L. NishimotoR. Kathryn NixCoreen L. NordlingRebecca J. NoreenEarl C. NorthPatricia Grignet NottDavid P. OakleyJanelle OberbilligJason Owen OnksBarbara R. Herr OrlandGustavo E. OrozaMats ÖstmanHavner H. Parish, M.D.William L. PeeblesHomer C. PenceTedrow L. PerkinsGail PersteinSteven PetteyLesley PettyChristopher PhilpottsDmitry PlotnikovJames PoteatDarryl E. QuayPaul RafanelliNancy RangerRichard RathJames F. ReiterScott E. ReynoldsShawn R. ReynoldsAndrea J. RidillaGeorge T. RiordanWilfred A. RobertsJames E. Roberson, Jr.Christian P. RobertsHoward RockwinJohn RojasMark L. RomatzD. Hugh RosenbaumSteven J. RovelstadEdwin RowandHarrison E. RoweRichard Irwin RubinsteinNancy RumbelWilliam T. Saff ordShu SatohDean H. SaylesTh eresa A. Scaffi diRichard H. ScheelGrover SchiltzElaine SchlatterGeorge S. SchlazerPeter J. SchoenbachTracey ScholtemeyerClare ScholtzDavid SchreinerMartin SchuringWilliam J. ScribnerKimberly W. SeifertLaura Jaeger Seiff ertSasaki SeikiKristen SeversonVincent Sexton

Mark SforziniSusan L. ShawAlan ShlachterJoyce SidorfskyKeith SklowerKathryn R. SleeperToren SmithRheta R. SmithRoger C. SorenDouglas E. SpaniolJennifer Kelley SpeckTh omas J. StacyFrank S. StalzerSylvia StarkmanRobert J. StephensonBob Stevens & SonEugene E. StickleyJim R. StockigtValerie SulzinskiKeith W. SwegerTimothy R. TarantinoDavid E. TaylorJane TaylorFernando TrabaRichard C. TrankBarry TraylorRobert M. TurnerCharles G. UlleryJohn J. UrbanSteve VacchiGary Van CottEric Van der GeerTh omas VanKaneganRobert WagnerLisa WaiteStephen J. WaltWolfgang R. WawersikLaura WeaverDoug WebsterAbraham M. WeissDavid E. WeissSteve WelgossArnold Wexler, MDElizabeth Lyon WheelerLori WikeKerry M. WillinghamKarol WolickiSaul L. WoythalerMalcolm John WrightBryan YoungPeter ZeimetDavid ZimetMS Bernadette ZirkuliMarilyn J. Zupnik

LOST SHEEP158

Lost SheepMembers are classified as “LOST” when first class mail is returned as undeliverable. Your assistance in locating these members will be appreciated. If you live close to one of these members please consult the phone book and call them. After a year or so, lost members are placed in the archives.

JAVIER ABADAvda. Lluis Companys 3°,3ªSan Cugat d el Vallès08190 BarcelonaSPAINJULIE AHARRAH910 South Taylor Avenue #BOak Park, IL 60304-1635JULEEN AMBROSE1 Oxford BoulevardYpsilanti, MI 48198MARICEL ANDREI2610 Balmoral Ave Apt #106Chicago, IL 60625AARON APAZA271 South 15th Street,#2003Philadelphia, PA 19102GRAHAM ARNOLD437 North Belmont Place #260Provo, UT 84606HEATHER ARNOLDHHC 2BDE CMR 464APO AE, 09226MICHAEL ARTHUR785 Eighth Avenue Suite 4New York, NY 10036M. SOMERLIE ASTON6211 North Paulina #3Chicago, IL 60660EMILY BAIR1508 1/2 3rd St S #1508 1/2Moorhead, MN 56560-4023ANNA CLAIRE BALLARD-AYOUB8 Charles Plaza #1605Baltimore, MD 21201AMARI BARASH1090A 6th AvenueKamloops, BC V2C 3V4CANADAJARED BARGAS341 3rd Street MiddleFort Drum, NY 13602HEATHER A. BARMORE747 East Avenue #5Rochester, NY 14607KANDYCE E. BARRETT4832 Andrea LanePace, FL 32571MICHAEL BEERY4000 M - 137Interlochen, MI 49643CARA MIA BESIO415 Chunns Cove Rd Apt 500BAsheville, NC 28805-1038FELECIA BONHAM4728 Loma Del ReyEl Paso, TX 79934

