Ralph Gomberg 1921-2006 - International Double Reed Society
Transcription
Ralph Gomberg 1921-2006 - International Double Reed Society
2007 Ralph Gomberg 1921-2006 the Double Reed Cover30_2.indd 1 vol. 30 • no. 2 Fox Products Corporation P.O. Box 347, South Whitley, Indiana 46787 Telephone: (260) 723-4888 • Fax: (260) 723-6188 Vol. 30 • No. 2 5/16/07 9:55:05 PM annonce168x254.qxd 24/11/06 14:49 Page 1 IDRS OFFICERS President Nancy Ambrose King 3019 School of Music University of Michigan Ann Arbor, MI 48109 Bus: (734) 764-2522 Fax: (603)843-7597 E-mail: nak@umich.edu 1st Vice President Martin Schuring School of Music 0405 Arizona State University Tempe, AZ 85287-0405 Bus: (480) 965-3439 Fax: (480) 965-2659 E-mail: mschuring@asu.edu 2nd Vice President Sandro Caldini Loc S Piero 14 Rigano S/Arno 50067 Florence ITALY E-mail: coranglais58@hotmail.com Secretary Keith W. Sweger Ball State University Muncie, IN 47304 Bus: (765) 285-5511 Fax: (765) 285-5578 E-mail: ksweger@bsu.edu Past President Terry Ewell Chair - Department of Music Towson University 8000 York Road Towson, MD 21252 Bus: (410) 683-1349 Fax: (410) 830-2841 E-mail: tewell@towson.edu Executive Secretary/Treasurer Exhibit Coordinator Norma R. Hooks 2423 Lawndale Road Finksburg, MD 21048-1401 Office: (410) 871-0658 Fax: (410) 871-0659 E-mail: norma4idrs@verizon.net At Large Members Phillip A. M. Kolker 3505 Taney Rd Baltimore, MD 21215 Bus: (410) 659-8238 E-mail: phillipkolker@yahoo.com Legal Counsel Jacob Schlosser 4937 West Broad Street Columbus, OH 43228-1668 Bus: (614) 878-7251 Fax: (614) 878-6948 Barbara Herr Orland 8034 Crescent Drive St. Louis, MO 63105 Bus: (314) 533-2500 E-mail: broboe@yahoo.com Conference Coordinator Marc Fink School of Music University of Wisconsin-Madison 455 North Park Street Madison, WI 53706-1483 Bus: (608) 263-1900 Fax: (608) 262-8876 E-mail: mdfink@facstaff.wisc.edu Music Industry Liaison Larry Festa Fox Product Corporation PO Box 347 South Whitley, IN 46787 Bus: (260) 723-4888 Fax: (260) 723-5587 E-mail: larry@foxproducts.com Advertising Coordinator Wayne Gaver 413 Fernwood Drive Severna Park, MD 21146 Home: (410) 315-8434 E-mail: waynegaveridrs@msn.com Bassoon Editor Ronald James Klimko 657 Douglas Drive PO Box 986 McCall, ID 83638-0986 Home: (208) 634-4743 E-mail: klimko@frontiernet.net Oboe Editor Daniel J. Stolper 7 Hermosillo Lane Palm Desert, CA 92260-1605 Bus: (760) 837-9797 E-mail: stolper@dc.rr.com IDRS-On-Line Publications Editor Yoshiyuki (Yoshi) Ishikawa University of Colorado at Boulder Boulder, CO 80309-0301 Bus: (303) 492-7297 Fax: (303) 581-9307 E-mail: ishikawa@colorado.edu http://www.idrs.org Associate Members Archivist Michael J. Burns School of Music P.O. Box 26120 University of NC at Greensboro Greensboro, NC 27402-6120 Bus: (336) 334-5970 FAX: (336) 334-5497 E-mail: mjburns@uncg.edu Gillet-Fox Competition Chair Nancy Ambrose King 3019 School of Music University of Michigan Ann Arbor, MI 48109 Bus: (734) 764-2522 Fax: (603)843-7597 E-mail: nak@umich.edu Gillet-Fox Competition Oboe Chair Rebecca Henderson University of Texas at Austin School of Music 1 University Station Austin, TX 78712 Bus: (512) 471-0837 Fax: (512) 471-7836 Gillet-Fox Competition Bassoon Chair Keith W. Sweger Ball State University Muncie, IN 47304 Bus: (765) 285-5511 Fax: (765) 285-5578 E-mail: ksweger@bsu.edu Australasian Double Reed Society (ADRS) Mägyar Fàgottos tarsasag (MAFAT) of Hungary British Double Reed Society(BDRS) Viennese Oboe Society (Gesellschaft der Freunde der Wiener Oboe) Chinese Association of Bassoon (CAB) Finnish Double Reed Society(FDRS) IDRS-Deutschland Japan Bassoon Society Japan Oboe Association Cover30_2.indd 2 L’Association Francaise du Hautbois (French Oboe Society) L’Association “bassons” (French Bassoon Society) FagotClub Nederland Depuis 1881 HAUTBOIS OBOE HAUTBOIS D’AMOUR • COR ANGLAIS • HAUTBOIS BARYTON • HAUTBOIS PICCOLO DE GOURDON. 48 rue de Rome 75008 PARIS France Tél. : +33 (0)1 44 70 79 55 Fax : +33 (0)1 44 70 00 40 E-mail : degourdon@loree-paris.com www.loree-paris.com 5/16/07 9:55:16 PM The Double Reed The Double Reed Quarterly Journal of the INTERNATIONAL DOUBLE REED SOCIETY VOL. 30 • NO. 2 Ronald Klimko and Daniel Stolper, Editors © 2007 International Double Reed Society www.idrs.org ISSN 0741-7659 Designed by Edward Craig Ecraig3 Graphic Design Baltimore, MD 21212 U.S.A. Printed by The J.W. Boarman Company Baltimore, MD 21230 U.S.A. 01 TOC_30_2.indd 1 5/16/07 7:02:40 PM Table of Contents On the Cover: Ralph Gomberg (1921-2006) Table of Contents Vol 30 • No.2 Honorary Members . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Message from the President . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Nancy Ambrose King 5 Report of the Executive Secretary/Treasurer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Norma Hooks 7 IDRS WWW . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 IDRS Sponsor-a-Member Program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Martin Schuring 9 Current Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Trubutes to Ralph Gomberg (1921-2006) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Letter to the Editors - Norman Herzberg . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Remembrance of Norman Herzberg . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Gary Friedman Obituary: L. Hugh Cooper, Harold W. Kohn . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 Oboists in the News . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Daniel Stolper Something That Was Never Had – Rice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 Stephan Weidauer IDRS Membership Application Form . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32 3rd Annual Oboe Day at the University of South Florida (April 14, 2007) . . . . . . . . . . . . . . . . . . . . . . . . 33 Amy Collins Articles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 New Light on the Weissenborn Family . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 William Waterhouse Supplements to Weissenborn, Two New Bassoon Methods: A Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 Ronald Klimko An Interview with Dan Ross . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 Emily Helvering Double Talk with Judith LeClair and Sarah Chang . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63 The Ear of the Beholder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67 John Steinmetz The Alexander Technique and Oboists, Part II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71 Andrea Fedele Outta the Closet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82 Nehama Timstitt It’s Never Too Late: Beginning Bassoon at 70 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83 Robert M. Stein Cor Anglais: Selected Chapters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85 Rachel Tolmie Something New and Something Old: A Survey of Some Bassoon Recordings . . . . . . . . . . . . . . . . . . . . . 90 Alf Sollie Rivers, Spacecraft, and Opera Buffa . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91 Michele Murray 01 TOC_30_2.indd 2 5/16/07 7:02:40 PM THE DOUBLE REED 3 Where No Oboist Has Gone Before. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Brenda Schuman-Post 93 Hearing Loss from Music-Causes, Treatment and Prevention . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . William J. Dawson, M.D. 97 A Bassoon Lite, Please: The Perfect Rest . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100 Alan Goodman REVIEWS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102 Oboe Recording Reviews . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102 Robert J. Krause Leslie Bassett – Song of the Aulos and Sonatas by Handel and Telemann. . . . . . . . . . . . . . . . . . . . . 102 Oboe Odyssey from Handel to Castérède. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102 Oboe Music Reviews . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105 Robert J. Krause Concerto For Oboe (“The Clearing”) by Lucas Richman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105 Bassoon Music Reviews . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Dan Lipori Music from EditionsVIENTO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Three Renaissance Dances, arranged for Four Bassoons and Harpsichord by Isabel Jeremías . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . John Falcone Solo for Unaccompanied Bassoon. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Weaving Reeds, for Oboe, Clarinet, and Bassoon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The Invasion of the Fiufas, for Woodwind Quintet and Narrator . . . . . . . . . . . . . . . . . . . . . . . Johann Sebastian Bach Little Fugue in G Minor, arranged for Double Reed Quintet by Gordon Solie. . . . . . . . . . . . . Próspero Lopez Buchardo Tres Preludios, for Woodwind Quintet and Piano . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Gregory Youtz Soundtracks: Seven Themes in Search of a Plot, for Woodwind Quintet . . . . . . . . . . . . . . . . . Mattia Vento Aria “Chebramate” from the opera Sofonisba, for Soprano, Oboe, Bassoon, and Continuo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Mariano Mores Tres Tangos, arranged for Woodwind Quintet by Silvia Coricelli . . . . . . . . . . . . . . . . . . . . . . . Seann Branchfield Spontaneous Bassoon Fabricator, for Woodwind Quintet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ferdinando Paer Recitative and Aria “Eccomi lieto al fine” from the opera La Lacandra de Vagaboni (La Locanda dei Vagabondi), for Tenor, Bassoon, and Orchestra, with piano reduction by Ronald Richards. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Music from ALRY Publications. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Deborah Anderson Out of Bounds, for Bassoon and Piano . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Deborah Anderson Nightfall, for Flute, Clarinet, Bassoon, and Piano. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Edvard Grieg Four Norwegian Dances, arranged for Woodwind Quintet by Harry Stanton . . . . . . . . . . . . 106 106 106 106 106 107 107 107 107 108 108 108 109 109 109 109 109 Contributing Members . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111 Advertisers Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114 01 TOC_30_2.indd 3 5/21/07 7:01:06 PM Honorary Members H onorary M embers Günter Angerhöfer (1926) John Minsker (1912) Matthew Ruggiero (1932) Lady Evelyn Barbirolli (1911) Ivan Poushechnikov (1918) Ray Still (1920) Gerald Corey (1934) Mordechai Rechtman (1926) Daniel Stolper (1937) Bernard Garfield (1924) Lowry Riggins (1930) Laila Storch (1921) Alfred Genovese Roland Rigoutat (1930) K. David van Hoesen (1926) James Laslie (1923) Louis Rosenblatt (1928) William Waterhouse (1931) President’s Award: Peter Klatt (Industry Liason), Jim Prodan (Archivist), Noah Knepper (Founding Member) D eceased H onorary M embers Maurice Allard (1923-2004) Harold Goltzer (1915-2004) Stephen Maxym (1915-2002) Philip Bate (1909-1999) Ralph Gomberg (1921-2006) Robert M. Mayer (1910-1994) Robert Bloom (1908-1994) Leon Goossens, CBE (1897-1988) W. Hans Moennig (1903-1988) Gwydion Brooke (1912-2005) George F. Goslee (1916-2006) Frederick Moritz (1897-1993) Victor Bruns (1903-1996) E. Earnest Harrison (1918-2005) Karl Öhlberger (1912-2001) Donald Christlieb (1912-2001) Norman H. Herzberg (1916-2007) Fernand Oubradous (1903-1986) Lewis Hugh Cooper (1920-2007) Cecil James (1913-1999) Wayne Rapier (1930-2005) John de Lancie (1921-2002) Benjamin Kohon (1890-1984) Frank Ruggieri (1906-2003) Robert De Gourdon (1912-1993) Simon Kovar (1890-1970) Sol Schoenbach (1915-1999) Ferdinand Del Negro (1896-1986) Dr. Paul Henry Lang (1901-1991) Leonard Sharrow (1915-2004) Willard S. Elliot (1926-2000) Lyndesay Langwill (1897-1983) Jerry Sirucek (1922-1996) Bert Gassman (1911-2004) Alfred Laubin (1906-1976) Louis Skinner (1918-1993) Fernand Gillet (1882-1980) John Mack (1927-2006) Robert Sprenkle (1914-1988) 02 HonoraryMembers.indd 4 5/16/07 6:54:01 PM The Double Reed Message from the President Nancy Ambrose King Ann Arbor, Michigan A s we know, the double reed community recently lost a number of prominent oboists who were highly significant figures in our musical world. Unfortunately, recent months have also brought the loss of two very prominent bassoonists who both were Honorary Members of IDRS and whose contributions to the Society and to the musical community at large will be felt by generations to come. Norman Herzberg and Hugh Cooper were revered as two of the most prominent and influential bassoon pedagogues in the U.S., both with students performing and teaching at major institutions throughout the world, and who both made significant technological contributions to bassoon equipment. Hugh Cooper was a founding member of IDRS who taught for many years at the University of Michigan and performed in the Detroit Symphony. Norman Herzberg was a prominent studio musician in the Los Angeles area, and professor of bassoon at the University of Southern California. I know I speak on behalf of all of us in IDRS in expressing our deepest sympathy to the family and friends of Mr. Cooper and Mr. Herzberg. The enormous contributions they made to the profession will continue to impact generations of bassoonists now and in the future. We will miss them profoundly. The passing of prominent figures in the oboe and bassoon world such as we have experienced in the past year is sobering to say the least. It is encouraging and affirming, however, to see new generations of young double reed players throughout the world bring their excitement, diligence, and youthful energy to the art of playing our instruments. In recent months, I have had the chance to meet young oboists in Japan, France, South America, Eastern Europe, the U.K., and of course the U.S. Throughout the world, youngsters are enthusiastically pursuing the art of music by learning double reed instruments. It is heart-warming to see their dedication and love for the instrument and watch as the possible future leaders of the double reed community begin their journey through the profession. What does the future hold for these students who are the next generation of our profession? The options are many, despite the continuing news of hardships in orchestral and university budgets. The young double reed players of today will most likely be prepared for a variety of possible musical careers in a changing musical climate, some of which we haven’t Left: oboe students in Japan, Tomoka Nishizawa, Sasai Misuzuri. Right: a young oboe player in Marseilles, France; 03 PresMessage.indd 5 5/16/07 6:38:01 PM Message from the President even considered yet. In addition to orchestral and pedagogical positions, freelance, studio, and chamber music work, they may fulfill the need for elementary and secondary school music educators, qualified technicians on our instruments, reed-makers, supply dealers, or performers in local and community orchestras, which continue to thrive throughout the U.S. and attract more and more audience members. During the difficult times of loss that both the oboe and bassoon communities have faced recently, it is reassuring and rewarding to see the many youngsters throughout the world who are committing their time and talent to learning double reed instruments. These students’ progress has been made easier by the pedagogical and technical advances made by many of our Honorary Members, who paved the way for future generations of oboe and bassoonists’ study. I extend my heartfelt sympathy to the friends, family, students, and colleagues of the profoundly influential members of our community who have left us in the past two years. Their legacy lives on in those whose lives they have touched and in these young students, who benefit from the great contributions made to the double reed community by the leaders of previous generations. u 03 PresMessage.indd 6 5/16/07 6:38:02 PM The Double Reed Report of the Executive Secretary/Treasurer Norma R. Hooks Finksburg, Maryland HUGH COOPER, IDRS FOUNDER and HONORARY MEMBER DIES AT AGE 86 exhibit area. This is our 36th annual conference and it looks to be shaping up as another outstanding one. It’s with great sadness that I share with you the loss of Hugh Cooper. Hugh, along with Gerald Corey and Alan Fox were the founders of this wonderful group we call the International Double Reed Society. They saw the potential of wonderful things that could be accomplished if double reed players shared their ideas and experiences across national borders. Hugh Cooper probably had more friends in this world than most of us have people we’ve met. Over his 52 years on the faculty of the University of Michigan he influenced countless bassoonists as well as other students. These former students are now scattered all over the world, spreading the knowledge they gleaned from him. Hugh had an insatiable appetite for learning and teaching. He would spend countless hours expounding on acoustics, bassoon repair, bassoon performance or other topics on which he was so knowledgeable. I remember spending an evening with him, which stretched into the early morning, at one of the John Miller Bassoon Symposiums. He had so many things he wanted to share. I must admit that he was the last man standing. I don’t think I’ve ever met anyone who could function on less sleep! Hugh’s many friends in the IDRS will miss him tremendously. Even though failing health kept him from attending our conferences in recent years, just knowing he was there in Michigan was a comfort. We send our most sincere and heartfelt sympathy to Nan, Judith, David and their extensive family. May the memories of Hugh’s long, wonderful life keep him alive in all our hearts. POSTAGE GOING UP - AGAIN! IDRS 2007, JUNE 12-16, ITHACA, NEW YORK I hope many of you are making plans to travel to Ithaca, New York for our 2007 conference. Paige Morgan and Lee Goodhew Romm are working around the clock to prepare for the upcoming conference. They’ve prepared an outstanding lineup of performers, presenters and clinicians. We’ll be having a large variety of exhibitors from all over the world. If there is something you need, want or desire, I’m sure you’ll find it in our extensive 04 ExecSecReport.indd 7 The United States Postal Service is again raising their rates! Though they are quick to tout a “$.02” raise in first class, they don’t reveal to the general public the other rate hikes. Priority mail is going up $.60 for the first pound. They are eliminating international surface mail. What the impact of that change will have on us, I’m not sure at this time, but I know it WILL have an impact. In some cases I believe it will double the cost of mailing The Double Reed internationally. Though we won’t increase mailing rates this year, I think we should all be prepared for a rate increase in the new year. CHANGING OF THE GUARD Today (May 10) we are holding a meeting moving the responsibilities of advertising coordination from our Industry Liaison, Larry Festa, to our new coordinator, Wayne Gaver. Because of personal pressures, Larry is relinquishing the responsibilities of handling advertising in The Double Reed. He will remain on the executive committee in the position of Industry Liaison. I’m looking forward to working with Wayne, who is a local (Maryland) bassoonist. EXCITING INNOVATION Beginning with the third issue of this year, we will be offering full page color advertising. We are hoping to have enough participation from our advertisers to allow us to publish pictures in color within The Double Reed. This is a big step for us and we are excited about the upgrade in the publication. Our editors, Ron Klimko and Dan Stolper work so hard to make our publication the very best of its kind and this will allow them to take The Double Reed another step forward. We will have the new advertising rate card out soon. We will mail them to all our current advertisers. If you would like a copy, please contact Wayne Gaver: waynegaveridrs@msn.com. I hope I will get to meet many of you at our conference in Ithaca this year. u 5/18/07 11:01:27 PM IDRS WWW IDRS WWW Ten years ago The Double Reed Vol. 20 No. 1 - 1997 http://idrs.colorado.edu/Publications/DR/ DR20.1.pdf/DR20.1.Index.html 05 IDRSWWW.indd 8 5/16/07 6:43:21 PM The Double Reed IDRS Sponsor-a-Member Program Martin Schuring Tempe, Arizona T he IDRS established a Sponsor-a-Member program in 1995 for the purpose of enabling double reed players from around the world to participate and enjoy the opportunities of membership in our organization through the sponsorship of current members. The primary purpose of the Sponsor-aMember program is to attract to our society double reed players who because of economic circumstances would not otherwise be able to join the IDRS. This is an important outreach mission of our society. Since the program’s inception, sponsored members from the Peoples’ Republic of China, Vietnam, Lithuania, Ecuador, El Salvador, Romania, Poland, the Czech Republic, Egypt, Ukraine, Tartartstan, Russia, and South Africa have become IDRS members through the generosity of sponsors. An additional aspect of the program has been the exchange of letters and communications between sponsors and new members. In coordination with Norma Hooks, Executive Secretary, I will be pairing sponsors with potential adopted members. IDRS will honor sponsors’ requests for specific adopted members as well. Anyone may become a sponsor by requesting an adopted member and paying one year’s dues for that individual. Sponsors may elect to pay an additional fee for first-class postage so that publications arrive more promptly. IDRS is thankful to all sponsors who have participated in this worthwhile project in the past, and looks forward to new sponsors becoming active in the program. If you are interested in sponsoring a member, or know of a potential member who needs assistance, please contact me for more information at: Martin Schuring School of Music 0405 Arizona State University Tempe, AZ 85287-0405 E-mail: mschuring@asu.edu Sponsors ARGENTINA ARGENTINA ARGENTINA ARGENTINA ARGENTINA ARGENTINA ARGENTINA ARGENTINA ARGENTINA ARGENTINA BRAZIL BRAZIL BULGARIA CHINA(P.R.O.C.) CHINA(P.R.O.C.) CHINA(P.R.O.C.) CHINA(P.R.O.C.) COSTA RICA CROATIA CUBA 06 SponsorAMember.indd 9 David Sogg David J. Ross Glenn Harman Heidi Huseman Dewally John Towle Laurel Kuxhaus Linda Strommen, IU Oboe Studio Peter Zeimet Rebecca Nagel Shirley Robertson Barbara Orland Kevin Shackell Kathryn Sleeper Donald Vogel Jim Prodan Norma Hooks Patty Mitchell Gerald Corey Nora Schankin Marsha Burkett CZECH REPUBLIC CZECH REPUBLIC CZECH REPUBLIC ECUADOR ENGLAND, UK GUATEMALA KAZAKHSTAN KAZAKHSTAN LITHUANIA MEXICO POLAND POLAND RUSSIA RUSSIA RUSSIA RUSSIA RUSSIA RUSSIA RUSSIA SPAIN VIETNAM VIETNAM Aaron Hilbun Loretta Thomas Nancy Ambrose King Rebecca Henderson Dan Stolper Terry Ewell Bill Chinworth Nicolosa Kuster Chris Weait Carlberg Jones James & Kimberly Brody Phil Feather Donna Ronco Ellen Sudia-Coudron Keith Koster Marc Fink Richard & Isabelle Plaster Richard Killmer Thomas Stacy Craig Streett Steve Welgoss Troy Davis 5/16/07 6:43:36 PM 10 Current Events Current Events 07 CurrentEvents.indd 10 5/16/07 6:43:47 PM The Double Reed 11 Tributes to Ralph Gomberg (1921-2006) Compiled by Dan Stolper with the invaluable assistance of Eugene Izotov. By Mark Feeney GLOBE STAFF This obituary first appeared in The Boston Globe (December 13, 2006) and is reprinted with permission. ED Ralph Gomberg, who as principal oboist of the Boston Symphony Orchestra for 37 years was an integral part of what many listeners considered the greatest jewel in the BSO’s crown, its legendary woodwind section, died Saturday at Wayside Hospice, inWayland. The cause of death was primarily lateral sclero- 08 RalphGombergTributes.indd 11 sis, a neuromuscular disease similar to Lou Gehrig’s disease, said his wife, Sydelle (Silver) Gomberg. He was 85. “It’s a small world, the oboe world,” John Ferrillo, the BSO’s current principal oboist said in a telephone interview yesterday, “and Ralph loomed large in it” A Concord resident, Mr. Gomberg, who was with the BSO from 1950 to 1987, was widely considered one of America’s foremost oboists. It was a status he shared with his brother Harold, who for many years was principal oboist of the New York Philharmonic. Time magazine hailed “the darkling brilliance of Mr. Gomberg’s oboe playing.”A 1987 Globe review noted that “the plangent and pliant sound produced by Ralph Gomberg has been a crucial characteristic of the glory of the Boston Symphony Orchestra.” In addition to his playing, Mr. Gomberg taught for many years at the Peabody Institute, in Baltimore, the New England Conservatory, Boston University, and the Berkshire Music Center. Among his former pupils are the principal oboists of the Chicago Symphony Orchestra and Israel Philharmonic. “Ralph left quite a legacy as a teacher,” Ferrillo said. “Besides his own students, there was his teaching at the Tanglewood Festival. For 30 or 40 years, he taught high school and college-age kids there. He really left his imprint.” Ralph Lewis Gomberg was born in Boston’s West End on June 18, 1921. His parents were Nathan Gomberg and Mary (Levin) Gomberg. “My mother sang a little; they both loved music,” Mr. Gomberg said in a 1985 Globe interview. Five of their seven children attended the Curtis Institute of Music, in Philadelphia. “I don’t want them cleaning gutters,” Sydelle Gomberg recalled her mother-in-law once saying, “so they’ll study music.” As the youngest, Mr. Gomberg found himself at a disadvantage musically. “His one regret about being the baby,” his widow recalled yesterday, “was when it was time to practice at home, he got the bathroom. Everyone else had the dining room or living room.” At 14, Mr. Gomberg became the youngest student to study with Curtis’s celebrated oboe teacher, Marcel Tabuteau, who also taught Harold Gomberg. Mr. Current Events Ralph Gomberg, 85; considered among top oboists in country 5/16/07 6:43:59 PM Current Events 12 Tributes to Ralph Gomberg “There’s that little oboe solo of three quarter-notes. I had no idea from his beat - which looked like he was making French mayonnaise - if it was in six or three. So I didn’t come in.” Munch just smiled, Mr. Gomberg recalled, and all went well the next time. A founding member of the Boston Symphony Chamber Players, Mr. Gomberg formed a quarter of what was almost a chamber group with the orchestra. Along with clarinetist Harold Wright, bassoonist Sherman Walt, and flutist Doriot Anthony Ralph Gomberg, who was principal oboist with Boston Symphony Dwyer, Mr. Gomberg made up a fabled Orchestra, playing for Newton High students. GLOBE FILE/1965. woodwind section that spanned the music directorships of Munch, Erich Leinsdorf, William Steinberg, and well into that of Seiji Ozawa. “I never expected to feel like a quartet member,” Gomberg had started out on horn, but couldn’t find a Dwyer, the last surviving member of the group, said good teacher. “I chose the oboe because I admired my in a telephone interview yesterday. “That’s for strings. brother’s sound,” Mr. Gomberg said in a 1987 Globe But I really felt that way with them, Ralph especially. interview. “Being young and stupid, I also thought it “He was always very generous, even protective. was an easy instrument.” He was just very nice. And as a musician, he was very The oboe is, in fact, notoriously difficult. Those artistic. By that I mean he didn’t just get a pretty tone. who play it must regularly fashion new reeds for the He wasn’t thinking of tone so much as what he had to instrument. Mr. Gomberg made an estimated 15,000 say. It’s always a pleasure to play with someone like reeds over the course of his career. that. It makes it easier. And it’s just so warm and huIn 1940, Leopold Stokowski hired Mr. Gomberg man. He was never indifferent.” as first oboist for his All-American Youth Orches“If I’ve learned one thing, or if I could pass on tra. Eugene Ormandy then drafted him to serve in one thing,” Mr. Gomberg said in that 1987 BSO inhis Philadelphia Navy Yard Band during World War terview, “it’s that music is not a technical art, it’s an II. “Ormandy said to me years later,” Mr. Gomberg expressive art. The oboe is such an expressive instrulaughingly recalled in a 1987 interview with the ment - when it starts to play, it’s a unique sound and BSO’s newsletter, “ ‘Boy, did I fix you up.’ ” everyone is intrigued with it - I hope!” After leaving the Navy, Mr. Gomberg enjoyed In addition to his wife, Mr. Gomberg leaves stints with the Baltimore Symphony Orchestra, the three daughters, Stephanie Chiha, of Concord, JaNew York City Center Orchestra, and the Mutual mie Balint, of Hudson, N.H., and Debra Diamond, of Broadcasting Orchestra. He also helped found the Mansfield; a son, David, of Framingham; and seven New York Woodwind Quintet and worked as a musigrandchildren. cal freelancer in Hollywood. A memorial service will be held Friday at 1 p.m. At one point, Mr. Gomberg was ready to abanin First Parish in Concord. Another service will be don music for a job in real estate when Leonard Bernheld in January. stein called to tap him for the City Center Orchestra. “Years later I told him that if it hadn’t been for that, I’d be a multimillionaire,” he recalled in a 1990 Globe interview. Mr. Gomberg soon became an institution at the BSO, though he momentarily got off to a shaky start. In a 1987 interview for the orchestra’s newsletter, he described his first rehearsal. BSO music director Charles Munch was conducting Albert Roussel’s Bacchus etAriane. 