WILLIAM BONNESS326 Mandeville StreetWinnipeg, Mani toba R3 J 2G9CANADASAM BORTKA20-70 28t h StreetAstoria, NY 11105-2932ASHLEY BOUGHTON808 West Nevada StreetUrbana, IL 61801BRIAN BOWMAN403 Wilkins AvenueJonesboro, AR 72401-5074NATASHA BOYD827 N Maria AveRedondo Beach, CA 90277-2243RACHEL BROWN600 North 15 th StreetSelleck Quadrangle 7225Lincoln, NE 68508CHRISTINE BUDIN2436 Beach BoulevardBiloxi, MS 39531-4915BRENDON BUSHMAN5501 Glenridge Drive Apt #929Atlanta, GA 30342JAMES EDWIN BUTTON615 West 186th Street Apt 4MNew York, NY 10033STEPHANIE BYERS9297 Laurel Green DriveBoynton Beach, FL 33437-3345GILLES CABODIBief de L’écluse, 15Ronquières, B-7090BELGIUMAMY CAMACHO1530 East 7th StreetTucson, AZ 85719JOSEPH CAMPER109 East 73RD Street #3BNew York, NY 10021-3579JASON CARLSON1609 Ridge Avenue #L2Evanston, IL 60201KELLY L. CARTWRIGHT1805 Ho’oku pa StreetPearl City, HI 96782STEVI CAUFIELD11 Feneno Terrace #3Allston, MA 02314HSIAO JU CHEN26 Meridian Street Apt #1Maiden, MA 02148SAMUEL CHILDERS407 NOrth Ingalls Rm. B-12Ann Arbor, MI 48104

MICHAEL CHOKR1597 York Avenue #6New York, NY 10036NICHOLAS COHEN2800 SW Williston Road Apt #1224Gainsville, FL 32608CHRISTOPHER COLEMAN1700 Williams Street Apt D-32Valdosta, GA 31602RYAN COWARD2545 N. Sheffi eld Avenue #309Chicago, IL 60614-2217ANNE CROWELL6724 Silver Fox RoadCharlotte, NC 28270CASSANDRA CROWELL1806 West EastmanBoise, ID 83702JORGE CRUZ, JR.283 East Reed St #5San Jose, CA 95112JOSEPH DAIGLE43486 Michelli LaneHammond, LA 70403-6339JONATHAN DAVIS1133 10th Street #107Santa Monica, CA 90403RENEE DEBOER88 Grove StreetRochester, NY 14605MARIO EDGARDO DESCALZI, MD62 Grosvenor RoadRochester, NY 14610DANI DUNN2201 Cardinal DriveSan Diego, CA 92123SUSAN DYER DIAS1240 Mayette AvenueSan Jose, CA 95125-4130NICOLE EGANA606 Saint Paul StreetBaltimore, MD 21202JAN EKSTEDTBangardsgatan 16SE-753 20 UppsalaSWEDENKATE FAGAN610 Merlin Drive Unit #303Lafayette, CO 80026-2921AMBER FERENZ27800 McBean Parkway Apt #167Valencia, CA 91354-1435JULIE M. FERRARA25-33 23rd Avenue Apt 3EAstoria, NY 11102LINDA FESS507 W Pierce St #26Macomb, IL 61455