08 RalphGombergTributes.indd 12 5/16/07 6:43:59 PM 13 The Double Reed Ralph Gomberg, 85, Oboist With the Boston Symphony By DANIEL J. WAKIN This obituary first appeared in The New York Times (December 12, 2006) and is reprinted with permission. ED 08 RalphGombergTributes.indd 13 From Chick Lehrer Thousand Oaks, California Dear Dan: It was with greatest sadness that Nancy and I received the news of the passing of our oboe teacher, Ralph Gomberg. Indeed, it was ‘Mr. G’ who brought Nancy and me together in Amherst, 25 years ago. A call from Ralph in late summer of 1981 alerted me to Nancy’s situation: in a word, she had run out of funds to pay the steep tuition at Boston University. This occurred at the very time when my first teaching assistant (Nancy Argesinger, who went on to study with you) had graduated. Of course, when she came out to Amherst from Boston to audition for me at UMass, it was love at first sight for the two of us, even though there was 19 years difference in our ages! I often tell the story in a different way because of the uniqueness of the situation: Current Events Ralph Gomberg, the former principal oboist who held sway at the Boston Symphony while his brother Harold did the same, on the same instrument, at the New York Philharmonic, died on Saturday. He was 85 and lived in Concord, Massachusetts. His death, at a hospice in Whelan, Massachusetts, resulted from primary lateral sclerosis, a rare neuromuscular disease similar to Lou Gehrig’s disease, said his wife, Sydelle Gomberg. Mr. Gomberg joined the Boston Symphony in 1950 and held the principal chair for 37 years, until his retirement. For much of that time, his brother Harold had the same job with the New York Philharmonic. They were part of a remarkably talented group of seven siblings. One brother was a violinist in the Philadelphia Orchestra; another played principal trumpet for Leonard Bernstein’s New York City Center Symphony; a sister was a violin soloist; and another sister played cello. “It was a question of who would get what room to practice in,” Ralph Gomberg told BSO, the orchestra’s newsletter, on his retirement. “Being the youngest, I got the bathroom. It gradually dawned on my mother that some of us were pretty talented.” The family moved from Boston to Philadelphia so that Robert, the violinist, could study at the Curtis Institute of Music. Harold began studying oboe with Marcel Tabuteau, a legendary oboe teacher. “When it came time for Ralph, they decided he could study with Harold in the beginning to save money,” Ms. Gomberg said. Ralph began studying with Mr. Tabuteau at 14 and was said to be one of his youngest pupils ever. “He opened my eyes to what music was all about,” he said of his teacher. Five Gombergs eventually graduated from Curtis. All Mr. Gomberg’s siblings predeceased him. In addition to his wife, he is survived by four children, Stephanie Chiha of Concord; Jamie Balint of Hudson, New Hampshire; David Gomberg of Framingham, Massachusetts; Debra Diamond of Mansfield, Massachusetts; and seven grandchildren. Of the two fraternal kings of the oboe, Ralph was said to have a heavier sound than Harold. Doriot An- thony Dwyer, who sat next to Mr. Gomberg for 35 years as principal flutist in Boston, said she eventually acquired a platinum flute, which has a weightier tone, to match him. “He’d always lean over and say, ‘You’re a little aggressive today, Doriot,’” Ms. Dwyer recalled. “He was warning me that if I kept it up he was going to play louder than me yet.” Seiji Ozawa, a former music director of the Boston Symphony, noted the imaginative playing of both the flutist and oboist. “Ralph had a kind of crazy fantasy,” he said in an interview with The New York Times in 1993. “They were very dangerous but very interesting.” “Mr. Moishe, I need you for a very important project, so get your toches in here.” “What is it Boss?” “Well, an oboe player in Amherst is in need of our assistance: he needs an appropriate mate to get him through the rest of his life. So I want you to take care of this matter immediately.” “But Boss, where do I start with such a daunting task before me?” “Look Moishe, I want you to have a talk with one of our boys down in Boston. His name is Ralph Gomberg: he has a student studying with him, one of our girls, Nancy Gruenberg-Bonar. Ralph will know what to do, after all, he owes Lenny and me a big favor.” 5/16/07 6:44:00 PM 14 Tributes to Ralph Gomberg because it was there that Nancy’s ‘other career’ in Computer Science took off, eventually landing her a top position as Systems Architect at the great biotech firm, Amgen. Current Events **************** Ralph Gomberg and his wife Sydelle. Several days later, Moses returns. “Boss, the deed is done: our man Ralph has presented the Amherst oboe guy and Nancy with an incredible gift. But on the other hand, perhaps you have miscalculated, because the oboe guy in Amherst will need some unbelievably serious work to bring him around... Get this Boss, he’s a Goy, and our girl’s mother has been crying for three days straight over that, already. What do I do?” “Who knows better than you? Did you forget, you’re a prophet, so get on with it: take him through The Big Three”. And so, it came to pass that after a period of intense study to learn all about Moishe and his Boss, the Amherst oboe guy experienced The Big Three: Beth Din, Bris, and Mikveh... And, in time, Moishe received a new assignment to provide our couple with a superior cane supply: so he moved them from Amherst to Thousand Oaks in California where they could reap the cane harvest in the sands of nearby Mandalay Beach And eventually, Mr. G’s special gift to the two of them multiplied a hundredfold in Thousand Oaks, 08 RalphGombergTributes.indd 14 Well, Dan, there you have it. But before closing, I want to relate to you a most-remarkable coincidence involving Ralph: The last time I spoke with Mr. G, he was happy to know that Nancy and I were living in Thousand Oaks, because it was here many years earlier, and before the creation of the town, that one of Ralph’s brothers had bought land and advised him to the same and settle down out here. At the time Ralph was playing oboe in Hollywood in one of the 10 studio orchestras that were so integral to the movie business at the time; and he was making a very good salary. But it would seem that there were other plans already made for Ralph, for one day he received a remarkable phone call from the conductor at the City Center Ballet in New York. And, it is said that this event had been proceeded by the following interchange: “”Mr. Moishe, I need you for a very important project, so get your toches in here.” “What is it Boss?” “Well, an oboe player in Hollywood is in need of our assistance: he needs an appropriate mate to get him through the rest of his life. So I want you to take care of this matter immediately.” But Boss, where do I start with such a daunting task before me?” “Look Moishe, I want you to have a talk with one of our boys down in New York. His name is Lenny and among the performers inhabiting Lenny’s artistic world is one of our girls, a ballerina named Sydelle... Kindest Regards, Chick 5/16/07 6:44:00 PM The Double Reed Eugene Izotov has assembled the following tributes from colleagues and former students of Mr. Gomberg ED. One of my most vivid memories as a young oboist (in fact, I had barely started studying with my teacher, Richard Summers, here in the Boston area) was of turning on the local PBS station and being mesmerized by a half hour show called “The Double Reed”. It was a glimpse into the lives and careers of Sherman Walt and Ralph Gomberg. They were gouging cane, they were shaping, they were tying and scraping, and they were playing chamber music in the Gomberg home. Oh, and they were cooking spaghetti sauce, I believe. Ralph was filmed going into the Laubin factory to have a new instrument adjusted. He was an Olympian figure. A strange, exciting new vista opened in front of me, as that dolorous middle movement of the Poulenc was spun out by Ralph and Sherman. And - what a strange notion for me - he was, then, almost exactly the age I am now. Playing at the beautiful memorial concert his wife, the radiant Sydelle Gomberg organized, I saw that same video for the first time in 36 years. To a young oboist in the Boston area in 1970, of course, there was only one orchestra, only one hall, and only one oboist. Ralph was a larger than life figure, and his mega-watt personality lit every note he played. Thinking that I would ever sit in the same chair up on that stage would have been, well… you just didn’t think things like that. I was a late starter, and not worthy to approach someone like him for lessons in high school, and, in fact, never had the chance to work with him later at Tanglewood, as so many of my peers had. It wasn’t till spring of 1986 that we met, after a Boston Chamber Players concert in Davies Symphony Hall, where I was playing a season as second oboist with the San Francisco Symphony. I had just gotten my second big break, the job at the Metropolitan Opera, and, I was utterly sure, that would be the place I would retire from. “I’m going to be retiring next year,” Mr. Gomberg said. “Get your excerpts out, kid.” I felt like a 14 year old again. Fifteen years later, at the end of a rehearsal during my first guest week with the BSO at Tanglewood, a familiar figure made his way up onto the stage. “Who is 08 RalphGombergTributes.indd 15 that,” one of my colleagues asked in a loud voice “the ghost of Fernand Gillet*?” Everyone, particularly, Ralph, had a guffaw. As I learned quickly, laughing was ever present in Ralph’s vicinity. It was not the most relaxing week I had ever spent. Although this wasn’t an official audition week, everyone knew that I was under the microscope, and no one more than Ralph Gomberg. In fact, I was terrified at the notion of turning my life on its ear or making a fool of myself in front of this great orchestra and great musician. Ralph would never know how much his generosity of spirit buoyed me at that moment. Of course, there was sage advice as well, but, more than that, there was his positive, supportive presence, cheering everyone on from the sidelines - as big a fan of the orchestra in retirement as he was a committed member during his career. I don’t know if I’ve ever met someone with more joie de vivre than Ralph Gomberg. He loved his family passionately. He loved to laugh. He loved food. He loved music. He loved the oboe. He loved his BSO. This is an autumnal period for those of us that grew up in the shadows of Ralph and the other giants of his generation - his brother Harold and the recently departed John Mack and John deLancie (to name but a few). With their passing, the musical firmament seems to twinkle a little less brightly. May we prove ourselves worthy of holding the baton they have passed to us. Current Events From John Ferrillo Principal Oboist, Boston Symphony Faculty, New England Conservatory, Boston University 15 From William Bennett Principal Oboe San Francisco Symphony I was not aware of it at the time, but I first encountered Ralph Gomberg in a children’s book written by my Grandmother. The book was entitled “All About the Symphony Orchestra” and it featured lots of black and white photographs of the Boston Symphony in the late ‘50’s. The ‘Aristocrat of Orchestras’ was then populated by a very young and regal looking group of musicians. In those pictures, Ralph is a commanding figure on the stage - his dark hair slicked back, sitting with two other kids we now think of as legends: Doriot Dwyer and Sherman Walt. Those three soloists, together with Harold Wright, who had not yet joined the orchestra when the photos were taken, formed a quartet that I grew up listening to on the radio, especially during the summers, when every Tanglewood concert was broadcast live. My Grandmother 5/16/07 6:44:00 PM Current Events 16 Tributes to Ralph Gomberg Lipson, Bernstein, Gomberg, Walt didn’t list personnel in her book (she even left Charles Munch out of the credits, if that evens the score), so Ralph was a bit of a stealth oboist. He crept into my consciousness before I knew his name or the role he would have in my training. Looking back on my days in high school, when I would sneak into Woolsey Hall for the BSO’s New Haven run-out concerts, and my college summers in the Tanglewood Fellowship program, I guess I still think of Ralph in that sly role. I was studying with Bob Bloom at the time, so Ralph Gomberg may have been more reserved than he was with his regular students. With me, he was a man of few words and a knowing smile. He was always supportive, giving me plum assignments and asking me to sub with the pros in the Shed when his section mates were out, but he knew how to keep my youthful swagger in check with a glance and when he spoke, it stayed with me. “You’ve got to tell a story!” is the line I remember most. The audition grinder and the daily challenges of an orchestra job conspire to challenge that simple advice, but, when all is said and done, that’s what it’s all about. Ralph might have been a quiet man at times, but he was a very social animal - he and his wife, Sydelle, hosted cookouts for the oboe students at his Berkshire home and prepared fabulous meals. (I can still taste a delicious salmon mousse that he whipped up). In 1977, I thought of Ralph Gomberg, his brother Harold, John deLancie, John Mack, Bob Bloom, Marc Lifschey and Ray Still as faces on Mt. Rushmore. For me, they’re still up there, but I know that new faces 08 RalphGombergTributes.indd 16 are added every so often. Mr. Still is the only member of the club still living. In some cases, the Principal chairs in the ‘Big Five’ have had multiple occupants since the heroes of my youth moved on. Following Ralph Gomberg’s memorial concert, John Ferrillo spoke eloquently about the world we’ve inherited, a seemingly rudderless world ‘without our teachers’, those aristocrats of our golden age. Well… I guess that’s the story we need to tell. Here’s to you, Ralph! From Eugene Izotov Principal Oboe, Chicago Symphony Orchestra Faculty, DePaul University, Roosevelt University When I was 8 years old, my classmate at the Gnesin Music School in Moscow lent me an audio tape with the recording of Swan Lake performed by an American orchestra. There was no label on the tape so there was no way to find out which orchestra it was. When I heard the first note of the opening oboe solo, I knew that my life would never be the same. I immediately fell in love with the purity of tone and the beauty of phrasing of the solo oboist. On that distant day I could never imagine that it was the playing of Ralph Gomberg of the Boston Symphony Orchestra – the man who, ten years later, would become my teacher, mentor, friend, and a source of endless inspiration as a human being. I met Ralph Gomberg in 1991 – I was seventeen years old and as excited as I was about studying with him at Boston University, I had no idea 5/16/07 6:44:01 PM The Double Reed From Peter Bowman Principal Oboe Saint Louis Symphony Orchestra I love Ralph and will always remember him and carry his spirit with me. He was a major influence in my 08 RalphGombergTributes.indd 17 life as my teacher, mentor, and later, my friend. I am graced and indebted to him and in fact, his family for all they have done for me. He taught me music, dedication and discipline, and remains an inspiration to me. He left a special and wonderful legacy that can never be replaced and will always be treasured by musicians, students and audience members. I am so thankful that he was an important part of my life. I know he rests in peace. From Michael Dresser Second Oboe Virginia Symphony Orchestra I first met Ralph Gomberg in 1997, at the Boson University Tanglewood Institute. After I had played for him for only five minutes he told me, “You’ve got a lot of musical talent, but that’s only half of the equation. I can give you the tools so that YOU can complete the formula.” I went on to study with him for my undergraduate degree at Boston University. Little did I know that I would end up being his last student, with Ralph delaying his retirement to finish the last two years of my tutelage. After a while it became clear to me that what he said to me in my first lesson was going to serve as the foundation of our relationship. This was crucial in my development as both a musician and as a person, because I was learning (albeit slowly) to become my own teacher. In this way, the responsibility fell squarely on my shoulders, and Ralph was there every step of the way to give me feedback and guidance. He always reminded me that he didn’t want me to copy what he was doing, but rather to use what he gave me to express music in a way that I felt was musically tasteful. His unique way of breaking down a seemingly complicated musical passage to the most basic elements is something I think about often. He had a way of being extremely real with me about what exactly the composer wanted me to achieve. He did it in a way that made it all about the music, and never about himself. If you did something out of place, he would stop you and say: “Why are you playing it that way? What are you thinking? You know, the composer wrote it this way for a very good reason!” Ralph’s endless generosity and musical optimism is a constant source of inspiration to me. I fondly look back on the countless afternoons I would spend with him and his beautiful and sensitive wife, Sydelle, at their Newton home. Ralph and I would go over Ferling, excerpts, and of course reeds. I remember one Current Events what was in store for me. In my first lesson, Gomberg said to me: “I’m gonna make a good oboist out of you, kiddo”. Certainly, he did a lot more than that – over the past 16 years, throughout all my travels, auditions, failures and triumphs, Ralph was always just a phone call away to offer me his unconditional support, friendship, and wisdom. One day after a Met broadcast of Tannhäuser, he called me in the evening and said: “You should have kept the same reed from Act One in the Prelude to Act III, but you still sounded pretty good!” I couldn’t believe that he had spent his entire afternoon listening to the radio for over four hours just to hear me! I think most Gomberg students know that his teaching extended well beyond lessons – sometimes, he simply couldn’t fit all that he had to say in just one hour. One day, Gomberg was teaching me at his house and when he noticed that it was getting dark outside, he offered me to stay for dinner – that night, I received my very first cooking lesson as I witnessed Ralph making his signature “Gomberini” Pasta Sauce! The same night he casually explained to me the value of knowing “a little about wine” so I could “impress some girl one day.” Every time I played for him, he demanded my best. He would say: “You need to have the highest possible standards. I don’t expect you to meet them yet, but I expect you to have them. You can’t be a student in the morning and an artist in the evening.” Ralph was never at a loss for words – he seemed to have a clever saying for any aspect of a musician’s life – musical and otherwise: “don’t play the notes, play the gestures”, “beautiful sound is a beginning, not an end”, “music is between the notes”, and probably the two most frequently used: “who says life is easy?” and “that’s the way the cookie crumbles”. All of these things have brought such a remarkable flavor and excitement to my life as a student, I felt inspired to return to my reed desk and spend the next four hours practicing and making reeds! At a time of uncertainty and doubt, Ralph Gomberg gave me an extraordinary gift – he made me believe in myself and inspired me to follow my dreams. I know that his passion and kindness will always be in my heart and will continue to inspire me forever. 17 5/16/07 6:44:01 PM Current Events 18 Tributes to Ralph Gomberg particularly rough lesson with him in which he had me doing long tones for the entire lesson. Needless to say, it was a long day, and I was completely physically and mentally drained by the end. Later that day, he gave me a call to make sure that I was OK, and that my head was in the right place. Something tells me that Sydelle might have had something to do with that call being made! Ralph attended all of my concerts and recitals and always gave me unadulterated feedback, untempered by empty compliments. I always knew that whatever he said was honest, and was intended to make me the most expressive player I could be. He was insistent on having both total control of the entire range of the oboe and a vocal and flexible tone. He was a master of making musical analogies, comparing the wind pressure to the bow pressure, or distribution, of string players, or comparing all the musical colors to a painter’s endless palette. He also had a terrific sense of humor. I remember one Brahms 1 concert after which he came up to me, asked to see my reed, “peeped” on it and said: “Well, no wonder I couldn’t hear you in the 4th movement!” I always felt comfortable, although nervous, about sending him recordings I had recently made in hopes of getting some very real Gomberg feedback. I was consistently surprised by how critical, yet positive, his feedback was. It truly was a rare combination. He was always there as a great sounding-board in decisions both musical and personal. While he will be sorely missed by all of us, I feel that the best way for Ralph to be remembered is for all of us who were touched by his kindness and insight to carry on his traditions. It is up to us to continue his great legacy. From Richard Dorsey Principal Oboe (retired) Toronto Symphony Orchestra Ralph Gomberg was my oboe teacher. He was the Vince Lombardi of oboe teachers. For those of you not involved with sports or not old enough to remember, Vince Lombardi was an amazing man. He was a great teacher of the game of football and a very successful football coach. His style was fierce and demanding. Ralph shared these characteristics. I studied with Ralph intensively for my four years of undergraduate work at Boston University. I also worked with him less intensively for the next ten years. He was a tough, sometimes brutal teacher, pushing and pushing me to do better. He also could 08 RalphGombergTributes.indd 18 be a sentimental, warm, almost mushy man. The one thing he always demanded was to be prepared and serious about the task at hand. And the task was to be the best oboist you could be. The sweetest time of every week was arriving at Symphony Hall on Friday afternoons, putting down my 65 cents for a rush seat and watching and listening to Ralph and the BSO perform. These were concerts of magic; seeing my mentor make music with his great orchestra. I have a wonderful life of performing and teaching. I have played with great musicians all over the world as principal oboist of Toronto Symphony Orchestra. I never would have had a professional career at all without the tough love and intense teaching, Lombardi style, of Ralph. Thank you, Mr. Gomberg, from the bottom of my heart. From Russ deLuna English Horn San Francisco Symphony Before I began my studies with Ralph Gomberg, I had heard many great things about him from his former students and colleagues. I was excited to go study with such a legend, and little did I know what awaited me. My time with Mr. Gomberg was a real time of musical awakening for me. He opened my eyes to the language of music, about which he spoke in every lesson. His many stories of his illustrious career in the BSO, his time studying at Curtis with Tabuteau and his travels the world over, were a constant source of inspiration. Ralph knew how to turn a good oboe player into an artist - he said (and I quote),“Russ, you came to me an oboe player and you’re going to leave an artist.” As I go about my work, I am constantly having flashbacks of lessons with him, and I find myself thinking about and applying the things he taught me. Ralph Gomberg was a consummate artist, teacher and friend. I will always treasure the time I was able to spend with him. His impact on my life, musical and otherwise, will be felt for the rest of my life. It is my desire to honor him through my playing and to continue his legacy of music making through my teaching. May he rest in peace. From Tamara Field Springfield, Massachusetts I have just heard of the death of Ralph Gomberg. 5/16/07 6:44:02 PM 19 The Double Reed all your might. If you did, you would succeed. He was kind, generous and encouraging, often spending many hours of extra time with diligent students, and frequently going out of his way to help those whose financial 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 fullfilling 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 influence in my life. I will always think of him with great affection, gratitude and respect, and I will miss him terribly. Current Events Even though I have followed the course of his illness, and knew it was terminal, I am aghast. The idea of a world without Ralph is outrageous and appalling. I will need time to come to terms with it. I first 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 influence in my life and my performance. No one could know Ralph and fail to be impressed by his great sense of certainty, confidence 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 The following article first appeared in the BSO, the Quarterly Newsletter of the Boston Symphony Orchestra, Spring 1987, upon Ralph’s retirement from the BSO. It is reprinted here with permission. ED The BSO’s Ralph Gomberg: An Oboist and a Gentleman by Caroline Smedvig The Happy Couple - Ralph Gomberg embraces his bride of thirty-nine years, Sydelle, on the deck of their West Stockbridge residence. 08 RalphGombergTributes.indd 19 Oboe playing, like bird watching and taffy pulling, is a passion that seems to run in families. The earliest famous oboe clan was that of Frenchman Jean Philidor, who played at the court of Louis XIV; after him, seven other Philidors put lip to reed. Today the reigning oboe family in the U.S. goes by the name of Gomberg: Harold, 42, is first oboe of the New York Philharmonic; Ralph, 37, is first oboist of the Boston Symphony. Time Magazine, December 1958 Throughout the musical world, the talents of the Gomberg family are widely heralded. And, closer to home, anyone who has attended a Boston Symphony concert within the last thirty-seven years has known the warmth and singing tone, “the darkling brilliance” as the same Time magazine article put it, of the BSO’s principal oboist Ralph Gomberg. After nearly four decades in that daunting position, Gomberg has elected to trade in his life of whittling reeds for perfecting his forehand, his fairway drive, and his lamb 5/16/07 6:44:02 PM Current Events 20 Tributes to Ralph Gomberg Philadelphia where all students curry - just some of the many were admitted on merit and extra-musical interests he has went tuition-free. So she packed never had time to pursue fully. up the whole family and we took (He will play throughout this a bus to Philadelphia - what a Tanglewood season, retiring in schlep that was - and five of us September.) ended up at Curtis.” “Of course retirement will be At fourteen, Gomberg bea tremendous change,” he says. came the youngest student ever “I can’t tell you how I’ll miss my accepted by the renowned oboe colleagues and my association teacher Marcel Tabuteau. “He with this great institution.” opened my eyes to what music Gomberg and his wife, was all about,” says Gomberg. Sydelle, currently Director of the “He understood the spirit of it, Boston Ballet School (the official the beauty of music. He was like school of Boston Ballet Compaa surrogate father to me.” At ny), and as integral and beloved eighteen, Gomberg became first a member of the BSO scene as oboist in what was called the Allher husband, are talking and A Legend in Their Own Time— American Youth Orchestra. Its reminiscing about their years Ralph Gomberg (right) compared music director was Leopold Stowith the BSO in Sydelle’s Boston notes with his older brother Harold, who was principal oboist kowski. “God, did I have nerves,” Ballet office overlooking Clarenof the New York Philharmonic sighs Gomberg, recalling the audon and Warren streets. Sydelle, for thirty-four years. Harold died dition. Shortly after winning the her hair swept up in a dancer’s in 1985. position, he embarked on the S.S. chignon, reflects between phone Brasilia for a two-month tour of calls and consultations against South America with Stokowski a backdrop of leotards and legconducting every concert. warmers. “It truly has been like a close extended Gomberg then recounts getting a call from Eufamily all these years,” she comments. “Our kids to gene Ormandy in 1941. Ormandy had been asked by this day refer to Uncle Sherman [Walt], Uncle Joey “some rear admiral” to assemble what became the [Silverstein]. When you go through so many births, Philadelphia Navy Yard Band, to play at parades, deaths, illnesses, weddings, bar mitzvahs - there’s an and the commissioning of aircraft carriers and ships. unbelievable bond that’s created within the orchestra “Ormandy said to me years later, ‘Boy did I fix you over the years.” up’” laughs Gomberg. Gomberg was born in Boston’s West End, the After a year playing principal oboe in Baltimore, youngest of seven children, five of whom went on Gomberg then left for Los Angeles to care for his to graduate from the Curtis Institute of Music. His older brother, who was taken seriously ill. While in older brother, Robert, was a violinist in the Philadelsouthern California, he received a call from an aspirphia Orchestra under Leopold Stokowski; brother ing young conductor in New York named Leonard Harold was, of course, principal oboist for thirtyBernstein. “Lenny was looking for a first oboist for four years with the New York Philharmonic; a third his City Center Orchestra.” explained Gomberg. “He brother, Leo, was principal trumpet in the Radio City hired me on the phone.” Music Hall Orchestra and the New York City Center “Those were wonderful days. I remember Lenny, Symphony under Bernstein. One of his sisters, Ciel, who was about twenty-eight then, holding court was a violin soloist under contract at NBC while anbackstage with the most interesting people in New other sister, Edyth, was a cellist who married George York showing up - Judy Holliday, Adolph Green, the Zazofsky, a longtime member of the BSO violin secMayor.” The City Center Orchestra also played for tion, and whose son is Peter Zazofsky, the concert the City Center Opera and Ballet, with one perforviolinist. “It was a question of who would get what mance, recalls Gomberg, even conducted by George room to practice in,” explains Gomberg. “Being the Balanchine himself. He also found time to play in youngest. I got the bathroom. It gradually dawned on the Mutual Broadcasting Orchestra and to found the my mother that some of us were pretty talented,” he New York Woodwind Quintet. continued. She was told about this fabulous school in 08 RalphGombergTributes.indd 20 5/16/07 6:44:02 PM The Double Reed 08 RalphGombergTributes.indd 21 After the forty-eight-hour trip from Boston to Taipei, it turned out that the hotel in the city was overbooked and a portion of the orchestra had to be bused to Peitu, ten miles outside the city. “When I arrived, I was so mad. Some of the guys were all already there and they came out onto a balcony, all smiles. I couldn’t believe they weren’t upset.” Then, Gomberg continued, he learned that the Shakespeare Inn, where they were staying, was actually a government run bordello - closed down for the week to accommodate the Boston Symphony! “You know, I feel so good about retiring,” Gomberg says. “I feel I really gave of myself, always tried to keep the standards of playing to what I wanted, and I received so much back. I played with Stokowski, Reiner, Bernstein, Klemperer, Mitropoulos, Koussevitzky, Munch, Monteux, Ansermet. Those are incredible memories.” What are some of the masterpieces he’ll miss the most, oboislically speaking? “Brahms 1, the slow movement,” he muses. “The Eroica, Berlioz’s Romeo and Juliet, the slow movement of the Brahms Violin Concerto, Ibert’s Escales”, and Mahler’s Das Lied von der Erde” This summer at Tanglewood will afford Gomberg - and audiences - the chance to enjoy some wonderful oboe writing in Ravel’s Tombeau de Couperin, Tchaikovsky’s Fourth Symphony, and Mozart’s Serenade for Winds. “If I’ve learned one thing, or if I could pass on one thing, it’s that music is not a technical art, it’s an expressive art,” he adds. “The oboe is such an expressive instrument - when it starts to play, it’s a unique sound and everyone is intrigued with it - I hope!” he adds, laughing. “I feel we’ve been truly blessed,” says Sydelle. “We have four wonderful children, we’ve made such friends in the orchestra and among those associated with the orchestra. Whenever I meet other oboists’ wives, there’s a real cameraderie between us. Try living with someone who goes around the house dropping little shavings from their reeds everywhere.” “It’s the law of compensation,” adds Ralph. “If you play the oboe,” he says, emphasizing both syllables, then you figure something good has to come back to you from all that suffering! I have the happiest memories of my years here. And now there’s the excitement of the years ahead with Sydelle, my kids...” “And our new baby,” injects Sydelle. “A Siamese blue point.” “What more could you ask?” concludes her husband, with a shrug of his shoulders and that characteristic Gomberg grin. u Current Events At the same time, Sydelle Gomberg was an aspiring young ballerina, dancing with the Metropolitan Opera ballet, and at Radio Cily Music Hall, which, as the only institution offering year-round employment, was then the training ground for dancers. In 1945 she landed a soloist role in “Lute Song” starring Yul Brynner Mary Martin (and, Gomberg points out, also featuring a young unknown actress named Nancy Davis, who today goes by her married name, Nancy Reagan). “During ‘Lute Song’ I spent a lot of time at Leo Gomberg’s [Ralph’s brother, the trumpet player of the Radio City Orchestra] and his wife Helen’s house,” Sydelle explained. “Eventually my brother and sister-in-law got us together,” adds Gomberg, “and we went bowling - for the first and last time - on our first date.” Sydelle remembers returning backstage at “Lute Song” to her dressing table and announcing to the cast that she had just met the man she was going to marry. In 1950, two years after their wedding, Gomberg heard of the opening in Boston. “In those day’s,” he explains, “Boston was the only orchestra that provided 52-week-a-year employment. It was definitely the job to have. I was so thrilled to win it. I know Thomas Wolfe said ‘You can’t go home again,’ but here I was. coming home to Boston.” Gomberg remembers the first two years as somewhat difficult in that the orchestra was tuning to 444 cycles per second as opposed to 440, the international standard pitch. “Koussevitzky had liked (the higher pitch because he thought it made the orchestra sound more brilliant,” explained Gomberg. “It was really difficult for me since it greatly affected the way I had to make the reeds.” “My first rehearsal with the orchestra, I was so tense,” Gomberg recalls. “It was with Munch, of course, and we were playing [Roussel’s] Bacchus et Ariane. There’s that little oboe solo of three quarternotes. I had no idea from his beat - which looked like he was making French mayonnaise - if it was in six or three. So I didn’t come in. He stood there and looked at me and then smiled. I figured it out and came in the next time.” Both Gombergs break into knowing smiles as they recount the 1960 eight-week tour to Taiwan, Japan, and Australia. “Eight weeks, can you imagine the orchestra on an eight-week tour now?” says Sydelle. “I’ve never been so depressed as the day he left, me standing there with four little kids and a German shepherd.” 21 5/16/07 6:44:03 PM 22 Letters to the Editors Current Events Letter to the Editors - A Tribute to Norman Herzberg Dear Editors Thank you for the excellent tribute (to Norman Herzberg). You’ve covered all the general things I would have mentioned. That leaves me with the difficult stuff; what Mr. Herzberg (I still can’t call him Norman, even after 31 years) meant to me personally. There is not a moment during my time playing the bassoon when I do not have Mr. Herzberg’s voice in my ear. His true specialty as a teacher was his ability to instill a rigorous work ethic, and a critical ear that cannot be ignored. Rarely do I hear him say “atta boy!” Often do I hear one of his more colorful epithets. The fact that I still practice scales, intervals, and long tones every day is a testament to his (justified) insistence on fundamentals. Now for the difficult part. I don’t really want to turn this into true confessions, but Mr. Herzberg was and will remain the most important male role model in my life. Before everyone started talking about mentors and mentoring, he was my mentor. My studies began with him when I was fifteen and continued until I began employment at twenty three. This was a very rocky period in my life. My relationship with my own father was volatile, and rather unhealthy. Mr. Herzberg became my surrogate father. I don’t think I’m the only one of his students who can say this. Throughout my career, Mr. Herzberg and I kept in contact. He helped on the many occasions I needed help. He attended my wedding (embarrassing me half to death at the rehearsal dinner with stories about my youthful indiscretions). He made my life easier with his profiler. I will never forget Mr. Herzberg, I will insist my students know about his legacy, and I will miss him beyond reason. Seth Krimsky, USC class of ‘83 Principal Bassoon, Seattle Symphony Bassoon Instructor, University of Washington 09 LettersToEditors.indd 22 5/16/07 7:00:27 PM The Double Reed 23 Remembrance of Norman Herzberg Gary Friedman San Rafael, California 09a HerzbergRemembrance.indd 23 The last time I saw Norman was in May 2003 when he and Leah came to hear one of my compositions performed at Los Angeles Pierce College. He was very kind in his appraisal of the piece. That weekend Leah invited Ruth, my wife, and me to a meeting of the local Democratic Party where Susan McDougal of Clinton/Whitewater fame spoke. Leah was obviously much loved and respected by her Democratic colleagues. u Current Events I am both a first cousin of Norman Herzberg (his mother was my father’s sister) and a member of IDRS and can provide another view of Norman. He was 18 years older than I so I did not have much contact with him. From occasional family gatherings during my childhood and adolescence, I do remember his arguing with my father, who was a businessman and a Republican, about the merits of the musician’s union. Norman spoke very passionately about the economic problems of musicians and how Mr. Petrillo the head of the union at that time, was trying to alleviate them. I think, but am not sure of this, that it was Norman who discovered that I had absolute pitch when I was a little boy learning to play the piano - an attribute that, to my annoyance, has become less accurate over the years. He recently told me that having relative pitch is more important than having absolute pitch and I agree. Others have written of Norman’s superb craftsmanship with regard to his reed-making profiler and other projects. I remember visiting him at home in Encino perhaps 30 or 40 years ago and seeing how he had beautifully restored a Jeepster, a sporty derivative of a jeep that probably most IDRS members have never heard of. My response to my mid-life crisis at age 54 was to return to music by learning to play the oboe. Preferring low pitch I would have chosen the bassoon. One of the main reasons that I didn’t was Norman. I didn’t want to have to live up to his excellence or ever be compared to him. Fortunately, playing oboe, and especially English horn, has proven to be very rewarding. And many times, playing in various chamber and larger groups, I have met people who learned from, played with, or otherwise knew and valued Norman. His influence has been large. 5/16/07 6:44:24 PM 24 Obituaries Obituaries Current Events L. Hugh Cooper (1920-2007) Harold W. Kohn (1920-2007) University of Michigan School of Music, Ann Arbor, MI 48104. As a final note of tribute, there are arrangements afoot to publish some of Hugh’s many writings on the bassoon by Dr. Mark Claque at the University of Michigan. We will hopefully have more information on this development at a later date. For now we Editors join both the IDRS and the double reed community in mourning the loss of this great artist. L. Hugh Cooper T he IDRS was deeply saddened to learn of the death of distinguished Honorary Member L. Hugh Cooper on Thursday, April 26th, 2007. Hugh was one of the founding fathers of the IDRS and served as bassoonist in the Detroit Symphony and professor of bassoon at the University of Michigan for over half a century. He will be missed greatly by all of us who came to know and love him at the many IDRS Conferences he attended and participated in bringing to fruition. Because this issue was in final preparation when the news reached us, we are planning to have a memorial tribute to him in the following issue, Vol. 30, No. 3, of The Double Reed. Those of you who will want to contribute to this memorial can send their comments to Dr. Jeffrey Lyman at the following address or e-mail: The IDRS has learned of the death of longtime IDRS member Harold W. Kohn, 86, who died peacefully in his home in Columbus, Ohio, on February 13, 2007. Harold, who was a frequent attendee at IDRS Conferences was a strong supporter of Chris Weait and his bassoon studio at The Ohio State University, as well as an active amateur bassoonist himself. He was particularly fond of “busking” and often entertained with his wife Janet at County Fairs and convalescent centers. His enthusiasm for everything bassoon was infectious, and he will be sorely missed. The IDRS joins his family and many friends in mourning his loss. Jeffrey Lyman 2905 Canterbury Road Ann Arbor, MI 48104 E-mail: jlym@umich.edu Those of you who might want to contribute to the Hugh Cooper Scholarship fund can contact the 09b Obituaries.indd 24 5/16/07 6:44:53 PM The Double Reed 25 Oboists in the News Dan Stolper Palm Desert, California L to R: Robert Walters, Margi Griebling-Haigh, and Karel Paukert. Margi’s Danses Ravissants for flute, oboe, cello, and harp was given its premiere performance on April 11 at Trinity Cathedral in Cleveland by co-commissioners Susan Royal (flute) and Danna Sundet (oboe) along with cellist Natasha Farney and harpist Jody Guinn. Songs for Young Lovers (poetry by Edna St. Vincent Millay) will be presented by soprano Sandra Simon and oboist Danna Sundet on May 20 at historic St. Peter’s Church in Cleveland. Many of Margi’s works including oboe and/or English horn are available through Jeanne, Inc. (www.jeanne-inc.com). Danses Ravissants will soon be available on a CD from Centaur Records. Please visit Margi’s website, www.musicalligraphics.com, for information on other recordings, including the 2CD set from the John Mack Memorial Concert, and publications. 09c OITN.indd 25 Dwight Russell Parry is just finishing up his first and only season as principal oboe of the San Diego Symphony. His short tenure there is due to the fact that he was recently hired as the new principal oboist of the Cincinnati Symphony Orchestra. Mr. Parry’s new job begins in the fall. Previously he worked with Michael Tilson Thomas in the New World Symphony in Miami, Florida. Originally from southern California, he began studying piano and voice at an early age, but it was not until his sophomore year of high school that he started playing the oboe. He pursued his studies with Joel Timm, who opened his eyes to the idea of actually making a living playing music. Mr. Parry completed his Bachelor’s degree in oboe performance at the University of Southern California, where he studied with Allan Vogel. Another guiding figure in his life has been David Weiss, who, though never formally his teacher, has been a devoted mentor and a great friend from the moment they met. Mr. Parry later earned his Master’s degree from the Cleveland Institute of Music, where it was his sincere privilege to work with John Mack. Although passionately devoted to orchestral performance, Mr. Parry maintains a special affinity for performing as a soloist, both with orchestra and as a recitalist. As an advocate of contemporary music, he has participated in numerous premieres including those of five new works featuring the oboe, all of which were written expressly for him by different composers. Mr. Parry’s professional solo appearances from the last few years have included the oboe concertos of Strauss, Mozart, Marcello, J.S. Bach and Vaughan Williams. In orchestral performance, Mr. Parry has been in demand both in the United States and abroad. He has appeared as guest or trial principal oboist with orchestras such as the New York Philharmonic, the Cincinnati Symphony, the Atlanta Symphony, the Los Angeles Opera, and the Deutsche Symphonie Orchester of Berlin. In addition to performance, Mr. Parry also has great interest in pedagogy and has giv- Current Events On March 11, Margi Griebling-Haigh’s Cortege d’antan for oboe, English horn, and organ was premiered at St. Paul’s Episcopal Church in Cleveland Heights, Ohio. The piece was commissioned by renowned organist, Karel Paukert, and was performed by him along with the composer, oboe, and Cleveland Orchestra solo English hornist, Robert Walters. The concert also included several of Margi’s new arrangements: Bartok duets for oboe and English horn, Kodaly Epigrams for two English horns and organ, and Josef Suk’s “Intermezzo” from Slepi hudci for two English horns and organ. 5/16/07 6:45:05 PM 26 Oboists in the News Current Events en masterclasses at the University of Southern California and at the Cincinnati College-Conservatory of Music. This season he served as faculty at both San Diego State University and at the University of San Diego, and has had eleven years of rewarding experience as a private music teacher. Honorary member Ray Still, long-time first oboist of the Chicago Symphony will give an oboe master class for professionals and advanced students on Saturday, September 22, 2007 (9:00am to 12:00pm and from 1:30 to 3:30pm) at the Unitarian Universalist Church in Annapolis, Maryland. Mr. Still will cover a wide range of oboe repertoire: solo, chamber and orchestral. He will deal with common technical problems in performance, and will include a talk “It’s all in the breath”. An evening recital is planned. Mr. Still is inviting some professional colleagues to join him in an oboe/English horn trio, and he is planning to participate in a performance of Mozart’s Quintet, K. 452, with his son, Thomas Still, at the piano. Fee for participants (limited to 12) is $150.; auditors (not limited) $40. Further information (including the application form) is available on Mr. Still’s website: www.raystill.com, or e-mail to Tim Barnum at timothy_barnum@yahoo.com. All proceeds will go to the Anne Arundel Habitat for Humanity. Jean-Louis Petit, administrator of the Concours International d’interpretation de Paris-Ville d’Avray, which this year focused on the oboe, sends us results of the competition. Here is the list of winners. First prize (1,500 Euros): Jose Andres Valerio Molina of Spain; second prize (1,500 Euros): Emmanuel LaVille of France; third prize (1,000 Euros): Althea Ifeka of Great Britain; and the prize for the best interpretation of contemporary repertoire (1,500 Euros): Pierre Makarenko of France. Four more participants were singled out for special mention: Asuka Akaki (Japan); Margaret Herlehy (USA); Ramon Ortega (Spain); and Pierre Makarenko (France). The 2008 competition will be for horn. This spring’s Boston Early Music Festival takes place June 11th-17th in many venues around Boston and includes concerts, exhibitions, masterclasses, and chamber music recitals. The festival orchestra’s members include these double reed players: Gonzalo X. Ruiz and Washington McClain, baroque oboe; 09c OITN.indd 26 Kathryn Montoya, haute-contre d’hautbois; Debra Nagy, taille d’hautbois; and Marilyn Boenau and Dominic Teresi, bassoons. For further information and ticket information, visit www.bemf.org or call: 617/868-BEMF. Geoffrey Burgess and Bruce Hayne’s collaboration The Oboe (Yale University Press, 2004) was announced as the winner of the 2007 Nicholas Bessaraboff Prize given by the American Musical Instrument Society. The committee indicated that the book emerged from this year’s selection of books under consideration as “a masterful work of enormous accomplishment and importance to the entire field of organology.” Congratulations, Geoffrey and Bruce! The Cardiac Kids, a trio (flute, oboe, and cello) of young musicians who study at the Cleveland Institute of Music Preparatory Division’s Chamber Music Program, recently gave a recital at Montefiore, a senior center in Beachwood, Ohio. Members of the trio are Joshua Lauretig, oboe, who is in 7th grade at the Beachwood Middle School; for the past year he has been studying with Danna Sundet. Joshua has been a participant in the CIM chamber music program for three years, and he pioneered the inclusion of wind instruments in the program. Alice Catanzaro, flutist, has been studying for four years, the past two with Mary Kay Ferguson; she is a 6th grader at St. Ann School. Benjamin Francisco, cellist, is a 6th grader at Old Trail School in Bath; he has been studying the cello for for seven years and is the principal cellist in the CIM Preparatory Orchestra. The trio’s coach, Mary Kay Ferguson, says about the Cardiac Kids, “They have really bonded as a group, their families as well. I enjoy working with them immensely. There is never a dull moment and they play beautifully!” u The Cardiac Kids l to r: Joshua Lauretig, Benjamin Francisco and Alice Catanzaro 5/16/07 6:45:05 PM 27 The Double Reed Something That Was Never Had - Rice (Three weeks with four bassoon players through five cities in China) Stephan Weidauer (“Wei Dao Er“) Saarbrücken, Germany (Translation from German to English by Eva Sjögren, Graham Salvage, Sibylle Göhner ) Current Events Reprinted from Rohrblatt, Reed magazine, Frechen 21 (2006), pages 141-146 with permission from Müller & Müller Publishing House. “The easiest way to learn about another country was to meet the professionals in one’s own field.” Isaac Stern (1999 looking back at his tour in China 1979) T he Püchner China tour took place from the 11th of June to the 1st of July 2006. It comprised principally of three main activities: exhibitions showing the different bassoon models from the J. Püchner Company, concerts with bassoon ensembles with four to eight bassoons as well as master classes in some Chinese conservatories. Shanghai became acquainted with Western music in 1880 when the Shanghai Symphony Orchestra was founded. This was the first bassoon quartet touring the P.R. of China and is described below. The touring party included: Zhang Jin Min, principal bassoonist of the Singapore Symphony Orchestra (SSO), Liu Chang, his colleague and assistant bassoonist of the same orchestra, the writer (of this article) Stephan Weidauer, principal bassoonist of the Saarländisches Staatsorchester (another SSO!) as well as Shi Li from Vienna. The three Chinese bassoon players knew each other from the time they were together in Beijing and now work abroad as orchestral musicians, solo players and senior lecturers. Liu Chang has made a specific career as a very well-known rock singer in China, when he sang the opening song of the Asian Games in 1990 and despite his retreat from the stage he was often surrounded by female autograph hunters – his songs could be heard even during this tour of 2006! The spiritual leader of everything was Shi Li, now living in Vienna who had gone through an adventurous life during the Cultural Revolution and later on as a dance musician until he was discovered by Karl Öhlberger from Vienna. He was the manager and the organizer of the entire concert tour. 10 China2006.indd 27 Zhang Jin Min Liu Chang Shi Li Stephan Weidauer 5/16/07 6:45:38 PM Current Events 28 Something That Was Never Had - Rice Stephan Weidauer giving a masterclass in Xian. I was the person in the bassoon quartet who was appointed to take care of the master classes for the students, - the only ”white ghost”. Going back to the time that Isaac Stern taught in 1979 for no fees in China, (a documentary film about this was given an Oscar in 1980 entitled “From Mao to Mozart”) it is expected that all Europeans unselfishly, generously and freely offer their art and experience. In each city on this tour the very bassoon professor himself was co-organizer, participating at rehearsals, concerts, masterclasses and exhibitions. The fifth person joining our group during the first half of this journey around China was Gerald Püchner of the world renowned bassoon manufacturer Püchner. The daily schedule when not aboard an aeroplane, had mostly the following form: Early morning in the conservatoire setting up the bassoon exhibition and starting the classes, continuing in the afternoon and also rehearsing for the ensemble concerts. The four core members being enhanced in numbers by local players to perform quintets and octets. The concerts were given during the afternoons or evenings. The music comprising mainly of arrangements put together by Shi Li. The first half of the concert was classical music from Mozart to Verdi and after the interval lighter entertainment from the Bubonic bassoon quartet publications and Beatles songs. Our first stop was naturally Beijing; from a Chinese viewpoint the centre of the world! In the Central Conservatoire of the P.R. of China Li Lan Song 10 China2006.indd 28 welcomed his guests. I gained my first experience of teaching Chinese students here. Although my Chinese was sufficient for simple conversation, this did not extend to the subtleties needed for “in depth” teaching of the bassoon. It is most unusual that English is used and understood amongst Chinese students and after a short time it was discovered that the common international musical terminology like f or crescendo was not used and the Chinese word took their place, e.g. dà (big) for f and dà-guan (big tube) for bassoon. In Beijing, I was fortunate; a Chinese bassoon student from Saarbrücken happened to be present and kindly helped me linguistically. On one occasion an interpreter had been engaged who was quite good at English but had no clue of musical terminology. When it came to piano he was of the opinion that “piano” referred to the instrument. A hosting bassoon professor, (Song Zhi Bin in Chengdu) was used from his student days to speaking German with a Franconian Nuremberg accent. When I veered away from the subject, help was found through my accompanying colleagues with their bilingual ability. During my master classes Shi Li was usually also giving master classes on the contrabassoon (di-yin dàguan, low-tone-big-tube) – incidentally the first contrabassoon classes in China – and Gerald Püchner, assisted by Liu Chang and Zhang Jin Min, took care of the exhibition. This did not only mean playtesting of the bassoons by players from the region, but also to give first-aid-repair-service by Gerald Püchner and Liu, (who through a course at the workshop of the prominent Püchner company in Nauheim was able to 5/16/07 6:45:39 PM 29 The Double Reed Gerald Puchner repairing bassoons in Shenyang. 