THE DOUBLE REED 159

ERIN FLORY3620 East 27th StreetTucson, AZ 85713BERNHARD FORSTERLindenstraße 104420 GrosslehnaGERMANYTANYA GALLOWAY350 Powell Road Apt #1415Columbia, SC 29203MICHAEL GATHINGS8372 West Eastman PlaceLakewood, CO 80227PHILLIPPE GAYET62, Cours de Vi ncennesParis, 75012FRANCEANTHONY R. GEORGESON527 East 78th Street Apt 4CNew York, NY 10021SHELLEY GILBERT1501 Chace Lake ParkwayBirmingham, AL 35244KENNETH GREENWALD1150 South Birch Street #2-302Denver, CO 80246GREGORY GROBE1406 D Bass AvenueColumbia, MO 65201SEAN GUMIN6215 Cornwallis Dr Apt 1AFort Wayne, IN 46804-3371SUHO HALooren Strasse 74Zurich, 8053SWITZERLANDMATT HABANPO Box 06223Columbus, OH 43206-0223MITCH HALPERN135 Hedge RoadMenlo Park, CA 94025-1709REBECCA HALUSKA524 Sunset RoadCulpepper, VA 22701KARA HARDY1050 West DicksonGibson Hall #127Fayetteville, AR 72701ELIZABETH D. HARPER39-X Jane Lacey DriveEndicott, NY 13760LAURA HARRIS-SMITH1650 Kronshage Drive #210Madison, WI 53706-1203SARA HATFIELD107 Pasture RoadSanta Cruz, CA 95060-2019ADAM HAVRILLA5537 Ellsworth Avenue Apt #1Pittsburgh, PA 15232RENEE HENNING4220 Downers DriveDowners Grove, IL 60515

NEIL HEYMINKPO Box 662Bribie Island, Queensland 4507AUSTRALIAHIKO HAGOPIAN- HIKO3707 Mary AvenueBaltimore, MD 21206ROBIN HILLYARD73 Kodiak Way #2241Waltham, MA 02451-0260LEIGH ANNE HINMAN6913 Ellis Court Apt AFort Polk, LA 71459-3195JON FREDIK HJEMLIDornacherstrasse 323Basel, CH-4053SWITZERLANDGEORGE HOLDCROFT527 West Miffl in Street #1Madison, WI 53703-2613HIROFUMI HONDA2-5-9-4 10 NinomiyaTsukuba, Ibaraki 305-0051JAPANCAMERON HOUSER1942 North Deerpark Drive #90Fullerton, CA 92831GREGORY HUGHES266 Allentown DriveFt. Mitchell, KY 41017KATHRYN HUTCHISON1107 Green Hills RoadDuncanville, TX 75137SIAN ILES4436 East Bay HighwayEast Bay, Nova Scotia B1J IN1CANADAJOSAFAT JAIME2200 Montgomery Park Boulevard #902Conroe, TX 77304GÁBOR JANOTARemete U.12Budapest, 1121HUNGARYJENNIFER JOHNSON1024 Adams Circle #207Boulder, CO 80303JOHNNA JONES-STAFFORD430 Francis AvenueFlorence, AL 35630ALEXIS ANNE IWANIK JOYCE850 North Bu rlington StreetArlington, VA 22203MIRIAM KAPNER121 Seaman Avenue Apt 3BNew York, NY 10034-1925DEMETRIOS KARAMINTZASHapalmach 40/B/8Jerusalem, 92542ISRAELMARAT KHUSAENOV3029 South Grand Avenue #12Los Angeles, CA 90007DAWN KILMER950 South kanner Highway #125Stuart, FL 34994

ELIZABETH E. KING3115 South Orchard Avenue #212Los Angeles, CA 90007YUSUKE KIRITA1314 East Atwater AvenueBloomington, IN 47401GWENDOLYN S. KIRK100 Tyler Crescent WestPortsmouth, VA 23707CAMERON KIRKPATRICK309 Huntington Avenue Apt 5CBoston, MA 02115ELISABETH KISSEL18 Quai Pierre ScizeLyon, 69009FRANCESTEPHANIE KOHER250 Windsor DriveFayetteville, GA 30215CHRISTY KROGHUSAG-J Unit 45013Box 3014APO AP, 96338-5013SHARON LACEY1120 North Bell AvenueDenton, TX 76201ALAN LANIER2902 Mable Drive Apt BCanyon, TX 79015-4808MARISSA LEFEVRE2715 Red Barn RoadCrystal Lake, IL 60012JENNIFER LEJA36th Army Band Building 51001Fort Huachuca, AZ 85613-0000KAREN LICHNOVSKY340 Ellis Avenue Apt #34Iowa City, IA 52246-3719BRADLEY LINBOOM1342 South Finley Road Apt 1NLombard, IL 60148-4321LORI LINTON4601 DeZavala #125San Antonio, TX 78249CANDACE LIVELY1421 Cronic Town RoadAuburn, GA 30011-2537DULCIE LIVINGSTON4215 W 54th TerrMission, KS 66205-2418SANDRA LLOYD3147 Broadway Apt 10New York, NY 10027BERNARD LOVELL746 Back RoadNorth Windham, CT 06256SHANNON LOWE510 SW 34th Street Apt #24Gainesville, FL 32607GYÖRGY LAKATOS MAFAT HUNG.BSN.Logodi u. 49 IV/2Budapest, 1012HUNGARY