10 China2006.indd 29 Jia Da Yong language was not helpful on this occasion. Shenyang is the home town of Shi Li, where he studied at the conservatoire and he told us touching stories from his time as a student and was cordially greeted there by everyone. It was not only here however that Shi Li seemed to be known but also by the entire bassoon world in China and vice versa. His hotel room was always a reception and organisation office for a constant stream of visiting bassoon players and other musicians. The third city was Shanghai with a temperature of +38°C and a humidity of 95%. Here I experienced for the first time a bassoon pad sticking, the reeds also behaving in a subtropical manner. The Shanghai conservatoire turned out to be a giant building site, the old buildings mostly having been pulled down, and on large building maps one could see the ultra-modern and giant conservatoire which was under construction. As the new building was not yet in existence the hosting professor Liu Zhao Lu was highly stressed to find a suitable space for us. Finally we were generously given rooms in the building of the Shanghai Philharmonic Orchestra so that our group could have room for the exhibition, for lessons, rehearsals and the concert. Whilst Gerald Püchner was boarding his homeward bound plane, the rest of the crew took the flight to Xian, in my opinion the nicest town when it comes to accommodation, surroundings, the campus and concert hall as well as hospitality with scrupulous Current Events assist). The Chinese students did predominantly play inferior bassoons in a poor condition, - they could be adjusted, but on several occasions Gerald Püchner had to give up. Where to start, where to stop? To really upset him one could hand over a non-swabbed and soaking wet bassoon asking for it to be repaired. Help was needed not only for the knowledge of bassoon music and musical terms, but also for the maintenance of the instruments. The visitors of the exhibitions expressed great enthusiasm for the quality of the Püchner bassoons. Although the price-level was higher than what is the norm in China, Gerald Püchner sold every single instrument that had been brought along. Regarding my vision of bassoon professors: Here I had a completely false preconception of going to see elderly dignified gentlemen; instead I found quite young men who welcomed us, whom I almost always took for students. This was the experience I came across in all the five cities, one encounters there an absolutely new and young generation of conservatory teachers, most having studied abroad or who were still taking courses. The road from being a student to becoming a professor is a short path, often without any experience of orchestral playing. One of them was the host in the old Manchurian city Shenyang (earlier Mukden); Jia Da Yong, from the conservatoire in this town. He had been studying in Russia, but unfortunately his knowledge of that 5/16/07 6:45:41 PM Current Events 30 Something That Was Never Had - Rice preparations arranged by the host Zhou Wen Bo. Just 24 years of age he was the youngest of all the professors. When it comes to conservatories in China one has to visualize a huge or giant campus with large and smaller concert halls, libraries, dining halls and entire living quarters – still with separate quarters for men and women! – and generous skyscrapers. These are aspects that leave musicians from the lands of diminishing cultural budgets in respectful amazement. Our local university college has perhaps the size of a small Chinese college reception. The number of students counts between 3,000 and 16,000, including those who are studying traditional Chinese music. Especially enormous was the new campus in Chengdu, the capital of Sichuan, which was the last stop of our visit. Moreover, Xian and Chengdu, which we in Europe believe to be provincial towns, have in fact “only” 8 million inhabitants. The conservatoire of Chengdu has certainly a respectable campus in the city. Furthermore, it now has an extra enormous area placed outside the town wall with futuristic buildings and a traditional park. However, there are rumours that they have put themselves into great debt since there were no funds left for the purchase of a contra bassoon! The Principal smilingly told us that the “low-tune-big-tube” is seldom used in the orchestra. Now we come to the core of the problem of the Chinese conservatories of music. An insider informed us that the hardware is now at hand but that the software is principally still missing. If this refers to the substance of the education, methodology, didactic and pedagogy, I can really agree. The statement made by my prominent forerunner Isaac Stern about the situation in 1979 is still correct, a statement which surely not only referred to violin but also to the bassoon: ”They could all play the notes with astonishing dexterity but they did not understand the music. They wanted to play fast, flashy, loud and difficult compositions, display their technical virtuosity. They hadn’t had sufficient time or instruction in basic musical values.” In fact, this was exactly my impression after having experienced five different conservatories. When it comes to technique I have nothing to say, but regarding breathing, quality of sound, phrasing, articulation, text accuracy, structure and dynamics there is much work to be done. It starts with the education material which consists of bad copies taken from copies, taken from further copies. The ability to write the composer’s names in the original language was unknown, this was sometimes in Chinese or often even in Cyrillic. It is difficult to explain the illegal action of copying music when this way of doing it is practically taken for granted in China. Bassoon power in Xian. 10 China2006.indd 30 5/16/07 6:45:42 PM The Double Reed 31 Current Events Bassoon quartet concert in Shanghai. Furthermore, too many difficult pieces of music were played too early, e.g. Weber’s Andante e Rondo Ongarese in the second year of their studies. One could only talk briefly about the historical practice of performance, first of all the basics have to function. For instance when a professor plays with a hideous sound and the students diligently imitate this, it is a wonderful experience when after a few minutes of my own teaching the student produced a completely different sound on the bassoon. Also in the field of orchestral studies and excerpts we would all like to see considerably longer and more detailed tuition given by European guests. One of the tutorial lessons given by the “white ghost”, may pop up in the CV of students, but only small tips and inspiration can be given in a single “one-off” lesson. What did the guest university teacher and hobbysinologist experience and see apart from conservatories and hotel rooms? In every town something special: In Beijing we stayed around the corner from Tian An Men Square and the forbidden city, and a taxi excursion to the lovely Tian Tan (Temple of Heaven) was also possible. In Shenyang, the insider Shi Li – himself an aristocratic Manchurian – showed us the first palace of the Qing-Dynasty (1644-1911) and the tomb of the first Manchurian emperor, his ancestor so to speak. In Shanghai we saw the coastline’s futuristic panorama illuminated by night – which twenty years ago did not exist! Around Xian there was an evening 10 China2006.indd 31 stroll through the enchanting old town and two real excursions, one to the Buddhist monastery “Fa Men Si”, and of course one to the Terracotta Army with its 8,000 soldiers, (Isaac Stern was only able to see a few hundred). In Cheng-Du a visit to a wonderful and newly restored old quarter and genuine pandas! What about body and stomach? You can forget all what you have eaten from the Chinese restaurant around the corner! We admired each region with its own specialities, however there was one thing that was never served: Rice. There are enough of other delicacies. Drinks? Tolerable beer, ice cold and without froth, you just had to be careful with “Gan bei!” because that meant literally “empty your glass”! – with no whistle being blown.... Football World Championship? No issue or more accurate: a big one. CCTV 5 was sending live and in replay with Chinese pronunciation our national eleven, Ba La Ke and Ke Lo Se… To sum it all up, an adventure with minor difficulties but with positive results, which in a modified way could be repeated, because everywhere it was heard ”Zai lai! – come back!” u Stephan Weidauer is the former President of IDRS Deutchland, bassoon teacher at the Hochschüle für Musik, Saarbrücken, and principal bassoon of the Saarländisches Staatsorchester. 5/16/07 6:45:43 PM 32 IDRS Membership application Form International Double Reed Society Membership Application For the calendar year of January 1 - December 31 of New Renewal Please TYPE or PRINT (You may also renew/apply on-line at: www.idrs.org) Name Address: (Last) (First) (Students should use home address to assure receipt of publication) (City) (State/Province) (Country) Fax Number Phone (Area) (Number) (Postal Code) Business Phone E-Mail Address Instrument(s): Profession or affiliation: (orchestra, school, business) ANNUAL DUES ❏ $50.00 . . . . . . . . . . . . . . . . . . . . . . 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Hooks, Executive Secretary/Treasurer International Double Reed Society 2423 Lawndale Road Finksburg, MD 21048-1401 USA Phone (410) 871-0658 FAX (410) 871-0659 E-Mail: norma4idrs@verizon.net 5/16/07 6:45:58 PM 33 The Double Reed 3rd Annual Oboe Day at the University of South Florida (April 14, 2007) Amy Collins Tampa, Florida Current Events The University of South Florida Oboe Day Participants 2007. (Amy Collins, bottom left and Carlos, middle third from left) O n April 14, 2007, The University of South Florida (Amy Collins, oboe professor) hosted its Third Annual Oboe Day. Young oboists from around Florida attended a morning repair and adjustment workshop given by Carlos Coelho. In the afternoon participants attended a reed making workshop given by Amy Collins. During the reed making workshop, each participant had an assigned time to have Carlos adjust their oboes. Stellar Oboe Products was on hand to fulfill oboe supply needs and some participants had a chance to try out new Lorée oboes brought by Carlos. The Music Department at The University of South Florida looks forward to its next Oboe Day 2008! Carlos Coelho during the repair workshop. 12 USF_DR Day.indd 33 5/16/07 6:46:10 PM 34 Articles Articles 13 Articles.indd 34 5/16/07 6:46:22 PM 35 The Double Reed New Light on the Weissenborn Family William Waterhouse London, England (This article is concurrently being published in Double Reed News of the BDRS and in Rohrblatt.) T he Weissenborns came originally from Thuringia in Eastern Germany. Three members of the family were professional bassoonists active in Eisenberg and Leipzig. While the name of Julius Weissenborn (1837-1888) is known universally to every bassoon-player, that of his elder brother Louis (1813-1862) and father Wilhelm (1788-1865) has hitherto remained unknown. What follows sets out for the record in tabular form what information I have been able to piece together on the careers of three remarkable musicians (see Illustration 1). WEISSENBORN FAMILY TREE Illustration 1 HANS WEISSENBORN = ? 1660? ?= ?= WILHELM = Johanne BUSCH Otto Ernst Julius Luise Felix Juliane ? JULIUS = Mathilde OETTEL Ernst Hedwig Carl Erdmann FRITZ = Emmi GOLDACKER Max Marie Fanny HELLMUTH = Lesley MACDONALD Articles Caroline MEYER = LOUIS = Clara ERNST Johann Wilhelm Weissenborn (1788-1865) Directly descended from Hans Weissenborn, b May 1600 in Schafau (nr Rastenberg, Thuringia). 1788 28 May ante 1813 b Johann Wilhelm Weissenborn in Schafau settled in Friedrichstanneck 1813 14 June married Johanne Christiane Busch (d ?) in Eisenberg, where listed as Musikus allhier (musician active locally) - 29 Dec birth of son Louis 1837 13 Apr birth of son Julius ? birth of daughter Juliane and another daughter 1843 documented as Musikus and a sought-after supplier of bassoon reeds 1852 elected as GemeindeRath I. Klasse in Friedrichstanneck to serve for 2 years 1862 joined by Louis’s widow Klara and family 1863 June: celebrated Golden Wedding, for which Julius composed a Polka for piano 1865 14 WeissenbornNewLight.indd 35 20 May d at age of almost 72. 5/16/07 6:46:38 PM 36 New Light on the Weissenborn Family Wilhelm Weissenborn had, by the time of his marriage in 1813, relocated 25 miles away from his birthplace in a small village on the outskirts of Eisenberg. Friedrichstanneck, though only a small village1, was a popular resort with a Gasthof that attracted visitors, and he could evidently make a living there as a professional musician. In 1843 he was documented there as being a sought-after supplier of Faggottmundstücke [sic] (bassoon reeds)2, and as Musikus - indicating a degree of all-round musical ability. He evidently trained both of his sons to become bassoonists - and Louis a violist as well. A set of bassoon duets by G.A. Schneider copied by him survive3; undated, they presumably served as teaching material. Friedrich Louis Weissenborn (1813-1862) 1813 b ‘Friedrich Louis’ in Friedrichstanneck, elder son of Wilhelm, then married to mother since only 6 months; emergency baptism same day by the midwife Zuckschwerdt 1830 made manuscript copy of three bassoon duets by Blasius at age 16 1835 appointed 2nd Bassoon in Leipzig at age 21 (as colleague of Carl Wilhelm von Inten (1799-1877) 1837 appeared in Leipzig as soloist in Concertino by Maurer (AMZ , 9 Dec 1837, p.836) - Articles 29 Dec 13 Apr birth in Friedrichstanneck of younger brother Julius, later bassoonist in Leipzig 1838 appeared in Leipzig as soloist - for Felix Mendelssohn Bartholdy (FMB) copied J.S. Bach Cantata parts (8 folios), performed in June at Cologne 1841 appeared in Leipzig as soloist - for FMB: copied J.S.Bach Matthäus Passion parts (75 folios) for 4 Apr performance in the Thomaskirche, Leipzig 1842 - appeared in Leipzig as soloist 14 Aug 1843 married Caroline Wilhelmine Pauline Meyer (1821-1849) appeared in Leipzig as soloist - 21 Jun birth of son Max Otto (1843-1871), later bookkeeper in a Leipzig music shop - Sep for Robert Schumann: copied Paradies & Peri (2 Oct entry in Haushaltbuch) - Dec for FMB: made 2 copies of MSND (2+5 letters FMB/LW @ Oxford, London, Washington-DC) 1844 30 Sep birth of son Ernst Louis (d at age 5) 1846 appeared in Leipzig as soloist 2 Jan birth of son Julius Eduard (d at age 3 weeks) - for FMB: copied Athalia for presentation to HM Queen Victoria: 156 folios (@ GB-Lbl) - for FMB: copied Oedipus for presentation to Albert Prince Consort: 104 folios (@ GB-Lbl) - for FMB: copied Oedipus (one movement cut) for presentation to Franz Hauser: 194 pages (@ GB-Lbl) 1848 1 Jan - birth of twins: Luise Cäcilie (d at age 1) and Paul Felix (d at age 20 weeks) appeared in Leipzig as soloist Nov 1849 for Robert Schumann: copied Genoveva op 81 Acts 3 & 4 {letter 13 Dec LW to RS @ Zwickau) appeared in Leipzig as soloist - 25 Sep death of 1st wife Caroline Wilhelmine Pauline at age 28 - Nov for Robert Schumann: copied Concertstück op 86 (letter 6 Nov RS to LW @ Zwickau) 14 WeissenbornNewLight.indd 36 5/16/07 6:46:39 PM 37 The Double Reed 1851 11 May 2nd marriage to Clara Ernst (1827-?) 1853 12 Oct birth of daughter Marie (1853-1935), later schoolmistress 1855 1856 having retired as 2nd Bassoonist at age 41, now became viola-player in the Orchestra 10 Jun birth of daughter Fanny (1856-1953), who 1876 married Emil Krödel, d Grossenhain aged 97 1857 younger brother Julius appointed 1st Bassoon in the Orchestra 1860 retired as viola-player in the Orchestra 1862 6 Feb - died as Pensionär in Leipzig at age 48 widow Clara with three children Otto, Marie and Fanny relocated in Friedrichstanneck. Articles Thanks to new evidence, it is clear that Louis Weissenborn was hardly less talented a musician than his younger brother Julius. He was early trained both as bassoonist and string player, doubtless by his father. At age 21 he was appointed to the Leipzig orchestra as 2nd bassoonist. He made eight appearances as soloist there between 1837 and 1849; in a concert review of 18414 Robert Schumann praised his playing of a concerto as excellent. His first wife bore him five children, only one of which survived infancy, but she died 1849 aged 28; a second wife bore him two further children. In 1855 at age 41 he switched from bassoon to viola. After completing 25 years with the Orchestra he retired on pension, dying two years later aged 48; his widow returned with the children to live in Friedrichstanneck. Louis’s ancillary activity as a music-copyist working for such famous composers as Mendelssohn and Schumann can be documented from 1838. At this time music-copying, a trade requiring specific skills that only an experienced musician would possess, was frequently practised by orchestral players in order to supplement their meagre income5. Copyists were needed to reproduce legibly the composer’s manuscript for dispatch elsewhere, to extract individual band-parts from it and to duplicate them as necessary. In an age when performance royalties were unknown, delaying publication could benefit the composer financially, enabling him to supply copies himself. To these tasks might be added the preparation on occasion of a fair copy for presentation purposes. While qualities of speed and legibility were vital, accuracy was even more important in order to save precious rehearsal time. In the case of a composer like Robert Schumann, the deciphering of illegible handwriting would pose a further challenge. Louis built up an excellent reputation thanks to recommendations by Schumann’s publisher Whistling and the conductor Julius Rietz. For Schumann he was to make copies of the oratorio Das Paradies und die Peri (op. 50), two acts of the opera Genoveva (op. 81), and the Concertstück (op. 86) for four horns6. His earliest known copying assignment for Felix Mendelssohn - extra Bach Cantata parts for use in Cologne - dates from 18387. Three years later Mendelssohn gave a repeat performance in Leipzig of Bach’s Matthew Passion, which he had earlier premiered in Berlin. For this, new performing material was needed, and 75 folios copied by Louis have survived8. Over the following years until Mendelssohn’s premature death in 1847 he was to became one of the composer’s main copyists, to whom was entrusted not only the preparation of duplicate conducting scores but three fair copies for presentation. Their relationship is documented by a correspondence - two letters from the composer and five in response - relating to A Midsummer Night’s Dream (op61)9. In December 1843 Mendelssohn wrote from Berlin commissioning Louis to make duplicate copies of his new incidental music to Shakespeare’s play. This score presented both composer and scribe with unusual problems, since it contained passages of melodrama where spoken text needed to be interpolated into the score. Felix instructed Louis as follows:10 Dear Mr. Weissenborn, Enclosed is the manuscript of my Midsummer Night’s Dream music, which I would ask you to copy as quickly as possible. But take great care of my manuscript, so that I may have it back unaltered. Also on no account let it out of your hands. Ask Schwarz to show you the copy he has made and ask him to explain to you how I want the passages of melodrama to be written; notate them in the same way, and also ask 14 WeissenbornNewLight.indd 37 5/16/07 6:46:39 PM 38 New Light on the Weissenborn Family C[oncert] M[aster] David to lend you the volume of his Tieck Shakespeare that contains A Midsummer Night’s Dream, so that you can copy out of it the words of dialogue (which in my manuscript are partly unclear, and partly omitted) in the same way that Schwarz has done from my copy. I am relying on you to do all this with accuracy, since otherwise I might not be able to use the copy at all. And send me back both manuscript and copy at your earliest convenience (…) Articles He had agreed to entrust Louis with his precious original - a rare privilege - since the copy that Schwarz (an otherwise unrecorded copyist) had already made for scheduled performance in Leipzig was already in use and unavailable. Three weeks later the composer ordered further copies.11 (Illustration 2): Illustration 2: Envelope addressed to Louis Weissenborn in Mendelssohn’s hand, author’s collection. I was most contented with the copy that you have sent me, since accuracy is the main consideration, and I would ask you especially to attend to this in all the subsequent copies, because I am not able to look through all of them carefully and yet must be certain that they are free of any mistake regarding notes, markings, tempo indications and so on. From this we can see not only how meticulous Mendelssohn was over points of detail, but the degree of skills required by the copyist in order to be able to undertake such work, especially when needed in a hurry. To ensure 14 WeissenbornNewLight.indd 38 5/16/07 6:46:39 PM 39 The Double Reed accuracy at speed, he would need to be a trained musician to understand what he was copying. The elements of graphic skill required by a successful copyist are comparable to those faced by the music engraver. The copying of any orchestral score, especially when, as in the case of an opera or oratorio, a vocal line with text underlay has to be incorporated, calls for considerable skill. Problems of layout and justification need first to be addressed before any of the actual notes may be entered in. Louis was manifestly able to satisfy the composer with regard to his reliability; in addition he possessed the calligraphic skills required for preparing fair copies for presentation to Royalty. In 1846 he supplied exquisitely neat copies on thick cartridge paper of the scores of two major works: Athalie (op. 70) was commissioned for presentation to Queen Victoria, and Oedipus at Colonus (op.93) to Prince Albert12. While professional copyists never signed their work, Louis had the habit of adding a decorative flourish at the end of his work (see Illustration 3). For this Dr Ralf Wehner, Director of the Mendelssohn Archive in Leipzig, having studied the various scribal hands represented in surviving contemporary copies, had nicknamed him ‘the copyist with the terminal flourish with two dots’.13 Mendelssohn himself had often used a similar, though Articles Illustration 3: Terminal flourish (slightly reduced in size), from the copy of Mendelssohn’s Athalie commissioned in 1846 from Louis Weissenborn for presentation to Queen Victoria (London, British Library R.M.g.5). Reproduced by permission. 14 WeissenbornNewLight.indd 39 5/16/07 6:46:40 PM 40 New Light on the Weissenborn Family less flamboyant sign, as did also Brahms later on. In 2000 Dr Wehner was for the first time able to identify him as Louis Weissenborn by comparing the copious passages of written dialogue appearing in the scores with that of his five surviving letters. To him could also be attributed manuscript copies preserved today in London, Oxford, Leeds, Paris and Princeton14 (none of his work for Schumann survives). The author already happened to possess a music manuscript copied by Louis at the age of seventeen.15 The comparison of this example of his early hand with his later work has confirmed this identification. Christian Julius Weissenborn (1837-1888) 1837 13 Apr @ Leipzig aa1854 @ Rostock 1855/56 @ CH-St Gallen 1856 @ Eisenberg / Düsseldorf 1857 Articles b ‘Christian Julius’ in Friedrichstanneck 1852/53 Appointed 1st bsn @ Leipzig aged 20 as successor to C.W. von Inten 1860 14 Jan married Mathilde Henriette Lina Oettel (1840-1903) - Aug. testimonials from Julius Rietz, Dresden, and Moritz Hauptmann, Leipzig, as to ability as choral conductor 1861 21 Nov birth of son Ernst Felix (1861-1899), later a teacher in Leipzig 1863 27 Mar birth of daughter Hedwig Maria Martha (d at age 4 months) - 16 Jun composed Polka Hochzeitstänzchen for his parents’ golden wedding in Friedrichstanneck (see Illustration 4) 1865 20 Sep birth of son Carl Gustav Paul (d at age 1 year) 1867 26 Nov birth of son Erdmann Curt (d at age 5 months) 1869 14 Mar birth of son Julius Fritz (1869-1941), later artist, teacher at Kunst-Akademie in Leipzig - appeared as bassoon soloist with Orchestra 1871 10 Jan birth of son Max Johannes (d at age 4 months) 1874 18 Oct Cantata Die Drei! (N. Lenau) premiered in Leipzig Gewandhaus Hall 1875 19 Jun Motet Herr, neige deine Ohren premiered in the Thomaskirche - 23 Apr Fest-Marsch performed in the Stadt-Theater 1876 Appeared as bassoon soloist with Orchestra 1879 Appeared as bassoon soloist with Orchestra 1882 Appointment to newly created teaching post @ Royal Conservatorium of Music - 21 May Drei humoristische Stücke for 3 bassoons performed in the Centralhalle (see Illustration 5) - 10 Jun 1887 1888 Motette Herr, neige deine Ohren performed for 2nd time in the Thomaskirche retired from the Orchestra after 30 years of service 21 Apr d Hospitalstr. 32, Leipzig, one week after his 51st. birthday. The name of his younger son Julius is known to bassoonists worldwide on account of the tuneful etudes and tutor from which they have learned as beginners. Born in Friedrichstanneck, he doubtless benefitted as a bassoonist from the fact that both his father and elder brother Louis were also expert players of the instrument. As well as studying bassoon he also took composition lessons in Leipzig. Manuscripts dated from Rostock, St Gallen, and from Düsseldorf indicate that he was already gaining professional experience in these towns. In 1856 he obtained a remarkable appointment for one aged only 20 - that of principal bassoonist in the Leipzig orchestra. 14 WeissenbornNewLight.indd 40 5/16/07 6:46:41 PM The Double Reed 41 Here his duties included playing for concerts, at the opera and in church. At the time of his marriage two years later he obtained testimonials from two leading conductors16 in order to obtain an appointment as choral conductor. Both testified to his capability as bassoonist, composer and arranger; however these ambitions failed to materialize. In 1869 he appeared for the first time as bassoon soloist with the orchestra, and further solo engagements were to follow. In 1874 the premiere of his cantata Die Drei! for soloists, chorus and orchestra was well received in the local press; this was followed by a motet that was twice performed in the Thomaskirche. A selfpublished Masonic Hymn indicates that he was a Freemason. In 1882 his music was commercially published for the first time, by now being an experienced composer for orchestra, military band and choir. That same year he was appointed to a newly created teaching post for bassoon at the Royal Conservatorium of Music. In 1887 he retired from the orchestra, having completed 30 years of service. His ambitious plan to write a large-scale Tutor - comprising practical instruction, etudes, and study pieces with piano accompaniment - indicate that he devoted much thought to his professorial duties. This original concept sadly failed to materialize, doubtless for commercial reasons, and much of what survived was divided between various publishers. In all, some eight publications of bassoon music appeared during his lifetime, most of which have remained in print to this day17. The ‘Bassoon School’ as published endorsed the Heckel bassoon (the founder’s son Wilhelm had introduced a new model in 1881), claiming that this now combined the benefits of Almenraeder’s reforms with the positive features of the earlier Dresden instruments (this and much else was omitted in Carl Schaefer’s revision of 1929 and all subsequent reprints). Julius died at his home in Leipzig, just one week after his 51st birthday. Miscellaneous Compositions Four part Lied: Weine nicht (as ‘op.1’) 1853 String Quartet movement (as ‘op.1’) 1854 Overture in C major for large Orchestra [Rostock 1854, as ‘op.2’] ? Wiegenlied Schließe, mein Kind (Max Träger) for Soprano + Piano. 1855 Finale from Der Freischütz arr. (lost) 1856 Finale from Lucia di Lammermoor arr. (lost) 1857 Four part Lied: Sink ich einst in jenen Schlummer (lost) ? 3 char. Tonstücke in Marschform: i Rekrut!, ii Der Abschied, iii Glückliche Heimkehr[as ‘op.2’]: versions for 1860 5 Geschwind-Märsche and 2 Reveillen for Military Band / Orchestra: SchützenMarsch (+ Orch.arrt.), 1863 Polka: Großvaters Goldenes-Hochzeitstänzchen for Piano (later arr. for 3 bsn) ? Aus dem Soldatenleben – 3 char. Tonstücke in Marschform for Orch. ? op. 1 Lied: Brüderherzen klopfen freudig (Br. Lucius) for Tenor with Piano (privately published) ? Kriegerischer Marsch for large Orch. – Score & parts, do. 2nd version: Score 1874 Kantate: Die Drei! (N. Lenau) for Soli, Chorus & Orch.: Score, parts, Pf arrt. 1875 op. 5 Articles 1852 Motette: Herr, neige deine Ohren for Soli & Chorus, Forberg [PN 2979 = 1882] Concerto in G for Flute & Strings by Quantz: free arrangement, Breitkopf & Härtel [PN16645=1884] 1884 Compositions for Bassoon 1882 op. 3 1882 1882 ? 14 WeissenbornNewLight.indd 41 Romanze (Bsn & Pf.), Forberg [PN 2961] do. (Bass clarinet & Pf.), Forberg [PN 2962] op. 4 6 Stücke für drei Fagotte, Merseburger [PN 573]] “Teil iii einer Fagottschule”: 18 Ton- und Vortrags-Studien 5/16/07 6:46:41 PM Articles 42 New Light on the Weissenborn Family ? Title- / Thematic Catalogue: 60 Fagott Studien für Vorgeschrittene Op. 8.2 ?1887 Praktische Fagottschule / Practical Bassoon-School, Forberg [PN 3692] 1887 op. 8 Fagott-Studien Vol. i & ii, Peters [PN 7122/7123] 1888 op. 9 6 Vortragsstücke Vol. i, ii, iii, iv (Fg + Pf.), Forberg [PN 3883/3886) 1888 op.10 3 Vortragsstücke (Bsn & Pf.), Breitkopf & Härtel [PN 17973] ?1888 op.14 Capriccio (Bsn & Pf.), Merseburger [PN 1064] o. O. 5 Kleine Stücke (Bsn & Pf.), Hofmeister [PN 2168 = 1994] Polka: Großvaters Goldenes-Hochzeits-Tänzchen for Piano [1863]; composer’s autograph, author’s collection. Polka: Thé dansant im Landschlößchen [1882], Sechs Stücke für 3 Fagotte op. 4.3; composer’s autograph, author’s collection. 14 WeissenbornNewLight.indd 42 5/16/07 6:46:42 PM The Double Reed 43 The career pursuit of music was later discontinued in the family, Julius’s son Fritz and grandson Hellmuth becoming artists specializing in draughtsmanship and graphics. Fritz Weissenborn (1869-1941) showed precocious ability as artist, demonstrated by a surviving portrait in pastels made of his father in December 1883 at the age of fourteen18 (see Illustration 4). He became a tutor at the Kunst-Akademie in Leipzig, dying there on 22 December 1941. His son Hellmuth Weissenborn (1898-1982) evidently inherited some of these talents. After holding a post as Professor at the Leipziger Akademie für graphische Künste und Buchgewerbe he left in 1938 to settle in London, where he enjoyed a successful career as free-lance painter, engraver and book illustrator. It was from his widow that the author was able to acquire the material that he had inherited from his grandfather Julius, consisting of bassoon, choral and orchestral items (in Autograph and in First Edition), and contemporary documents and cuttings19. Günther Angerhöfer graciously gave to the author the results of genealogical research on the family that he had commissioned in 1973. In April 2006 a trip was made together to Eisenberg and Friedrichstanneck, the author’s research on Louis having been triggered by the acquisition of one of Mendelssohn’s letters to him. It has thus been possible to document the entire family, and to rescue Louis and Julius from obscurity. u Articles Illustration 4: Portrait of Julius Weissenborn by his son Fritz (Stadtgeschichtliches Museum, Leipzig, Porträt H. 21). Reproduced by permission. 14 WeissenbornNewLight.indd 43 5/16/07 6:46:43 PM 44 New Light on the Weissenborn Family For help in carrying out research for this article the author is indebted to the following: Günter Angerhöfer, Bad Lausick Dr Chris Banks, British Library, London Frau Dura, Stadtgeschichtliches Museum, Leipzig Dr Rudolf Elvers, Berlin Bianka Leißner, Stadtarchiv Eisenberg Dr Anette Müller, Robert Schumann Haus, Zwickau Uwe Pretzsch, Friedrichstanneck Dr Thomas Synofzik, Robert Schumann Haus, Zwickau Peter Ward Jones, Bodleian Library, Oxford Dr Ralf Wehner, Forschungsstelle Leipziger Ausgabe der Werke von FMB, Leipzig. Articles Notes 1 A population of 182 inhabitants was reported in 1843 (August Leberecht Back, Chronik der Stadt und des Amtes Eisenberg, Eisenberg, 1843, p. 501). 2 ibid, p. 501. 3 Author’s collection. 4 Performance of Variations by W. Haake (Neue Zeitschrift für Musik (26 Mar 1841) 103); Haake played 2nd flute in the Orchestra. 5 See Anette Müller, Komponist und Kopist - Notenschreiber im Dienste Robert Schumanns, (dissertation, Universität des Saarlandes, Saarbrücken 2005). In this pioneering study of Schumann’s 35 copyists, the author gives hitherto unavailable information on music-copying in the early nineteenth century. 6 Margit L. McCorkle, Robert Schumann: ThematischBibliographisches Werkverzeichnis (Munich, 2003), pp. 223, 363, 383. 7 Oxford, Bodleian Library Deneke 38. 8 Oxford, Bodleian Library MS. M. Deneke Mendelssohn b.8, b.9. 9 Letters from Louis Weissenborn to Mendelssohn dated 30 November, 19 December, 31 December 1843, 15 January, and 1 February 1844 (Oxford, Bodleian Library: Mendelssohn ‘Green Books’ XVIII 143, XVIII 252, XVIII 292, XIX 32, XIX 68). 10 Letter dated Berlin 2 Dec. 1843 from Mendelssohn to Louis Weissenborn (Folger Library coll., Y.c.1486 (2), US-DC-Washington), reproduced on their website >http://shakespeare.folger.edu/other/html/ dfogerman.html<. 11 Letter dated Berlin 28 Dec.1843 from Mendelssohn to Louis Weissenborn (author’s collection). Reprinted in the preface to the new Leipzig Edition, Series V, Vol. 8: Mendelssohn Bartholdy, Felix (ed. Christian Martin Schmidt): Musik zu Ein Sommernachtstraum von Shakespeare op. 6I, (Wiesbaden: Breitkopf & Härtel, 2000) pp. xv-xvi. None of 14 WeissenbornNewLight.indd 44 Weissenborn’s copies of this work has survived. 12 Athalie: British Library R.M.21.g.39; Oedipus at Colonos: British Library R.M.21.g.5. 13 “Kopist mit der Schlußschleife mit den zwei Punkten”; Weissenborn’s flourish is similar to the ‘Line of Beauty’ which the British painter William Hogarth published in his treatise The Analysis of Beauty, London, 1753 14 Under the auspices of his work on the new Leipzig Edition of the Works of Felix Mendelssohn Bartholdy, edited by the Sächsische Akademie der Wissenschaften zu Leipzig, Dr Wehner has been able to identify the following examples of Louis’s hand: copies of Oedipus at Colonos for Fritz Hauser (Oxford Deneke Mendelssohn c. 96) and for Prince Albert (British Library R.M.21.g.39); copy of Athalie for Queen Victoria (British Library R.M.21.g.5); copy of Lauda Sion (op. 73) for John Hullah (Leeds, Brotherton Library); copy of two songs (Paris, BN MS 210). Copies of Variations op.82 and op.83 for Piano are at Princeton University NJ (CO199, NO. 707). 15 These 29 pages of music manuscript (bassoon duets by Blasius), signed and dated ‘Louis Weisenborn [sic] 1830’ (together with other undated duets copied and signed by his father), formerly belonged to Julius’s student Adolf Gütter, later of Berlin. They then passed to his American nephew Walter Gütter (1895-1937), and then to his successor in the Philadelphia orchestra Sol Schoenbach (1915-1999), who in 1969 gave them to the author. 16 Moritz Hauptmann (1792-1868) of Leipzig and Julius Rietz (1812-77) of Dresden. 17 A compact disc of 62 minutes duration (EQ 72) devoted to works of Julius Weissenborn for bassoon was recorded by Robert Williams and issued in 2004 by EQUILIBRIUM >www.equilibri.com<. 18 Leipzig, Stadtgeschichtliches Museum (Porträt H. 21). 19 Material acquired by the author from Mrs Lesley Weissenborn in 1982 and 2001. 5/16/07 6:46:44 PM 45 The Double Reed Supplements to Weissenborn Two New Bassoon Methods: A Review Ronald Klimko McCall, Idaho Cheryl Ann Huddleston: Foundations for Success: Technical Training for the Young Bassoonist Southern Music Company San Antonio, Texas 78292 Michael Curtis: New Millennium Bassoon Method (Now with 26 Progressive Duos) MMS Publishing Company, $20.00. Website: www.drumshtick.com/mikecurtis 15 Weissenborn.indd 45 Articles Years ago, when I was very active as a bassoon teacher of both beginning and advanced students, I had a beginner who, upon my urging, went out and got the Weissenborn Method (Cundy-Bettoney Edition, which I preferred because it also included the Milde Scale and Arpeggio Studies, Op.24), and began lessons with me. The student showed lots of promise: great basic sound, quick to adopt my suggestions, etc. That is until the infamous Lesson IX: the use of bass clef Cs, was demonstrated and assigned. When this student showed up for the next lesson, these were his exact words: “I’m not going to play bassoon anymore. It’s too hard!” I have always felt that getting beginners over the forked E f and the thumb-whisper roll Cs in the Weissenborn was a big hurdle for the beginner. Most survived it, some didn’t. Now, however, we have been blessed with not one, but TWO beginners’ method books which can work as a wonderful addition to the “Weissenborn”: one to guide the student through the basics beautifully, using “Weissenborn” as a supplement, and the other as a kind of supplement to both of these to teach additional material important to the modern bassoonist. The first Method I am referring to is a brand new one just published by Southern Music Company: Foundations for Success: Technical Training for the Young Bassoonist by Cheryl Ann Huddleston. The author is an active bassoon performer/teacher in the Houston, Texas, area and highly devoted to teaching and music education. Her new Method book is 48 pages long and contains an Introduction for Students, 16 well thought out Lessons, a section of Suggestions for the Teacher co-ordinated with each of the 16 Lessons, Recommended Reading for the Teacher (a mini-bibliography), and a nice Fingering Chart on the inside back cover, but only up to high f1. In other words, it is a “beginner’s beginner” Method book, capable of being mastered by a precocious student in a fairly short period of time. Author Huddleston has definitely designed the book carefully to coordinate well with the “Weissenborn”. In her Preface she writes of “Lessons in the book can be used as technical training etudes to complement etudes in Practical Method for Bassoon by Julius Weissenborn.” Suggestions for coordinating etudes can be found in the back of the book. Throughout the Method, Cheryl Ann has provided a slow-but-thorough presentation of all the basic concepts so necessary to helping the beginner avoid the mistakes that self-taught or band directortaught students often bring with them when they come to study the first time with a good teacher. This nifty new Method, along with the standard “Weissenborn”, can go a long way to making the beginning bassoon process not only painless, but highly enjoyable as well. I recommend it strongly for all you active beginning bassoon teachers. I have written about this second method before, the New Millennium Bassoon Method by Michael Curtis (The Double Reed, Vol. 26, No. 2, 2003, p. 109). But just in case you missed my review I am going to quote parts of it to you again, because I believe in its value and usefulness very strongly. The New Millennium Bassoon Method: “… is a quality work and deserves reaching a larger audience. Author Michael Curtis is a skilled bassoonist/composer who has written extensively for winds. He is especially gifted in writing wonderful jazz, latin and klezmer compositions.” “…We bassoonists are bound (sometimes to our 5/16/07 6:46:57 PM 46 Supplements to Weissenborn: Two New Bassoon Methods: A Review Articles detriment) by traditions. Weissenborn’s Method is a prime example. We all grew up “nursing” on it, and it is incomprehensible that it could be replaced. I admit, I agree with the former statement. But that does not mean that it could not be SUPPLEMENTED by a work that can do so much to teach today’s bassoonist about today’s music. Mike’s excellent Method can do that very well. Following and excellent fingering chart and some early progressive exercises a la Weissenborn, the work takes the student stepby-step through all the required information and techniques, and, most importantly, BEYOND. Exercise 131 introduces swing music, 132 funk, and 133 Latin jazz (after Chick Corea). Exercise 136 is a jazz ballad. By Exercise 143 and 144, the last exercise, the student is dealing with atonality, microtones, and multiphonics. Perhaps most valuable of all, however, are the final 26 progressive duets for bassoons at the end of the Method. With these, your student can learn as he/she plays along with you.” “…If you are a serious teacher then you can’t afford NOT to know about this wonderful publication.” So, as the reader can see, both of these publications, along with the venerable “Weissenborn” can assist the serious teacher in helping a young bassoonist become an even better musician, well prepared in both basics and for the progressive music of his/her time. What could be more fun than that? 15 Weissenborn.indd 46 5/16/07 6:46:57 PM 47 The Double Reed An Interview with Dan Ross Emily Helvering Appleton, Wisconsin D Articles Dan Ross an Ross has served as the professor of oboe and bassoon at Arkansas State University since 1968. He performs as principal oboist of the Tupelo Symphony Orchestra and served as principal oboe of the Arkansas Symphony and the Arkansas Opera Theatre Orchestra for many years. Recently, he has also been performing as a soloist with the Forum Sinfonia of Krakow, Poland. Perhaps Dr. Ross is best known in the double-reed community for his work with gouging machines, which he manufactures in a shop located on the same lot as his home in Jonesboro, Arkansas, but he has also performed, taught master classes, and presented gouging seminars across the country. He has also been key in the organization and promulgation of the MidSouth Double Reed Society. Dan Ross possesses an infectious passion for music and life. It may be argued that he has been led through life by his love for music and learning, which have clearly proven to be sound guides. I believe that it can be seen through his words that he is not only a truly fabulous musician, but also a wonderful person who generously shares his unique gifts and perspective to improve the lives of those around him. This interview was held on the campus of Arkansas State University in Jonesboro, Arkansas on November 4, 2005. I would like to thank Katie Bowden and Chris Vanlandingham who also contributed to this project. Emily Helvering (EH): What led you to go into music and what interested you in the field? 16 DanRossInterview.indd 47 5/16/07 6:47:09 PM Articles 48 An Interview with Dan Ross Dan Ross (DR): Well that was what I could do, you know. Everybody sort of has things that they can do - I hope - and that was what I could do, fairly well. So that was where my first priorities were: band, and church choir. My church choir director was also the choir director at the high school. Now you have to understand, I was in the dark ages. There was only a girl’s glee club at the high school, and I was the first male to integrate the girl’s glee club. But only a few days after I got into it, lots of other guys decided they wanted to be in there too. We never discussed whether it was that they wanted to be in there to sing, or whether they just wanted to be in there with the girls. You know, at that time I was a clarinet player; don’t hold that against me. That’s just what I did, clarinet and saxophone. And then I got into college and did much the same stuff. I was just kind of a band geek and I liked music. I was in everything in college: band, choir, everything. I tried majoring in everything but music. When I got into college, I had vivid memories of my dad saying, “Well, you can’t make a living in music.” I thought I probably should do something else, so I tried majoring in everything else under the sun. Finally one fall semester, the band director called me in, and his exact words were, “What in the hell do you think you can do besides music?” “Nothing.” He said, “It’s decided then. That’s what you are going to do.” Of course, by then I had played oboe for all of three months. EH: Do you want to go into more detail about your education? DR: Well, my real music education was based on several weird little factors, I guess. One of them had to be the organist at the church where I went. This lady would play Sibelius symphonies on the organ, or movements, for preludes and offertories and stuff. It wasn’t until I got into music seriously that I realized that woman had to have been crazy to play that stuff, but she could play it. And so I was exposed to a lot from that. When I was in high school, I had a wonderful experience with high school choir. Also, our high school band director and principal got together, and for fourteen years these two guys wrote an original musical. The principal would write the story, the dialogue, and the words to all the songs; and the band director would write the music to all the songs. Of course, we had to have a pit orchestra, and you get lots and lots and lots of experience playing 16 DanRossInterview.indd 48 manuscript in the pits and stuff, and so it was kind of like learning by fire. Then in college, all I ever did was listen to music. Our school was so poor - this was really back in the dark ages - our listening room consisted of boxes upon boxes of records, and only one turntable. There was one amplifier, which would funnel the music into an outlet box that had as many as eight outlets for headphones. So whatever you listened to, everybody had to listen to the same thing. I lucked out and got a key to the listening library, and that’s all I did. I started with box number one, record number one, and just listened to everything. EH: Did you have other people in there listening with you? DR: Well for the most part, yeah. EH: It sounds like a club. DR: It kind of got to be a party. It was never a formal thing. Our listening exams in music history and so forth were not nearly as extensive as I find lots of students having to go through these days. Everybody knew that we listened, so we didn’t get crazy. EH: So where exactly did you go to school? DR: I went to school where I teach now. EH: I know, but you went to Ole Miss. DR: Well that was just to get a doctorate. EH: Just to get a doctorate? DR: Yeah. Well you have to understand that I might hold the record for the youngest person ever hired to teach here. I did my undergraduate here, and I sort of wake up in a new world every day, so when I was going to graduate, I hadn’t thought past tomorrow morning. The department chairman came to me and said, “What are you going to do next year?” “I don’t know.” And he said, “Well, you know our graduate program is pretty good and we have assistantships. Why don’t you stay here and do a masters?” And so I did. Then at the end of my first year of graduate work, the department chairman caught me and said, “I’ve got an appointment with the president of the school in a few minutes, and I’m going to ask for two jobs. 5/16/07 6:47:09 PM The Double Reed EH: How long was that after you started teaching here? DR: I started teaching here in the fall of ‘68, and then I started there in ‘71. I just went a full year, a full twelve-month year, and then came back here and taught. I did things in the summer, and finished the degree in ‘75. I’ve just been running around here ever since. EH: So where did seminary fit into that? I know that you went. DR: No, I didn’t go to seminary. EH: What am I thinking of? 16 DanRossInterview.indd 49 DR: OK, I got a license to preach in the Methodist church. It’s when I was a freshman and sophomore in college because I was going to be a minister. At that time you could do all this correspondence work and get your license to preach. While you were in college you could go do minister-type things and then go to seminary after you finished with college. And, of course, I changed my plans mid-stream, which was OK. I had a little church up in the hills for a while. I think I was good for them, and they were certainly good for me. Since then, I’ve done the sermon in church a few times. At my church now, about a month ago I did it. The only thing I told them when I first got up in that pulpit was, “I promise you nothing but brevity,” and someone in the congregation said, “Amen,” very loudly. EH: Has your ministry education influenced how you teach oboe in any way, do you think? DR: Oh I don’t know. I think that, as far as teaching, you have to find an approach that works with students, and the older you get, I think you either learn better how to assess the people who entrust their lives to you, which is literally what they do, or you just teach a method. People come to you, and some of them have incredible technical abilities, and they sometimes don’t realize that music is not written to show off their technical abilities. There are some situations where you just have to say, “Well, this is what I think the music calls for, and you need to find a technique that will allow you to achieve that.” Which, by the way, I don’t think is the wrong thing to do, because the music should dictate the kind of technique we use rather than learn a technique and just apply it to the music. So there are different ways of doing things. As far as musical expression, I mean it is all about music; it’s not about how well we play the oboe. It’s how well can we use the that thing to make music real for people who really listen. You have to play. You have to do what you have to do, but you can’t be all fluff and buff. It’s gotta be substance. You have to have substance. And when you get that job in the orchestra, it’s not about impressing the musicians around you. It’s about making music that’s exciting to the little old purple-haired lady in the second row. Back when I played in the Arkansas Symphony and it was a chore to run all over the state of Arkansas and teach school all day long - I remember deciding, “OK, I can play pretty much anything that we’d play,” Articles Hopefully they’ll give me one this year and one next year. For the one next year, I’d really like you to stay around here and teach oboe.” I said, “Wow, that would be fantastic.” A little while later, he came back and said, “He [the president] gave me both jobs for next year. Is there any way you can finish your degree between now and next year?” Of course there was no way at all. And besides that, I was going to get married that summer. We both had jobs at Interlochen so that we could sort of honeymoon up there. So we changed our plans and went to grad school all through the summer. Well, he went back to the president and said, “There’s no way this guy can do this, but he’ll finish up in December.” So he came back with two contracts for me, one for the fall until I finished my degree, and one for after I finished my degree. It was a bit awkward in the fall because at 8:00 in the mornings I took my last class, and at 9:00 I went across and taught a good many of the people who were students with me at eight. They don’t do things like that anymore. They’re a little bit too prissy. But anyway, I finished that degree, and later on, that same department chairman, who was good and very kind and knew the ways of the world, said, “I’ve been here so long, it doesn’t make any difference to me, but for you, you really have to get a doctorate. It doesn’t make any difference where, go get one. It doesn’t make any difference what it’s in, just get a doctorate.” There was this program at the University of Mississippi that was expressly designed for college teachers, and I thought, “Shucks, man, that sounds good.” So that’s what I did. 49 5/16/07 6:47:10 PM Articles 50 An Interview with Dan Ross but as tired as I was it wouldn’t be so exciting. And so I sat - I’d always get to concerts an hour early and sit down and play and try to figure out how my reed is going to be - and as I was sitting there, the girl who plays second oboe for me, Katie Bowden, said, “What are you doing?” I was looking out at the audience and I was thinking as I watched some older gentleman, “You know, that guy went to a lot of trouble because he’s very old and very feeble. He went to a lot of trouble to be here. And if he’s going to go to that trouble, the least I can do is play my absolute best.” And so after that, I began picking a date for the evening, and I told Katie. So the next time we were in Mississippi playing together, in came this old lady who was having to be helped by her daughter, having to hold on to every chair down every aisle. Little Katie turned around and said, “Well, I see you’ve picked your date for tonight.” And I said, “Yep, she doesn’t know it, but that’s her.” Well, we played our concert. Afterwards, we went to our favorite little Greek/Italian place. Good old Papa Bonelli had a long table set up for us, and oh, about twenty of us were there - and in comes my date and her daughter! I nudge Katie and I say, “Look it, there’s my date! Not only does she like good music, but she likes good food!” By the time I got through saying that, here’s this lady standing in front of the table waving her cane for us to shut up. We all kind of looked over, and she said, “I just want you to know this was the most wonderful night of my life.” Katie kicked me under the table, and I said, “Yes, that was my good night kiss.” Look at it how you will, but that’s the person who is important. That’s the person who gets excited about music and says “Man, you guys have to go hear this orchestra, or whatever ensemble. It’s not other musicians that you’re trying to impress is it? I mean, come on, what gives you the most warm fuzzies and goosebumps in the world? Well that’s what we’re missing sometimes when we play. EH: What outside of official schooling did you get that you would call education? DR: Good Lord. Mostly listening to music, and mostly being exposed to some wonderful people. I’ve had, I’ve really had the good fortune of being associated with terrific people, and I can start with, oh, when I was in grad school, a wonderful, wonderful conductor, fabulous conductor, fabulous musician, Arthur Kreutz. He was a Prix de Rome winner in composition, was one of the first people other than Toscanini and assistant conductors to conduct the NBC Sym- 16 DanRossInterview.indd 50 phony, was frequent guest conductor of the New York Philharmonic, Chicago, Boston, and he was one of my teachers. He conducted an orchestra I played in and was a just fantastic person. And then when I got out of grad school, I started playing in the Arkansas Symphony. We had a fantastic conductor there, a guy named Kurt Klippstatter who was married to Mignon Dunn, and all the old folks would have known Mignon Dunn. She was a Metropolitan Opera singer, and he had been her coach. They fell in love, and they moved back to Little Rock, Arkansas where he conducted. And he was wonderful. And the principal oboist at the time - I was playing English horn then - the principal oboist at the time was a guy named Eugene Showalter. Eugene Showalter, Clyde Roller, Earnie Harrison, and Wayne Rapier were all at Eastman at the same time. What a hoot that must have been for those guys! Showalter was a fantastic musician. He played in Oklahoma City - he and Al Laubin were the section in Oklahoma City - and then he was in the National Symphony with Ray Still, believe it or not. He played for Robert Shaw for some time, and then he was in New Orleans. The oboe section in New Orleans at that time was John Mack, a very young John Mack, Gene Showalter played second oboe, and Louis Rosenblatt, who later went to the Philadelphia Orchestra as English horn. And then Showalter’s mother became very ill. He went home to Little Rock to take care of her and had to give up his position in New Orleans. Now I found later that New Orleans kept trying to keep him on the payroll, and they would go out of their way to offer him every playing job that would come up. After he had died, I found telegrams from them saying things like, “We can pay you more if you will play English horn on this concert because we can pay you soloist’s fee and doubling or something, and we’ll also provide you a train ticket” - because they had trains that ran from Little Rock to New Orleans at the time. I don’t know how many of those things he did or did not do, but he was a magnificent musician and a terrific friend, and he basically gave me the job as principal oboe in the Arkansas Symphony. He had a talk with the conductor and said, “Look, this crazy Ross guy can do this. I’ll play second.” So when I got my contract that summer and it read principal oboe, I called the management and said “Well, you made a mistake.” “No, Mr. Showalter wants it that way, and the conductor says it’s OK.” So I called Showalter, and he said, “Oh, it’s about time, but don’t worry, I’ve still got lots to teach you.” 5/16/07 6:47:10 PM The Double Reed EH: You talked about how you got your job at Arkansas State. I was wondering if you could talk about how you think music education is important in general. DR: Well, let’s put it this way. I am not like a lot of “educators” today. I am certainly not in harmony with the kind of education policy that has been put across to us of making scores on standardized tests. You teach a person. We have computers; they can remember things better than we can, right? So why are we wasting our time cramming junk into kids ears? And if you go ask any students that are involved in this “testing program,” they’ll tell you exactly what we’ve known forever. You give a kid a written test, they work really, really hard to memorize all the facts, they take the test, they make the grade, and thirty seconds after they leave the room, all the information drains out anyway. You have all your life to learn history, don’t you? In fact, sometimes it takes all of our lives to learn 16 DanRossInterview.indd 51 things about history that need to be put together, and of course, we teach history all backwards anyway because we teach history of politics and wars and money. And we don’t teach the history about real people, other than George Washington and Christopher Columbus “1492 the ocean blue” and all that crap. We don’t teach people how to think and how to put all the pieces together. So we have to teach people how to think, how to sense. We have to get musicians, specifically, away from being paper-trained. That’s what you do to your damned dog, your little puppy. When you get a dog, you paper-train him. Well that’s basically what we are. We play ink on paper, and ink on paper has to amount to warm fuzzies and goosebumps. What do you have to be expressive? You have your pretty tone, you have your pretty tune, you have dynamics, you have articulation. I’m sure other people will think of other things, but you can’t just play ink on paper. It has to amount to something. So all of this music education, we’re losing out because it’s lost its emotional impact with people. We’ve taken it down to a level of technique rather than warm fuzzies and goosebumps. Go listen to country western stuff and listen to what people are listening for. Man, their technique is just God awful. Their tuning is terrible. But there is some kind of emotional reward there or people wouldn’t go there. Now young kid’s rock and roll, sometimes people outgrow that, but we are not giving them anything to grow into if we are abandoning the aesthetic part of what we do. Oh yes, and everybody says, “Oh, well that’s your beautiful tone.” No. It’s more than your beautiful tone. But if we abandon the emotional context that goes along with music for us... Why