LOST SHEEP160

GRETCHEN A. MAIA125 North Ma in StreetSuite 500 PMB 236Blacksburg, VA 24060KARIA MARCUS239 East Main Street Apt BShermanstown, PA 17011-6318ALESSANDRO MASI FAGOTTIVia Santa Maria Novella 2450050 Cert aldo FirenzeITALYTONY MCGOVERN3324 South Parkside DriveTempe, AZ 85282-4673KRISTEN McMAHAN328 E Main St Apt #511Rochester, NY 14604-2118MICHAEL MILLARDRD #2 Box 570Dingmans Ferry, PA 18328BRUCE MILLS4535 Hawkhurst DrivePlano, TX 75024ZACHARY MILLWOOD3060 Marshall Ave Apt #113Cincinnati, OH 45219-1333STEPHEN MOLITOR817 LordshillSaint Louis, MO 63119MITCHELL MORRISON1251 Browning Avenue #3Salt Lake City, UT 84105SAMUEL NACHENBERG19 Sayville CourtRidge, NY 11961-1633GREGORY NIMTZ1989 Harrison Avenue Apt AMuskegon, MI 49441-1501ALISON NISTADRutgers University16668 CPO WayNew Brunswick, NJ 08901ALEX OGLE534 South Street Apt #2Brattleboro, VT 05301-4232BILLY ONEAL4334 North Hazel Street #1314Chicago, IL 60613ARTUR ORTENBLAD2207 19th Street Apt 45Astoria, NY 11105-3603ERIC PAGE60 Crittenden Boulevard, Apt.932Rochester, NY 14620CARRIE LEIGH PAGE580 East M ain StreetSpartanburg, SC 29302-0006ELIZABETH M. PAINE832 Baldwin Ave Apt #2Norfolk, VA 23517-1776BILL PARRISH5 Oakland TerraceMaplewood, NJ 07040ELIZABETH PERLEY651 Vanderb ilt StreetBrooklyn, NY 11218

DAVID PETERSENAlte Gartnerei 9D-04651 Ba d Lausick Sac hsenGERMANYRICHARD G. PETERSON1274 Country Road #309Evergreen, CO 80439SARA R. PHILLIPS1010 Grayland StreetGreensboro, NC 27408-8414ALEXANDER PLOTKIN4520 NOrth Claredon Avenue Apt#702Chicago, IL 60640ALINA PLOURDE6214 Florio Street Apt #3Oakland, CA 94618-1352LARISSA A. MICHALSKI POTIOMKIN7917 Burthe StNew Orleans, LA 70118-2726DANIEL PURGASON3444 77th St Apt 3Ft 4AJackson Heights, NY 11372-2305MARAT RAHMATULLAEV5490 Braesvalley Drive #80Houston, TX 77096MARAT RAKHMATULLAEV9000 Braesmont Dr Apt #12Houston, TX 77096KELLY RAUCH6017 Norwaldo AvenueIndianapolis, IN 46220MARGARET REAGAN1030 Amherst DriveMarion, OH 43302LAURA REDFERN279 Amherst Road Apt 38ESunderland, MA 01375-9459SHANNON REYNOLDS9457 Las Vegas Boulevard #33Las Vegas, NV 89123-3328SAMUEL RETAILLAUD12, rue des Orch idéesStrasbourg, 67000FRANCEROMAN REZNIK11 Empress PlaceSingapore SymphonySingapore, 179558SINGAPORETYRUS RIDGEWAY110 Boulder TrailAthens, GA 30605ASA A. ROACH758 Sherwood HillsBloomington, IN 47401J. BUD ROACHPO Box 374Buff alo, NY 14209-0374PATRICIA ROLLAND640 East Armour Boulevard Apt #404Kansas City, MO 64109MONICA RUIZPO Box 230714Boston, MA 02123