did we get into it in the first place? We sure as hell didn’t get into music because, “Oh, I love showing off my technique.” We got into music for the warm fuzzies and goosebumps. I even tell my high school kids: other than a belief in a supreme being, music is probably the most intimate experience in your life. It’s more intimate and personal than sex. I mean, sorry, but think about it. Isn’t that why you got into it? So why do you go to movies? For the warm fuzzies and goosebumps. And it takes you away from whatever things you’re dealing with. There’s this retired minister in our church who I happen to think is the smartest man I’ve ever known. David Lafferty. He’s fantastic, and aside that, he loves good music. I was very shocked when I got up to do my little sermon a month or so ago, and there he was sitting right there. I’m thinking, “Oh no, why didn’t they ask David?” He’d been filling in as interim somewhere, and Articles And everybody that I’ve ever run into, everybody in my life, has been wonderful to me. No matter what I would do, every oboe player I have ever met has been terrific to me. And Richard Killmer, I consider him my best friend in the oboe business, and Becky Henderson, and any time I had a question, even before I knew a lot of these people - this conductor in Mississippi wanted me to play a crazy solo with the orchestra down there. Well, I was having a terrible time finding the music because they didn’t have a real librarian. They said, “You get the music. I really want you to play this.” I was having a terrible time finding the music, and I’m so dumb I guess, I just picked up the phone and called John DeLancie at home and asked him if he had it. He said, “Yeah, I think I’ve got that around here, hang on.” And I kept hearing filing cabinet drawers open and close. He said, “Yeah, I’ve got it right here, do you want to borrow it?” I said, “Oh that would be great.” And he never did charge us anything. He mailed the music down and said, “Just use it; send it back.” And, when I had questions about gougers, I’d pick up the phone and call John Mack. He was great to me. And everybody I’ve ever called and talked to was just terrific to me. Bob Sprenkle was terrific to me. All of those guys were just fantastic. So we’re in kind of a pretty good group, and while not everybody agrees on how to do what, when, where, why, and how, anytime you want to ask a question, it seems to me that they’re just ready to jump at the opportunity to help. 51 5/16/07 6:47:11 PM Articles 52 An Interview with Dan Ross I thought maybe they didn’t realize it. A week or so later we had dinner together, and he said, “You know, I’ve got to compliment you on your sermon. You were very aware of what one of my teachers at seminary said, ‘As you look out over that congregation, you have to remember that everybody there, everybody there, is dealing with personal issues, everybody.’” And I said, “I never thought about it in those terms.” He said, “Yes, everybody you see walking down the street is dealing with personal issues.” Well, if they’re dealing with that, why can’t we take them away from their problems for just a little bit and give them a wonderful, I don’t know, departure from it so they can rest from their labors a little bit? And when you go back to it, you can find a solution. My first day of teaching Fine Arts Musical class, my very first day of teaching Fine Arts class, I go through a very long litany, too long probably, about... food, and how much I love food, and it shows, obviously. And we like pretty things to look at, and we like nice things to smell. I go through it all, and then I say, “You know, if I’d walked in here and cut this to a Reader’s Digest version, and said, ‘You know, we’re all sensuous beings and we should enjoy it to the fullest,’ half of you would become very morally offended.” But in truth, we do enjoy our senses, but the next truth is, we just use them because we want to be emotionally happy, that’s all we want out of life. We want to be emotionally happy and fulfilled. I think that’s what everybody in the world is looking for. And who else better to provide that. I mean, hell, we hold the keys to the kingdom as far as providing wonderful, beautiful emotional satisfaction. And of course, my next question is, “How many of you have husbands, wives, boyfriends, girlfriends, or concubines?” Most of them raise their hand. My next question is, “How many of you understand your husband, wife, boyfriend, girlfriend, or concubine?” Boy, the hands go down. And I say, “OK, hands back up. How many of you think your husband, wife, boyfriend, girlfriend, or concubine understands you?” And the hands really go down, and some of them begin to have terrible looks on their faces like, “Maybe I’m making a mistake with this person.” And I say, “You’re not making a mistake. It’s fine. You don’t have to understand them to love them and appreciate them any more than you have to understand music to love and appreciate what it is there for. In fact sometimes, if you take away the mystique, it’s like watching - you know they have these movies now on how they do the special effects for movies. I don’t want to watch that. 16 DanRossInterview.indd 52 I want to just go in and be fascinated, and go, “Ga lee, man!” like a kid in a candy store. So to me, once we rob people of the mystical part of what we do, it’s all over but the shouting. EH: What do you see as the key ingredients in a strong musical education? What do people need to have to get out there and succeed? DR: Well, as far as performers, if you want to be a performer, you have to play, and yeah you’ve got to have the technical ability to make the music work. This will come off wrong, but you have to be dumb in a certain way. Because if you listen to people, they’ll say, “Oh, you have to be too good to do that. You have to work too hard to do that. You’ll never be able to do that.” Just ignore that thought. Just be dumb enough to think, “I’m so dumb I didn’t know I couldn’t do that.” Someone once asked me, “Who gave you permission to do this gouger this way?” And I said, “I didn’t know I needed permission.” I never thought of it in those terms before, but I was glad that he asked that question because it makes you think. The whole time I was doing this stuff, I was thinking, “Boy, this is just totally frustrating.” I would get on the verge of just giving up, and I would think, “Oh man, this isn’t going to happen.” Then it dawned on me. The only way I’ve ever succeeded was that I was so dumb that I didn’t know that I couldn’t do something. From my first oboe lesson, the teacher showed me how to make a reed, gave me cane and a tool kit and said, “Go make something that will crow and come back, and I will give you a horn.” Well since nobody told me that making reeds was hard, I didn’t know enough to know that making reeds was hard, so I just went down and kind of made this reed and went back the next day, and he gave me an old open-ring oboe, and of course I just knew I was going to come out of there sounding just like Ray Still on that recording I have of Heifetz doing the Brahms Violin Concerto. I just knew that that was how I was going to sound, and it’s a good thing we didn’t record me then, because, oh well, it’s probably a good thing we don’t do many recordings of me now, but, you know, it’s too late in life to give up now. EH: What do you look for in your music majors? DR: Well, I hate to tell you this way, but it’s really true. They need to be hungry to make a little music. When you hear music - look at all that, and that, (wall 5/16/07 6:47:11 PM The Double Reed full of compact discs, shelves of compact discs) and that box full down there. The wonderful thing about music is it is so satisfying and so exciting. Everything you can think of, it’s that and then some. But at the same time - whether you’re listening or whether you’re playing - at the same time that it’s so fulfilling, it also creates a terrible longing. You know, you listen to Brahms for example, and boy, it’s just so incredible, but at the same time, it’s like, Nope, I’m going to make you hungry for more. So in that case, I don’t think it’s all that bad, but I like students who have this terrible longing to make music, because there are never problems. That’s the whole deal. They’ll work hard to achieve and do what they need to do in order to make the music work, no matter what that may mean. So that’s the substance as far as I’m concerned. Besides you can make lots of good friends. EH: You’ve alluded to this a bit already, but what trends have you seen in music education over the course of your career, and are they positive or negative trends? EH: So, how do you play the oboe? DR: How do you play the oboe? Stick it in your face and blow, some times better than others. I don’t know. Why did you pick the oboe anyway? Was it because it was a strange instrument? I know people who think that if they play the oboe they will get a better scholarship in college. I do. But I think people that are given their choice to choose the oboe do so because they like the sound, for starters. EH: Most teachers struggle with getting their kids to listen to art music, and you don’t... DR: No, I just force it off on them, what are you talking about? They come in the door and every day I play something. I play some kind of recording for them. Sometimes it’s to listen to someone play the oboe, just for the sake of “listen to this,” but most of the time it’s “listen to the music that this person or this group can 16 DanRossInterview.indd 53 make.” And really, I just want them to enjoy music a little bit. It’s not one of those awful addictive drugs, but it is addictive, you know. And it’s one that we all want to share. I mean don’t you? That’s why you do it, right? Because we’re not going to get rich doing what we do. Unless there’s something I don’t know about it. But I didn’t get into this for the money or anything, I just got into this because I like music, and I wanted to help a few other people enjoy music along the way. It’s OK. You know I felt guilty when I first started teaching here about accepting a paycheck for something I really love doing. I was going, “Golly, I really feel guilty about this.” I don’t know who it was that said, “Find something you love to do and then get somebody to pay you for it.” I think it was Henry Ford maybe. But that was his advice to people: find something you love to do and get someone to pay you for it. Sure. I was teaching some at the University of Alabama when Becky Henderson was there. I don’t know, she had taken a week off or something, and I went over and taught her students. On about the third day I was there, this freshman student came in for a lesson and she said, “You’re so good. I’m just curious as to why you’ve never tried to make it in the big time.” I said, “I thought I did.” She said, “Oh no, I mean like New York or some place like that.” And I said, “What’s the difference in people in New York or people in Alabama, Arkansas?” The purple-haired lady in the second row is no different down here than the purplehaired little old lady on the second row in New York. And so from this little girl being so open and honest with me, I just kind of said, “Well, you know, wherever you are, that’s the big time. If it’s the Goobertown Philharmonic, man, that’s the big time.” And wherever we are, that indeed is the big time. If we treat it as anything less than that, then certainly we’re not going to make it. It just depends on a lot of things. I guess I’ve stayed in Arkansas for a number of reasons, one of which was just my folks lived here, my wife’s folks lived here, but you have to live somewhere. And I like it here. So, my crazy son has decided he likes St. Louis, well that’s fine. Articles DR: Well, in our part of the world, I don’t think it’s positive. They’re so contest happy and competition happy that they’re just using students to make the directors look good. So I’m not seeing very much positive. But you know what I am seeing, which is the most positive thing. I see students continually rising above the system, which is tough. It’s much harder now than it was when I was growing up. 53 EH: One characteristic of your teaching that stays with your students is an emphasis on quality. If you could please spell out why you choose to emphasize it so strongly and explain what influenced you to value it so highly in the first place, who instilled that in you? 5/16/07 6:47:11 PM Articles 54 An Interview with Dan Ross DR: I don’t know. I guess all of my life I’ve gotten frustrated when I watch commercials on television because sometimes they’re unique and funny, but you have to stop and ask yourself, “When is the last time I bought something that really lived up to the advertisement?” Hardly ever. And really if something is good, you just don’t have to advertise that much. People will find out about quality. So I don’t know, I don’t know, it’s just a thing. You just want the best. You want to be the best you can be. Partly because - well after having taught so many years and watched kids come and go, you see students come, and they come in as freshmen and they register, and they think, “Man, I’m only in class fifteen hours a week. Gosh, I could get a job at Wally World and get out of the dorm and get my own apartment, get chicks.” And so our hero does. And he gets out of the dorm, he gets his little apartment, he has his little part time job at Wally World, and OK, but then he can’t keep up with school. And when he gets to be about a junior, his credit cards are maxed out because he couldn’t live his lifestyle on his part time job, and his grades have taken a nosedive. Then he decides, “Well, I’ll drop out of school for about a year, pay off my credit card bills and kind of get myself together, and go back and finish up.” Most of the time they don’t finish up. Most of the time they do a Wally World job or the equivalent thereof, and I have several problems with that. They don’t ever become the best they can be, and they have to take a job at much less than their abilities. But they’ve also taken a job away from somebody else who, if they really worked to their max, would do that Wally World job, but that would be about all they could do. They don’t have the brain power to do much more, but our hero has taken that person’s job, and so that person has to take a job less than what he is capable of, and it goes on down the job food chain, as I call it. Then the folks at the bottom, they get left out. Now, that’s not so good, but it really hits home when you see our hero get to be about forty and have his mid-life crisis. He realizes that this is all that the world has to offer him because he didn’t make the best of himself, because he didn’t go to school, and because whatever reasons. Then he gets mad at the people on welfare, but he never stops to think, “I’m the reason that a lot of those people are on welfare because I didn’t get out of the way and move on up and make room for them when I could have and should have.” A lot of people may not buy it, but I’ve seen it 16 DanRossInterview.indd 54 too much. I’ve been here too long, and I’ve seen it on more than one occasion with people I know directly. And you want to just say, “That’s fine if that’s your choice,” but the problem is, you’re damaging some people who don’t have the capacity you have, so you want to be the absolute best you can be and go from there. I know that sounds crazy in some ways, but there’s a lot of truth to that, so quality playing, quality everything. And it’s not just that you don’t want people criticizing your playing. You just want to give people the best. I mean, for crying out loud, if you want to give a gift, you don’t want to give a schmucky gift do you? I mean, gosh, the gift of music, it’s very, very intimate and very, very personal. If you’re gonna get in that relationship with somebody, you better be giving your best, right? So you know, then people learn to expect it. EH: Anyone who has studied with you knows that viewing you only as a musician is to miss the point. You fall easily into the role of mentor and help students in a host of ways. Why you think that you naturally fall into that spot and why it is important for you? DR: Let’s face it. Part of what we do is help people have a life. I have lived here long enough, I know people who have certain jobs. You get to know doctors, you get to know lawyers, you get to know car mechanics, and all sorts of things. Kids come here to go to college. So when they have a problem, you don’t want them chasing all over hell’s half acre to figure out how to get their car fixed or what doctor can they go to. You know the university has a little health center, and that’s all well and good, but if they need something more than a couple of aspirin or something like that, you want to be able to pick up the phone and say, “I’ve got this student and they need help.” You get that stuff out of the way, then they can do what they came here to do better, more quickly, and they’re not sitting out there squirreling around and stuff. I know a lot of people would say, “Oh no, you should let them get out there and let them find this stuff out on their own.” Good. But not. So it’s very nice that I can pick up the phone if a student needs a doctor and say, “I’ve got a student that is really sick.” And they’ll say, “Fine, send them down.” “When?” “Now.” And that car problem that I can’t fix, you know, brakes and stuff like that, I call Joe’s, and they say, “No problem, send them down.” That’s just part of what I think we should all do. It’s like when I got really sick, I stayed on the 5/16/07 6:47:12 PM The Double Reed 55 fantastic support group. And I don’t feel like I’m upholding my bargain to them because I’m on the receiving end all the time, and I’m not helping them, but there are some things I do to try to help them a little bit. It’s just something you do, another thing. Lots of people have lots of worse, you know, there are worse things than dying, let’s put it that way. EH: Your son Philip recently won the second oboe position with the St. Louis Symphony Orchestra. How do you feel like you’ve influenced him? 16 DanRossInterview.indd 55 Articles verge of tears all the time, not because I was sick, but because so many people were so nice to me, it was terrible. In mean, it was... it was just... it was really... you know, people were bringing me food. They knew that I would have three weeks when I couldn’t eat anything. Then that one week that I could start to eat a little bit before they had to do another round of chemo, all this food would appear. Or I would have cards, or I would have people come and see me that were thinking about me, and I would just cry like a baby. I’m sure part of it was that I was so tired, but mostly it was because people were so nice to me. One day one of my really, really dear sweetheart friends from church brought over yet another dish that she knew I could eat, and I said, “Mary, I don’t understand all this. People are so nice to me. I’ve never done anything for them.” And she said, “You play for them.” That was her answer. She said, “You play for them.” I just play at church, and she said, “You have no idea what that means.” So it’s all about music. There’s a group down in Little Rock at a church where I play frequently, that to this day, sends me cards from the cancer friends at Pulaski Heights. You know, and they invite me to come to their dinners, and of course, I can’t go, but they call me. What a DR: Any father would like to think, “Oh yeah man, I’m the big influence that Philip had.” Well, in part, because I made reeds for him, but in and out of my house were all these really hot oboe players, teachers that come down and grace me with their presence. I think as much as anything it was lots of visitors coming and playing, and he could hear them and here and again. You have the people that were here a lot and would influence him: Dick Killmer, Becky Henderson, Harry Sargous was down quite a bit, Sherry Syler, Wayne Rapier, Earnie, all those guys. Of course, he (Philip) was a student at Interlochen. He was a violin player, and so he got to know a lot of those people, and of course Alex (Klein) was a big influence on him. Alex has never been to Arkansas. Yet. But we’re working on that. Philip was at Interlochen quite a bit as a young kid because I was on staff up there in the summer. So he had lots of influences, lots better than me anyway. EH: When did you begin making gouging machines? DR: When I first met Richard Killmer, which was in the early 80s. He and I discussed the situation and decided that we both were in strong agreement that the largest factor in our reeds was gouge. And so I came back and sort of designed a machine, and I got a machinist here in town to make it for me. I operated that way for a little while until his work began to diminish and I was constantly having to take things back for just basic machining. One day I went over - and you know Jonesboro is a dry county - and he was unload- 5/16/07 6:47:12 PM Articles 56 An Interview with Dan Ross ing beer from his van. When he got to the sixth case of beer, I asked him how long it took for him to drink that much beer. He said, “Oh, about a week,” and then I knew why his work had gone down. Showalter had died and left me some money, and I had an old maid aunt in Little Rock that had died and left me a little money, and so I took all that money and bought the machines necessary to make gouging machines and get set up to do that. I’d never operated a milling machine before I bought one, so it was kind of learn by doing. I’m learning better these days. So that’s when I started. I personally didn’t make them myself until ‘86, but I had him make them for three or four years before that. This particular machine is built so that instead of the carriage going up and down, the bed goes up and down underneath it. When I made the machine, I took depth micrometers and made sure that the carriage was perfectly parallel to the base, locked this in place, then the way this works, you notice there’s a slot in the roller plate. The roller plate is attached to the base of the machine. See it’s got those little bitty screws there. This screw right here, loosens the bed, and by turning this screw, it raises and lowers the bed. These two screws anchor the roller plate to the base so that the carriage actually stays parallel. And to change the thickness, you raise and lower the bed underneath. EH: What was your goal in entering the gouger business? EH: How does the gouge affect a reed? DR: Well, I wanted to make a machine that is not difficult to operate, relatively speaking, and one that could be made so that machines and blades could be made by machine and ground by machine, removing some of the mystique. There’s all this mystique forever that has surrounded gouging machines. You had to send it to exactly the right guru in order for the gouger to work, and that’s hocus pocus to me. So I came up with this crazy design, and actually, I got as much help from Paul Klipsch as anybody because Paul Klipsch was one of the world’s leading geniuses in audio. He was a musician, but he was also an incredible machinist. A lot of people don’t know that he was just an incredible machinist. He guided me very strongly about the design of it, and why my attitude of how to construct the machine itself should work - as far as coming up parallel to the base and stuff, the carriage that is. And so he gave me some helping hands. The biggest thing was - if you just get it down to the minimum - was he showed me where to drill one hole to make all the difference in the world. I know that sounds crazy, but that’s it. And so I had my machine. You’ve never seen this machine. (gets out a gouging machine) It’s covered with dust, and I put it together very hurriedly before I was going to see Bob Sprenkle one time, so that’s why all the holes are in the base in funny places. I missed, and I drilled these holes in all the wrong places, so I just turned it around, and then I drilled them in the right places. Original Ross gouger design. The carriage comes down parallel when it hits the roller plate, and a screw is used to raise and lower the bed for thickness adjustments. 16 DanRossInterview.indd 56 DR: I wanted something that would help the intervals be in place, and of course sound is a consideration for all of us. Everybody talks, when they talk about gougers, in terms of numbers, center-to-side numbers. Well, if you think, OK the oboe shape itself will average out about 7 millimeters in width. You’ve only got about 3.5 to mess with. You’re going from the center to the side twice, basically. Well, it’s not necessarily how thick it is in the center and how thin it is on the sides, but How does it get from the center to the sides? The actual rate that it tapers. There are lots of variances. See these? (mounts for grinding gouger blades at various angles) These are experiments of 35, 30, 37. We got some good reeds with 37, man, we used 37 a lot. You can tell. This one, I don’t know what this is. 39. We made a lot of good reeds with 39. And this one was so radical, I just didn’t even choose to finish it. I have several more at home. So I experimented, in grinding the blade, with the angle, and the angle at which the blade is ground changes the taper rate. I experimented with lots and lots and lots of different angles for grinding a blade that give a taper rate that would do whatever we wanted it to do. So that’s, it. There’s not a secret to gougers. I mean there’s nothing crazy about it. I did things like, I wanted the nylon clips, so that if you drop the carriage, it’s not going to dent up the guide as the metal ones will, and if it hits the blade, it’s not going to chip the blade, which some of them will. In fact, some of them are intentionally designed that way. If you lift up the carriage at the end, the metal clip will hit the blade and chip it. I didn’t want parallels, because if you use steel parallels - they call them triangles - they rust. Outside of a brand new machine, I have yet to see a machine 5/16/07 6:47:13 PM The Double Reed with those steel parallels where they haven’t rusted. And so I had to come up with some way to change the gouge thickness that wouldn’t involve parallels, so we have to have this funny little dial on the side, and that works out pretty well. That’ s easy to change, sometimes too easy to change. I wanted a shaft big enough that it wouldn’t flex when using it, and I’ve learned that aluminum is not a good material to make gouging machines with because it wears out. Brass doesn’t wear out. Blade hardness is a peculiar thing. I’ve experimented with all kinds of different blades, different hardening techniques, air hardened blades. I can get blades Rockwell 64, which is incredibly hard. Cane is pretty rough on blades. It’s got lots of silica and stuff in it. It’s pretty hard on blades, but I’d like to come up with something that is very sharpenable that will stay sharp longer. But that’s just one of the ironies. There’s really no mystery, there’s no mystique, it’s all just pretty simple, you know. Paul Klipsh’s motto is KISS, Keep It Simple Stupid, or whomever you’re talking to, Sweetie, whatever. The more simple it is, the easier we can understand it. DR: Well, most people in the Americas who make gougers, make them so that the blade is mounted in the carriage at a 45 degree angle. So you could use any angle less than 45 degrees to grind a blade. And you can get the desirable numbers, center to side, if you just look for this number and this number, but I’m finding the higher angles - you can go up to fortyfive - are probably better than the lower ones. Thirtysevens, they work, they’re fine, thirty-nines are fine, forty-ones are fine, forty-twos are good. I’ve really wanted to do a good experiment as high as forty-four so that I have one little degree of relief angle and see how that works, and it may well work fine. EH: So you can’t say, “Reeds tend to do this at a lower angle and tend to do this at a higher angle?” DR: No, I’m finding if you use the lower angles, in order to get what you want, sometimes you have to use thicker sides. So you see, you’ve distorted everything then. You’re not using the same numbers. So it just depends on what you really want. So what we’re doing now makes it very easy to make a very fast reed, and they hold up well, pitch is good, and obviously, 16 DanRossInterview.indd 57 lots of other things come into play like, What kind of shape are you going to use? is obviously part of the equation. What kind of tubes are you going to use? is another part. How long are you going to tie them? I know some shapes where you can tie seventy-two, three, four, five, six, even seventy-seven in length and they’ll still make a reed, and they’ll still seal on the sides. It just depends. But as far as just making reeds, all of those have to work together: gouge, shape, what kinds of tubes, how long do you tie them. EH: A couple of times you’ve said, “We.” Who’s we? DR: Me and everybody else. Listen man, I have people that I experiment on. You know, I call Killmer and I say, “Hey Dick, you want to try something?” Or I’ll call Sherry Syler, and I’ll say, “Hey Sherry, you want to try something?” Or I’ll work on Philip. “Hey Philip, you want to try something?” And all the time they’ll say yes, and the good part is they’ll give me their honest feedback. That’s good that I can get honest feedback. Or I’ll use my students as guinea pigs. Say, “Here, try to make a reed with this.” And I’ll know immediately, because if a young student who is just learning can make reeds with it, OK, this has some stuff. EH: So what are some common misconceptions about the gouge? DR: Well, there are too many to list. There’s all this to-do about single-radius and double-radius. I’ve had lots of people explain it to me lots of different ways, and of course, with some machines, if the carriage doesn’t come up parallel to the base on the machine, then one side of the guide is going to be deeper into the bed than the other side. A lot of people say, “Oh well, you just make half a blade and then turn the cane a lot.” That’s fine. It works. When I was asking somebody that I had lots of faith in and who had observed this for a long time, he said, “Well I think that the reason that they do that is because they can only make half of a blade with a good radius. And so that’s why we do it.” I said, “Well I don’t care why we do what we do. If it works, it works. Use it.” But, I’ve devised a blade grinding machine that grinds symmetrically, and then I use the alignment of the bed, the carriage and the blade to make it work. There are lots and lots of concepts, and I don’t think one’s any better than another. It’s just what works, and I wasn’t particularly thrilled with anything that was on the market. Either Articles EH: Are you willing to make any generalizations about a smaller angle versus larger angle in what happens with a reed? 57 5/16/07 6:47:13 PM 58 An Interview with Dan Ross that, or maybe I’m just a control freak and I want to have all this that I can control. After all, I live in Arkansas for crying out loud. Where can I go? I’m not in New York, California, or Philadelphia. Articles EH: How do you know when your gouger needs servicing? DR: That’s like saying, When you realize that you’re in over your head, stop digging. The first thing that most people will notice is that the sides of their reeds will be big because the blade wears unevenly. As the carriage lowers, it’s this part of the blade over on this side, the shaft side. It’s gouging all the time from the get-go all the way to the very final thing. And as that gets dull, well it’s going to start getting thicker and thicker and thicker. The thicker it gets, the bigger the reed opens. In fact sometimes you will have people who will call and say, “Man, my reeds are just standing open on the sides.” I say, “Well, your blade’s dull.” And you get that blade re-sharpened or reground, and set up again, and it’s like old home. But that’s where they wear the most is over on that edge where it first engages the cane. That keeps on gouging right to the bottom, and the outside hardly comes into play until the very last minute, so it doesn’t get so dull. It’s just that inside portion closest to the shaft. EH: There’s one thing I’ve wanted to ask, and you’ve talked about it a little. It’s always sounded to me as if you and Killmer worked as a team on gouging machines, so I wanted you to explain how much the two of you collaborate. DR: Well, I don’t know. As far as the design of the machine, he would basically tell me if things worked or not. He was terrific about being a good colleague and supporter and was a good critic. Sometimes your best friend is the person who says, “Hey we’ve got a problem. We’ve got to fix this.” So that works, you know. But, he was crazy about gougers too. I did a little session at one of the double reed conventions. A question came up about it (our collaboration), and I said, “Well, there was a time when I was visiting Rochester. We were over at Sprenkle’s house, and Dick’s wife called and said, ‘You need to come home, we’ve sprung a leak in the basement.’ We got there. I noticed it was a gasket that had blown, and all it needed was a screwdriver and a piece of rubber to make a new gasket. I said, ‘Oh man, if you’re got a screwdriver then we can fix it.’ And Dick said, 16 DanRossInterview.indd 58 ‘Screwdriver, screwdriver, it,’ (singular), ‘is down at the office.’” So anyway, I announce to people that since I had more than one screwdriver, I got to make the machines. But yes, he was highly instrumental in every aspect of it as far as being a good critic and being a good questioner. Why are you doing this this way? you know. He was good to challenge the thought process. Heck, who was I? I was just some crazy redneck from Arkansas, and the only reason he’d heard of me was because Katie Bowden had gone up, and he would say, “Where are you getting your cane,” and she would say, “Dan Ross,” and he said, “Who’s he?” I don’t know if she was shocked that he didn’t know who I was or not. It’s worked out, we are still going over gouger stuff and figuring out how to make life better. It’s been really good. EH: Do you see yourself primarily as a teacher, performer, or machinist? DR: I can’t separate them. I mean, I know a lot of people who some of the best teaching they do is by playing. And I hope that when I play my students learn from observing some of the concerts and recitals I play, and I really can’t separate those two. Yeah, I’m kind of a machinist on the side, so to speak, but I’m still the luckiest person in the world because I get to enjoy all of it. I’ve always been the luckiest person in the world, but I’m really the luckiest person in the world because I get really good students, and I get to play wonderful music, and I get to meet lots of nice people through futzing with gougers. EH: What role does music play in your life and what does music mean to you? DR: I have to say this, before I got married, I told my wife-to-be that she would have to understand that I am a musician first, and she has tolerated that all of our life together, so that will give you some idea. EH: What is your taste in music? DR: Everything. You know, I’m very much in the classical music world; it’s just where I am. And it’s not oboe music, as you well know from having been here. I make my students listen to choral music, vocal music. I tend to think of practically all music as vocal music, in lots of ways. And I think it’s important that we be able to understand and perform music of all sorts of styles and genres. I don’t think rap is music, but we don’t want to go there. We’ll just stick to 5/16/07 6:47:13 PM The Double Reed the classical music stuff, and that’s what I do. I never did like rock and roll. I admired lots of rock and roll performers because they were very good entertainers, and some of them were very good musicians. EH: Why do think that you’re been successful? DR: Gosh, different people measure success differently. As I tell my students, When is it you feel the best about yourself? When you’re doing something for somebody else. And I think that holds true for whether you’re the server at one of the fast food restaurants, or you get to be fortunate and be a teacher and musician. And success is enjoying life and sharing the joy with your friends and anybody else that cares to join the party, kind of like Beethoven’s last symphony. Let’s be happy, and let’s all come to the party. EH: How has the music industry changed over the course of your career? 16 DanRossInterview.indd 59 ten that people were very well entertained, and he said, “Well I hoped to do more than entertain, I hope to make the people better.” So I think a lot of changes have taken place on both sides of the coin. On one of Peter Schickele’s programs, he talked about Mendelssohn going to see Queen Victoria, and Queen Vickie said, “Oh, I’ve got the latest edition of your songs, and I would be honored if you played the piano so that I could sing one of your songs with you.” And so he (Mendelssohn) said, “So which would you like to sing?” And she picked one song. Well it turns out that it was one that his sister Fanny had written and he had published under his name. And so he explained to her why he had done this, because women, of course, couldn’t get their music published. And then Peter Schickele goes on saying, “Now can you see Sir Elton John going to see Queen Elizabeth, and hearing Queen Elizabeth say, ‘Oh Elton, I’ve got your latest CD and I’d love it if you’d play the piano so that I can sing along.’?” I don’t see that happening, and in some regards, just by some of the literature we choose to play sometimes, we really turn audiences off. No you don’t have to pander to people, but you do have to make it accessible. Whatever we play, we have to make it accessible to the people who are listening. That is part of our job as interpreters of music. Our local campus station has a free service. They have the arts channel, and it’s all these old historical performances of music, which are just fabulous. I mean, there’s no place you can go and watch videos of some of these fantastic orchestras and soloists, Heifetz, Leontyne Price, things, all these famous, famous, famous you know, older, some departed, musicians on videos. But they also get free news from Germany, and it’s in German. So for me, they’re going to have to dumb it down because my German is so bad that I can’t deal with it. There are some people who can understand German, and I’m sure that to them this is wonderful. In performing music, in the actual performance of music, if we can’t make it accessible to the people listening, whether it’s on an emotional level or an intellectual level, then we’re the failures, not them. If they’ve gone to the trouble to come, and they’re going to concentrate on what we’re doing, and they don’t understand, we’ve failed. Articles DR: I don’t know that the music industry has changed. I think there was a period in which we got a little bit out of touch with audiences, and I think there’s a period when audiences got a little bit out of touch with music. I don’t know exactly how I would describe it other than to say I’ve had the good fortune of knowing a lot of older people, and being very close friends with a lot of older people - I think maybe Schumann said, in one of his things, “Have older friends.” Virtually every older friend I’ve had has wanted to better themselves, not necessarily financially better themselves, but they just wanted to be better people and no more. So they would go to the extremes of inconveniencing themselves, so to speak, by going to concerts and learning about music and the significance of music and, all the way to - you know about Maslow? The educational psychologist who said that most people live for peak experiences and the peak experiences in most people’s lives are music and sex? I won’t argue. But if you observe now, if you just sort of observe people now, I don’t find that a lot of people want to better themselves so much as people, but sort of think “Make it easy enough on me and I can do it.” I kind of see a lot of that attitude, and I don’t find it attractive amongst a lot of people these days, but that may have a lot to do with the political atmosphere we’re living in, I don’t know. I think a lot of people want to be entertained rather than better. I think maybe it was Handel - that about a performance of The Messiah once, it was writ- 59 EH: What are some of the achievements of your students, musical and non-musical? DR: Most of the earlier students were teachers. A lot of them are retired. I have students who are mostly teachers now. They are either teaching now or they’re 5/16/07 6:47:14 PM 60 An Interview with Dan Ross playing here, there, or yonder. You know, Gerry Gibson sitting in the Arkansas Symphony. I’ve got several students doing things like that. They’re playing in orchestras like that, or they’re teaching in public schools, or teaching privately, or are in graduate school somewhere. And you know there’s Jason (Onks), he’s playing in orchestras and doing his repair stuff. He’s kind of a free lancer and doing that stuff. That’s where they go and that’s what they do. Most of them seem to be very happy. So, you know, that’s what counts. At least I think. Articles EH: Will you describe notable experiences that have stood out over the course of your career. DR: They’re all sort of musical things. Some of them people would find stupid like driving 150 miles in eight inches of snow to play in a wedding of one of my students. But that was her wedding day, and I can remember that vividly. I remember lots of concerts vividly, like the little old lady that was my date, or playing with some really high-powered people who are very generous with their words of appreciation. Like Eugene Istomin, whom I thought was a fabulous piano player, who after his performance, waded through the orchestra and asked me to take a bow with him, which was a little embarrassing. He walked up to me and said, “Would you take a bow with me?” You know, a lot of wonderful times like that. So far, I’ve never had a bad review. I mean, some people may not like how I play, but the critics have been nice to me. Some of the nicest moments I’ve had have been in teaching students, not necessarily because they walk away playing better. I remember when they had the shootings out at Westside, which really traumatized this part of the country, and I had two little girls who were twins who were in the seventh grade. One played oboe and one played bassoon. Of course, when that happened, we didn’t have lessons for a couple of weeks. But then on the year anniversary of the shooting, it was decided that they would have some ceremony at the school, and it really upset the little girls. They had lessons that afternoon, and they came to their lessons, and they were really upset, terribly upset, so their mom waited for them outside while they had their lesson. We didn’t play a note that day. Instead, we sat down - and this was totally outside of their religious background - and we sat and we listened and watched the translation of the entire Brahms Requiem. And when that was over, it was like, the pall had been lifted and they were fine. 16 DanRossInterview.indd 60 That’s worth more than tons of concerts. But there are lots of those. And those kids didn’t stay in music. They were little grade school kids. They went their own way; they have other lives, but even if they don’t stay in music, it still has a big significance to them. They may never go to another concert, but they will always appreciate, I think, what they did, and yeah they may (attend concerts), you never can tell. It may be like Tabuteau’s quote to a friend of mine who went over to take lessons from him. In his (my friend’s) first playing, he used all harmonic A’s. Tabuteau said, “Why do you do that?” And my friend said, “Oh, but Maestro, you always did.” Tabuteau said to him, “Save something for your old age.” It could be that they wait until their old age to start going to orchestra concerts, but I find it’s interesting when you look out in the audience. You see a lot of grey hair, but now I’m finding I find a lot of high school and college students. And there’s this kind of gap of middle agers, you know, quite a few, but not like lots of grey hair, and lots of really young people. And it’s very heartening to see the really young people coming. EH: You were diagnosed with cancer in 2002, what is you status now concerning the disease? DR: Hey, I’m great! You know it’s funny, I’ve always felt good, but I tended to overreact very, very much to the chemotherapy to the point that one of the doctors, who is at a cancer research hospital, said that it might take my system two years or more to get back to normal. I feel good. I’m too fat. My doctors are now telling me I need to lose weight. I said, “You’ve been telling me to eat!” They said, “You’ve accomplished the goal. You can quit.” But I feel great. You know I get up at tuning time every day, 4:40. Some days I’m a little flat or a little sharp, but most of the time, you know, I do that and I work all day. Some days I work harder than others, but I think that’s true of everybody. But the whole deal with that is, everybody has trouble, everybody has a problem, like it or not. Sometimes our problems are physical, sometimes our problems are mental, sometimes our problems are emotional, but you don’t dare let those things define who you are. You find your definition of who you are by yourself. You don’t ever let anybody else define you. You decide who you are. And so yeah, those things affect you. I will not question that. It’s made me much more aware of anybody having to go through that stuff because it’s not fun, but you can’t let it rob your life. You can’t let it rob your pleasure. When I was at my absolute sickest, I did miss 5/16/07 6:47:14 PM The Double Reed 16 DanRossInterview.indd 61 EH: How in the world did you manage to do all of that when you were that sick? DR: Well, from the get go I tried my best to get my chemo doctor to have a sense of humor. I went in wearing a Chicago Symphony baseball cap because my son was in Chicago, in Civic, and they had sent me a Chicago Symphony ball cap. When I went in, I wore it. And he comes in and introduces himself, and I said, “Am I going to lose my hair?” And he said, “Oh, we’ll get to that in a minute, I want to do...” I said, “Oh no, this is really important to me. Will my hair come back?” And he said, “Oh sure!” Then I whipped off my Chicago baseball cap to reveal my bald head, and he didn’t laugh at all, not one laugh, and I thought, “Oh, Lord.” Various times, I tried my best to get him to laugh, and he wouldn’t do it. He just didn’t have it in him I guess. The only time I got him to laugh was after my last chemo treatment. I’d gone to my dentist who wanted to replace a filling, but she said, “It will wait until after your chemo’s done. You can’t do it while you’re having chemo.” Now you have to understand, they make you chew on ice while you’re having chemo treatments so you don’t get quite so sick, but the chemo makes your teeth really brittle, so I cracked that tooth. And the little lady said, “You’ve cracked that tooth. I don’t know, you’re going to have to have a crown.” And her assistant said, “Well do you want gold or porcelain?” I said, “I don’t care,” but then I thought, “Wait. No, I read an article in the paper a couple of months ago that said that when you died you can be cremated and your ashes can be pressed into a diamond,” which is true. And I said, “so if I have a gold crown, that would make a good mounting for the diamond.” And he finally thought that was a little funny. I said, “Look, you’re a damn stick in the mud. If you go out there into the chemo suite where all these people are sick, they all have cancer, they’re all getting chemo, they know darn good and well in a couple of days they’re going to be getting just as sick as they can be. But yet, they’re having fun. They’re telling jokes, they’re laughing. They’re having a great time, and you come in and you put a pall over the whole thing.” I said, “You’re going to have to learn to lighten up.” And so I told him about my sign on the front window that says, “Don’t take life seriously, it’s a temporary situation.” I’m very bad, I guess, about giving my students unasked-for advice because I tell them never ever, ever to take themselves seriously. Take Articles a couple of days of school. I lost seventy pounds or more, but I didn’t miss any concerts. I did miss one session that I normally do down in Florida because I was very, very, very, very sick. Everything you can imagine. There was no way that I could have made that work, but I did make it up later that year. I felt bad about missing that one thing, but I never missed any concerts. I played everything, probably not as well as I would have if I had felt a little bit better, but you can’t let that interfere with what you do and who you are. My students were great. When I had surgery, man, they were waiting in my hospital room at 5:00 in the morning when I got there. They were very understanding if I didn’t stand up in their lesson, if I felt like I had to sit down for a while. Nobody could have taken care of me better than my students. They did boss me around a little bit. I had a student, Leanne Woodard, who’s fabulous, and they had the big cancer walk on the campus. It was the first year that they ever had it, and between Sylvia, the secretary, and Leanne they decided that they would put together a team from Fine Arts. The team from Fine Arts was so big that the people in charge said “You’ve got to have two teams.” That particular night, even though it was April in Arkansas and was pretty warm normally, it was very cold. I went, and I went with the intention of staying out all night with the kids you know. And Leanne saw to it that I was bundled up. She had even had her folks send me some down booties from Alaska where she lives to keep my little feet warm. At 10:00 they had a ceremony where they read lots of names of people, and she saw to it that I had a quilt wrapped around me. After that she said, “OK you have to go home now. It’s too cold for you to be out here. I’m sending you home; you can’t stay. It’s too cold, you’re going to get really sick.” So I said, “OK, I’ll be back in the morning,” so I went home and spent the night home, but at 6:00 I came back and took them all out to breakfast, and we had a good time, so you couldn’t ask for better care than my students gave me during that time. It’s hard not to allow something like that to really kind of play mind games with you, you know. When even well-meaning doctors say, “Well, you know, you’re not going to make it.” And I’m sure he was well meaning. But it does play mind games with you, and you just have to say, “Well, why do I feel so good then? If I’ve got about a year or so to live, why do I feel so good?” Well, it’s because somebody made a mistake. 61 5/16/07 6:47:14 PM 62 An Interview with Dan Ross what they do seriously, but never take themselves seriously. We’ve all done it, but you take yourself seriously, you make a southbound end of a northbound horse of yourself real fast. Articles EH: Has your experience with cancer changed or affected your career in any way? DR: I don’t know. I always thought that I valued life a lot, and a lot of things phase us. Every time I have a student who asks me why I’m not charging them money for lessons, I explain. And then I sit down with them I don’t care how young they are, junior high, high school - and I explain, “You are the only person that has ever seen the world through your eyes. The world needs your perspective. You have no idea how valuable you are,” and I really believe that. Stop and think, yeah we all experience basically the same things through life, but our perceptions and our reactions to them are different, and so we bring that to our music. We bring that to everything we do. And so, we share who we are with every action, with every reaction, and a part of that is our perceptions that we gain just through living a little bit. I still feel badly about the first little student I ever taught in my life, because that didn’t happen for her, and I watch all these little kids come in, and nope, they’re not going to be he greatest oboe players in the world, but if they can have some enjoyment and some pleasure and fulfillment doing it, that’s what it’s all about, and music is not a foreign item to them, nor is coming to grips with who they are. I would never, ever, ever want to go back through the hormones from hell stage again. But it’s something we all have to survive, and some people survive it better than others. But if I can just kind of - we’re all here to help each other get through the process, you know. And it’s just a process. It’s like, I always looked at the chemo stuff as, well it’s just something that I have to get through. And it got to be sometimes, Well, if I can get through this month, next month won’t be so bad. And then there were some times when I just hoped I could get through that day. And there was one particular weekend when my wife and Sylvia both thought I was going to die, and they kept calling the doctors saying, “He is so sick, I don’t think he’s going to live.” The doctor called me and said, “How are you doing?” and I said, “Oh, I’m OK.” I had to go in the next week, and he said, “I knew darned good and well you weren’t OK, your wife and your secretary had called me about a half dozen times each, and when I called you, you said, ‘Oh, no, I’m OK.’ I could 16 DanRossInterview.indd 62 tell by your voice you were not OK at all.” I said, “I don’t know how sick I am.” “You felt miserable didn’t you?” I said, “It was pretty bad.” “You can’t do that anymore, this stuff is really dangerous.” So I had a good laugh about that too. But that’s what’s important. I think maybe now, it kind of brings you around a little bit to, no, you’re not going to live forever, so maybe because of that, maybe I play a little bit better now. Maybe I’m able to help people a little bit better, help my students a little bit better through what goes on. I don’t know. Maybe they perceive things differently when I talk to them about all the other peripherals of life, and say, you know, that’s not important. Or if it’s a situation with money, it’s only money. It’s only money, or whatever it is. We’re going to get through this and we’re going to move on. That’s the only thing I can think of. u Emily Helvering teaches at the University of Wisconsin-Oshkosh and plays second oboe/English horn with the Dubuque (IA) Symphony Orchestra and the Oshkosh Symphony Orchestra. She received her BM degree from Arkansas State University where she studied with Dan Ross. Her other primary teachers are Dr. Doris DeLoach of Baylor University and Mark Weiger of The University of Iowa. In addition to her teaching and performing, she serves as editor and webmaster of the Midwest Double Reed Society. 