JESSICA RUNCK300 South 4th Stree Apt EDunlap, IL 61525SALLY SACHS1102 Cedar StreetSanta Monica, CA 90405ARNOLD SALINASPO Box 732Mission, TX 78573-0013JOHN D. SANBORN3150 South Nellis Boulevard Apt #2070Las Vegas, NV 89121-7518DR. SUSAN A. SAVAGE9500 Pondside LaneCharlotte, NC 28213ROB SCHMIDTKE1744 Cypress AvenueSan Diego, CA 92103-4613JAMIE SCHNEIDER390 Westgate St reetIowa City, IA 52246JUSTIN J. SCREENPO Box 574Hornsby, NSW 1630AUSTRALIADAVID M. SHAFFER14306 E 51st StYuma, AZ 85367-8282LINDSEY SMITH1523 West 4th AvenueStillwater, OK 74074JULIA H. SNYDER314 Meadowview Drive Apt #801Boone, NC 28607-5232ELIZABETH STAFF3721 Reacroft DriveCharlotte, NC 28226LOREN STATA409 North Gilb ert StreetIowa City, IA 52245KIMBERLY M. SURBER10238 Hatton CourtSun Valley, CA 91352-3603FRANK SWANN6020 Washington BoulevardCulver City, CA 90232HEATHER SYLVESTER60 Coral Sea Way #20Satellite Beach, FL 32937DANIEL TAYLOR530 Oval RoadIrvine, CA 92604CAITLIN TETER7907 Waterford Square Drive Apt #737Charlotte, NC 28226-8636JENNIFER THOMAS390 Westgate St Apt #10Iowa City, IA 52246ROBERT K. THOMPSON10935 N Port Washington Rd #244Mequon, WI 53092-5031LISA TIMM2500 West Prato WayTucson, AZ 85741

THE DOUBLE REED 161

SZU-HUI TUFir.3rd, 134-11, 57th RoadFlushing, NY 11355PHILIPPE DOUCHIN - VAR REEDSLes MoulensRochegude, Gard F-30430FRANCECHRISTINE VEAL5033 Ashlock DrTh e Colony, TX 75056-1637JOHN VELOZ25347 Via OriolValencia, CA 91355HEATHER VILES104 Pecan GroveLancaster, TX 75146GWENDAL VILLELOUP18 Rue PetramaleAvignon, 84000FRANCEIOURI VODOLAZSKI1303 Volker Boulevard Apt #1EKansas City, MO 64110-2171

CHIS WAI111 University Gate NWRundle Hall - Room 737Calgary, Alberta T2N 4 V8CANADAMARION WALKERTrumso Gate #7N-0565 OsloNORWAYKAYCEE WARE4700 NW 70th StOklahoma City, OK 73132CHRISTOPHER WICKHAM4412 Darrington DrPotsdam, NY 13676-2271PÅL ANDERS WIENHarlad Hårfagres Gate 10D Leil 8100363 OsloNORWAYMEGAN L. WILLIAMSON TOLER170 Baldwin StreetJenison, MI 49428

JAMES A. WILLIS, M.D.17960 Crother Hills RoadMeadows Vista, CA 95722ELIZABETH WILTSHIRE8 Homer Place, Uperr RiccartonChristchurch, 8004NEW ZEALANDJENNIFER WYATT2634 ArSouth Bend, IN 46628FEI XIEOCMR 837135 West Lorain St reetOberlin, OH 44074KATRINKA YOUNG-RIGGS3716 Warwick Boulevard #5Kansas City, MO 64111-1750MICHELE ZEBROWITZ4749 Towering Oak Drive #4Memphis, TN 38117

Documents

George Goslee 1916-2006 - International Double Reed Society · Michael Finkelman University of Michigan Double Reed Day, November 11, 2006. . . . . . . . . . . . . . . . . . .