5/16/07 6:47:15 PM 63 The Double Reed double talk with Judith LeClair and Sarah Chang (The following article first appeared in the Reeding Matter newsletter of the Australasian Double Reed Society and is reprinted with the kind permission of the Editor.) Biography: J Sarah: Let’s talk about how you learn a piece of music. Is that a matter of practice or skill or knowledge or what? Judith: I think it starts with listening. Listening to your teacher. You listen to what he’s saying, you watch what he’s doing and you try to imitate. You’ll still have your own sound but you hear what he’s doing, you watch. Listening is the most important thing to have just an open ear, and open mind. Sarah: So how do you take it from there? Judith: You make a lot of mental notes. You write things down. You go home and you just practice it and practice and listen and do it till it feels right. Till it sounds good to you. Till you feel comfortable moving from note to note. Till you’re comfortable with 17 DoubleTalk.indd 63 Sarah: So if you were going to practice a passage, would you practice it one way, or would you vary it as much as possible? Judith: Well, I think you have to vary. Obviously if you’ve played the piece several times before, you know what’s coming, it gets easier the more times you play something. You can practice it one way with ritards, with more expression here, more expression there and then practice being flexible because a conductor is going to tell you “you must be able to do this, you have to be able to do it.” Whether it’s softer or louder or slower, flexibility is very important. Sarah: But suppose you were playing a solo piece or suppose you play a piece of chamber music where there isn’t a conductor, it’s just you. How would you practice? Judith: Well, if you’re doing chamber music with other people, you just listen. You listen to your colleagues, you listen to your pianist. You have exchanges of ideas. That is to me the most important thing that you can learn as a young musician, is to learn to listen and to play with other people. I think if musicians have a chamber music base, they’ll use it their entire lives. A lot of people don’t know how to listen, don’t know how to react to other people. Articles udith LeClair (b. 1958), from Newark, Delaware, is an American bassoonist. Principal bassoon in the New York Philharmonic since 1981 and on the faculty at The Juilliard School since 1985, LeClair began studying the instrument at 11 and began her professional career at the age of 15 in a performance with the Philadelphia Orchestra. She studied bassoon with K. David Van Hoesen at the Eastman School of Music, and held the principal chair in the San Diego Symphony and San Diego Opera for two seasons after her graduation in 1979 before winning her position with New York. John Williams’ bassoon concerto, The Five Sacred Trees, was written for LeClair and her “unparalleled artistry”; she premiered it in April 1995 as part of the New York Philharmonic’s 150th anniversary festivities after having chosen him to receive the commission for the piece. She currently plays a ca. 1940 Heckel bassoon. Her first teacher, an older student, owned the professional-level instrument; after he died in a tragic accident at the age of 19, LeClair’s parents bought the instrument from the boy’s family; it remains her only instrument. the sound you’re getting. Till you feel that you can get from note to note easily and expressively and you can do what the music is telling you to do. Sarah: But suppose you have something like Rite of Spring. Now that’s got to be a classic problem for bassoon players, right? I assume that you’re tense about it, but not scared to death of it. Judith: Maybe the first time you’ve ever played it, you’re scared to death. I think you’re tentative the very first time in rehearsal when you have to do it. And then you do it, you realize what you have to do, how your reed is responding, how other people are responding to you, how you’re breathing - there are 5/16/07 6:47:29 PM 64 double talk with Judith LeClair and Sarah Chang so many things that come together when you’re playing an excerpt like that. you play long tones on different notes, or just practice attacking the note. Sarah: How would you practice it? Sarah: So are you practicing a kind of feedback mechanism? That is, you’re hearing what you’re doing when you’re practicing. You’re adjusting. Judith: I practiced it at home as if I was performing it. Like with any major solo, you work it up to a point where you are performing it. And by the time you finish with a practice, you can play it a few times and work out the little kinks and then go back to it. Articles Sarah: If the beginning of the Tchaikovsky Sixth were an exercise, would you practice it differently than if it were a performance? Judith: The beginning of the Tchaikovsky Sixth - I think I wouldn’t be lying if I said that most bassoon players are scared to play it. It’s written very softly and in a low register, starting on a very bad note, and you have to have lots of air support and a lot of control. You’re starting out of these subterranean depths of the instrument. The basses are low. It’s all very low and brooding and anguished. And you do feel a little anguish there at the beginning. It’s very difficult to start very softly and control it in the lower register of the instrument. And you have to have special reeds that will do that. And so most bassoon players don’t enjoy playing that. The rest of the piece is fine after that. We’re lucky it’s over in the first 16 bars. Sarah: How would you practice that? Judith: I would practice the opening just to have air support control. Being able to tone the very first note. Being able to fade away into a pianissimo, the way it’s written. Being able to start it again. Just keeping your intonation steady. There are a lot of things to think about. Making sure that you’re in tune with the basses when you start. QUESTION: But what actually are you practicing? Judith: One, one of the things that bassoonists - most wind players - do, is is play long tones. You start a note softly and you crescendo and you decrescendo and you play long tones. It should be one of the first things that a teacher ever has a student do, because it increases their air support, it teaches them how to stay on one note with a crescendo, a decresendo without varying the pitch, and teaches them what they have to do with each note. Attacking very softly on a woodwind instrument is a difficult thing to do, so 17 DoubleTalk.indd 64 Judith: Well, you’re also training your muscles to do this. A beginner is not going to be able to play a long tone that lasts a minute, they’ll be able to hold the pitch for a few seconds. And so you just practice. You practice getting air support, you practice using these muscles in your abdomen, your mouth. You must adjust for intonation. Your mouth, your muscles, you have to keep the pitch down, keep the pitch up. It’s all done with these muscles and it’s constant work. When you’re playing with an orchestra or chamber music, you always need to adjust and listen so you know where a note will be, and you know how to play the note in a chord. But it might be different when you’re in an orchestra in a different passage. Sarah: That’s when you’re performing, or let’s say with an orchestra. But now you’re home and you’re practicing and let’s talk about something virtuoso. You’ve got this huge scale passage to play - fast. How would you go about that? Would that be different? Judith: If it was something extremely difficult technically, I would start practicing it very slowly, whether it’s a fast tonguing or just notes, I would practice it slowly. I would do it with a metronome. I would just make sure that I could play it in time, in tune, in the right place at a slow tempo before I could do it fast. And yes, there is a lot of repetition. Practicing is a very difficult thing because a lot of people don’t know how to practice. I mean you learn this in school, you should learn it early on. Some people can practice six hours a day and never change because they’re practicing the same things wrong over and over again. I think it’s up to a teacher to help a student to learn how to practice. Learn what to listen for. If they’re just practicing everything too fast and it’s wrong, it’s out of tune, it’s not going to get better no matter how many hours they play. Sarah: Could you practice watching television with the sound off? Judith: I’ll make reeds with the television on. But as far as practicing, no, because you have to use your total concentration. If you can have an hour, hour and 5/16/07 6:47:29 PM The Double Reed a half of total concentration of thinking exactly what you need to do, making it happen, it’s worth four or five hours of distracted practice, I think. Sarah: So you don’t think just moving your fingers in a pattern as being practicing? Judith: No, I think moving your fingers in a pattern is learned early on. Those are just things that should become rote early on when you’re playing. When a student first starts, he does etudes to learn the different difficult passages on the bassoon. There are several etude books that bassoon players all over the world use, and they’re wonderful. Usually they’re harder than anything you have to play in the orchestra. Sarah: What keeps you from getting bored out of your mind? Sarah: Would you do it differently if it were in performance? Judith: I think I would think of the same things. How to play it, what the dynamics are, smoothness, getting it up to note, intonation, how is your reed responding, there are so many different things! When you’re young and you practice the fingerings and the embouchure and the air, you become more proficient at doing them altogether. And so by the time you’ve played the instrument a while, it just becomes second nature. Sarah: What do you tell your students about how to get up to that point? When they’re doing this exercise, do you tell them to think about any particular thing? What about scales? Judith: Scales. I tell them to do them at home. I don’t want to hear them [LAUGHS]. It’s something that 17 DoubleTalk.indd 65 they should be able to do and just do cleanly. Just practice until it’s clean and proficient. Sarah: Would you say a key word is hear or listen? That you can’t practice scales without listening to what you’re doing? Judith: I think you cannot practice unless you are listening intensely to everything you’re doing. You have to know what you’re listening for. A lot of students do not know what they’re listening for and they need to be taught, yes, I have to get this clean. I have to have this interval. This interval is this wide or this narrow. They have to listen to intonation. They have to hear how they get from note to note. They have to know how to support from note to note. It’s different playing in a low register than in a high register. You have to learn how to play in the different registers. It involves different muscles, and intonation is such a difficult thing. Sarah: Suppose you run into a kid that you’re teaching who says, I don’t want to play scales and I don’t want to play arpeggios. I want to play Mozart bassoon concertos. How do you deal with a kid like that? Judith: It’s like doing slalom skiing after you can’t get down the bunny hill. You can’t do these things without years of practice. You need to have the muscle memory, you have to have the ears. You have to be able to hear it. If you have a student that hears these things early on, that’s a find. If they have a concept of sound and they hear pitch and they listen to other people, and they play, it’s just gold. It doesn’t happen very often. Articles Judith: Oh, you can be bored. The scale exercises of course, in the long term, could be terribly boring. But if you make a goal for yourself, like ‘how many beats, how long can I hold this note? How smooth can I get these technical exercises?’ And then if you can put that into a lyrical etude or a concerto or something and if you can transfer that to playing something musically, that’s when it starts getting fun and interesting. And that’s where you hope that it will click with your students that this is all technical. That once they’re comfortable with doing everything, then they can start applying it to playing music. 65 Sarah: Let’s go to the Tchaikovsky symphony. It’s not you by yourself there. What’s going on? Judith: At the opening, the basses have these, this low, gloomy opening and you rise out of these subterranean depths of gloom. It’s very dark and very brooding, and sort of an anguished start to the symphony and the bassoon is just in the darkest brooding register. Sarah: Do you try and make it sound like the basses? Do you change the color of what you’re doing? Judith: Yes, you want it to sound the same dark feeling. You want it to be the same pitch when you come in. There’s a tone color that he wants out of the bas- 5/16/07 6:47:29 PM 66 double talk with Judith LeClair and Sarah Chang soon. No other composer has ever gotten the tone colors out of the bassoon that Tchaikovsky has. He’s got big hairpin dynamics - crescendo descrescendo. He wants everything exaggerated. He’s got a color with two bassoons which wouldn’t have the same color if it was just one bassoon playing in the last movement. It just descends and descends and gets gloomier and darker and morose. He goes from five pianissimos to four fortissimo. The extremes are amazing. Sarah: The whole piece is a hairpin. Articles Judith: Well, the inner movements are just so triumphant and happy. There were so many things going on in Tchiakovsky’s life at this point. He was personally very depressed and nervous. And for different reasons, personal reasons, he was descending into this gloom and depression and thinking of death. The last movement especially is just final. He’s just saying there’s something - finally this is it. This is the end, it’s death. And then the other movements are triumphant and happy. He loved the symphony and he had a hard time orchestrating it too. He was a master of orchestration but, this was very difficult for him to do. He just got so many colors. just thought it was such a great sound. So I think a student has to realize that they can go beyond their band, they can go beyond their college orchestra -it’s limitless, what they can do with the instrument if they have imagination. Sarah: If you can learn something just by looking or hearing over and over, how come all orchestra players look at their parts for a piece that they’ve played 1000 times? Judith: Well, it’s a lot to memorize. But the major solos that you learned since you were 14 years old and practiced and practiced them, they’re in your head. Sarah: You can’t practice away from the instrument. Is there such a thing? Sarah: Why, when Tchaikovsky’s looking for doom and gloom, does he turn in your direction? Judith: I don’t think you can. You can think about the music. You can think about fingerings. You can practice fingerings. But you need to have the reed. You need to practice. Like if you haven’t played in a week and you have to go play something that’s like Tchaikovsky Sixth or something, it’s much more difficult because your lip is out of shape. Your mouth muscles and your lip muscles are out of shape and it doesn’t come back just in a couple of hours. Even just a half hour a day is much better. Judith: The bassoon can express so many tone colors. It can be singing high and it can be lyrical and expressive. Sarah: And I suppose the same goes for skiing or a sport. If you wanted to be a great tennis player, or a really good tennis player, tell me what you would do. QUESTION: But why would he put in a bass clarinet and cello? Judith: If I wanted to be a great tennis player, I would, I would take lessons twice a week. I would try to practice every day. I would play with different people. I would just practice. I would constantly watch. I would watch it on TV. I would watch better players. It would be a totally engrossing thing. It’s like an instrument. Hopefully I’d have a good teacher. One has to listen all the time. One has to feel what it feels like when it’s right, and just try to achieve that same sensation whether it’s tennis, whether it’s playing an instrument. You have to feel it. You have to listen. u Judith: The dark, dark reed color. There are a few passages where he has to put the bass clarinet. It was written for bassoon but it’s too soft for the bassoon. I think he, he could create a picture out of this tone color. Sarah: If you were going to start a kid playing the bassoon, how would you keep him interested? Judith: A student has to want to learn. He has to just love the instrument. I know when I was a student, I just was fascinated with the sound of the instrument. I just thought it was a wonderful sound. I thought wow, look at the different colors. You can get down low, you can get all this beautiful sound. You can get up high. It can be funny, it can be lyrical. I 17 DoubleTalk.indd 66 5/16/07 6:47:30 PM The Double Reed 67 The Ear of the Beholder John Steinmetz Los Angeles, California This article first appeared in Chamber Music magazine, Vol. 23, no. 6, April 2006. Reprinted with permission. I 18 EarOfTheBeholder.indd 67 offenses I hadn’t even noticed; a friend so irate that it seemed we had attended different concerts. Maybe I imagined that these were exceptions, or the ravings of unhinged curmudgeons, but after my veil of ignorance lifted, I saw that it was perfectly normal for wonderful music-making to inspire both rapture and rage. (I also remembered times when I came unhinged myself, ranting about music that others loved.) Many of the issues that make people mad are technical: wrong vibrato, illegal trills, unacceptable intonation, unforgivable phrasing. But there are deeper issues, too, having to do with emotional stance and perceptual style. Some listeners crave drama and vividness, while others seek refinement and subtlety. For some ears complexity is exciting, but for others it’s annoying. Some people want music to be orderly and rational, while others yearn for contact with mystery or the unexplainable. Such deep differences help to explain certain abiding arguments between music lovers: Beatles versus Stones, Verdi versus Wagner, “period” versus “modern,” Babbitt versus Reich. When people argue about music, they often proceed from wildly different assumptions about what matters. Sometimes they’re not really arguing about the music; they’re arguing about criteria. Despite such disagreements, some works have managed to become “classics.” I spend a lot of time playing music that many people, over many years, have found beautiful, vital, compelling and worthwhile. Doesn’t this prove that there’s a certain amount of agreement about musical quality? I’m not so sure. First of all, most of us musicians don’t evaluate the classic pieces; we just program them because everybody else does. We might have a feeling about whether a piece is enjoyable to play, and certainly we take delight in wonderful moments, but do we love every Mozart minuet, every Beethoven finale? We’re often too busy playing the music to think about whether it’s any good. To some extent, the classics are just habits. And then there’s the ongoing disagreement about what belongs in the canon. For example, even though Brahms long ago joined the pantheon of Immortal Articles used to know what artistry was. I believed that if musicians performed or composed with honesty and heart, giving voice to their personal understanding of music, and did this skillfully and eloquently, then the audience would connect. Well, I was wrong, but I didn’t realize it for decades, until a colleague inadvertently punctured my naïveté. He was talking about being a judge at international competitions. The purpose of these competitions is to select the best performer and to reward the highest-quality music-making; but there’s one big problem. According to my colleague, the judges at competitions don’t agree about what is beautiful. When he first told me this, I was startled. People don’t agree about what is beautiful? That had never occurred to me, but I saw right away what he meant. The tone that sends the Italian judge into a swoon might seem, to the German judge, utterly immature. The English and Russian judges probably don’t see eye to eye about phrasing. Tempos that seem just right to the Korean judge might give the Venezuelan a headache. This disagreement about what is beautiful, my friend said, explains why the most exciting contestants may not win. “The only thing the judges can agree on is whether or not a mistake has been made,” he said. So the winner is often somebody who doesn’t make mistakes. I already knew that people’s tastes differed - I wasn’t that naïve. But my colleague was pointing out something else. He was saying that honest, heartfelt, craftsmanlike music-making is likely to upset someone. One discerning listener might hate a performance that another discerning listener loves. That scared me. It meant that even if I could play exactly the way I meant to, even if I managed to embody my particular feeling for the instrument and the music and the deepest realities of the universe, my approach was bound make somebody mad. Of course that’s true, and competition judges are not the only people getting mad. All my life I have seen the evidence: a review trashing a concert that I thought was gorgeous; listeners storming out during a piece that moved me; a connoisseur ranting about 5/16/07 6:47:41 PM Articles 68 The Ear of the Beholder Masters, I know of two highly trained, experienced musicians - one is an eloquent, music-smitten critic, and the other is a wonderful composer - who loathe Brahms. Brahms makes them both mad. (Brahms made George Bernard Shaw mad, too.) Maybe the “standard repertory” is just a bunch of lists to argue about. Reputations, too, change over time. Yesterday’s failed composition is today’s masterwork, on its way to becoming tomorrow’s abandoned relic. Bizet died thinking that his Carmen was a failure; now it is the most-performed opera. During their lifetimes, the sons of Bach were much more famous than their father; now J.S. is revered, while his sons’ terrific music goes largely unplayed. Hummel was more popular than Beethoven in their day; now look whose bin is bigger. During my musical life, I have watched multiple reversals. Remember all those serial compositions that were so highly regarded in the ‘60s and ‘70s? Remember when Handel’s operas had nearly vanished from the stage? Remember when John Adams was a fringe figure? And look at Haydn, probably the most popular living composer ever. When I was in college, only a few Haydn works got performed regularly. Now he seems to have made a comeback, with multiple recordings of his complete string quartets and frequent performances of music that used to be ignored. Performance practice goes through similar mood swings. One of my teachers said that Beethoven’s way of playing would be laughed off the stage today. Mahler’s orchestrations of Bach, with their writtenout trills, show that his interpretation differed totally from today’s. Recordings show how much ideals of tempo, tone, vibrato, and phrasing have changed over time. Let’s admit it: fashions change, tastes change, definitions of excellence seem unsteady at best, and people don’t agree about what matters. In fact, I don’t even agree with myself about what matters. My reactions can be highly inconsistent. I remember sitting in a university library, wearing headphones, listening to a stack of recordings. I put on a record of Donald Martino’s Notturno, but after the opening notes, I stopped it, thinking, “Oh no, not that kind of thing!” and I switched to something else. After listening to several other somethings, I tried Martino’s piece again. This time it sounded exquisitely beautiful. Go figure. Despite so much disagreement and fickleness about what is excellent, many of us musicians (my previous self included) go on assuming that certain mu- 18 EarOfTheBeholder.indd 68 sical ideals are universally shared and eternal. Music organizations have mission statements about “artistic quality” or “the highest standards” - as if somebody knows what those things are, as if there is consensus about quality. Now that I no longer imagine any agreement about excellence, I suspect that our organizations, like competition judges, sometimes reduce artistic excellence to technical excellence. (When they say, “Highest artistic standard,” perhaps they really mean, “We don’t make mistakes.”) In other cases, artistic success gets confused with business success (“We sell lots of tickets”), with popularity (“We are a household name”), or even with unpopularity! (“We are so cutting edge that nobody comes to hear us.”) Wonderful art certainly exists, and sometimes an artist or an ensemble becomes widely popular, but that doesn’t mean that “artistic excellence” is anything real. It might just be an abstraction - or a fantasy. If people don’t agree about what’s beautiful, if beautiful performances make people mad, if artistic quality is a myth and people find quality in conflicting places, then what is a musician to do? How can we tell if what we’re doing is any good? What should we aspire to? Whose opinion should we trust? As usual, it depends on what you want to accomplish. If your goal is to please others, then you should try to compose or perform for like-minded people. Either become like your audience or find an audience that resembles you. Find out all you can about their taste. Keep checking on whether they like what you’re doing. Good luck. Perhaps your goal is not to please others but to stay out of trouble, to avoid making anybody mad. This goal might lie behind performances that take a sort of “generic” approach; it might explain why performers sometimes “play it safe.” (Isn’t it odd that musicians even need to talk about “playing it safe”? What could possibly be “unsafe” about a way of playing music? Yet sometimes playing music does feel unsafe, with potential disapproval looming.) Maybe you sense that avoiding mistakes is a good strategy. After all, it seems to win competitions. Yet middleof-the road performances don’t guarantee happy outcomes, because somebody is likely to get mad no matter what. Maybe, though, your goal is to make people mad on purpose. (Now and then that goal becomes fashionable.) Perhaps you want to defy expectations, to challenge assumptions, or to create controversy. Perhaps you want to invent a transgressive art that will shock, or a sophisticated art that will baffle. 5/16/07 6:47:41 PM The Double Reed 18 EarOfTheBeholder.indd 69 cultivate and meet their own standards. I learned more about this approach from a young professional musician who took some lessons from me. Let’s say that the musician’s name was Mike. A successful freelancer, Mike was a skilled and soulful player, but he was losing enthusiasm for music. Before deciding to quit, he wanted to try to recover his love of playing. He didn’t need help with his instrument (which in any case was different from mine); he was looking for an attitude adjustment. As we talked together over the course of a few lessons, I gathered that Mike had assumed, without quite realizing it, that some players knew more than he did about what sounded good. He imagined that these special players were successful because they knew more about musical excellence. It was as though they had access to secret rules. When I invited him to visualize the situation, Mike pictured an exclusive gathering in a special room set aside for the best and most prominent players of his instrument. Bouncers kept Mike out of this imaginary room because he didn’t know enough about quality. His fatal flaw was incomplete knowledge about standards of excellence. Not surprisingly, Mike always felt inadequate when he played. No matter how hard he tried or how beautiful his performance, satisfaction always eluded him. Since he didn’t know what it took to measure up, he could never measure up. He was doomed to failure before his first note. Mike’s assumptions had taken the joy out of playing. (Fortunately, he was confronting related issues in therapy, learning how to deal with a father who had always disapproved.) Mike was genuinely surprised to learn that people don’t agree about what is good, that there is no single set of criteria, secret or otherwise, to define excellence in music. As he began to understand that different musicians have different ideas about what sounds good, Mike began to consider his own ideas, and his enthusiasm for music started to return. He realized that his natural musicality, a gift that had been present from a very young age, had gotten disconnected from his playing, but he easily remembered how to trust his own ear and his own heart. Now it was my turn to be surprised as he quickly reconnected with his native ability. He mobilized his own standards and discovered a way of playing that fit them. From my perspective, the more his performance was guided by his own taste and musical instincts, the more his playing took on personality and a vivid, detailed liveliness. His own musical taste, it seemed to me, led him to artistry. Articles Occasionally posterity rewards such goals by sainting a former rebel (how strange that iconoclasts can become icons!), but sometimes musical rebelliousness is just a backhanded way of deferring to other people’s taste. In any case, making the audience mad, like every other artistic approach, eventually goes out of fashion. These three kinds of goals - pleasing, playing it safe, and rebelling - all rely on other people’s reactions to determine quality. But there are some other options to explore. Lately, I’m trying to be truer to my own enthusiasms. Maybe now I’m a little less worried about what colleagues and former teachers want to hear, and a little more curious about what I want to hear. In some ways, playing and composing are harder now, because I’m not too easy to please. And since I don’t always agree with myself about what is beautiful, I can get really confused. Still, facing my confusion is probably easier than dealing with other people’s contradictory tastes. To follow your own taste you have to find out what your taste is, and that might surprise you. When a percussionist friend started composing a few years ago, his preferences startled him. He told me, “As a player, I play different pieces in different styles, and I enjoy adapting myself to the needs of each piece. But when I started composing, I had to find out what I like.” His smile was almost rueful as he confessed, “I found out that I really like melody.” Once I met a cellist who told me about her composition lessons with Joan Tower. The student, who had never written music, started composing a concerto for cello and orchestra. Each composition lesson began with teacher and student playing through the piece together on cello and piano. After playing, Tower asked the student, “How do you like it?” and together they explored the student’s responses to her own piece. After reworking the piece, the student brought it back for another lesson, and they played it again, and the question was the same: “How do you like it?” This process went on, I gathered, through months of listening and revising. When I heard the finished piece, I was astonished that a first composition could be so fully realized, with such a clear personal voice. I like Joan Tower’s question, “How do you like it?” Answering that question helps develop the student’s own perceptions and skills, as well as musical taste, and can lead to all kinds of fruitful inquiry. It can accommodate ideas from the teacher, too. Such a fine question gave me a fresh perspective on the work of music teachers: teaching means helping students to 69 5/16/07 6:47:42 PM Articles 70 The Ear of the Beholder Adopting a “please yourself” approach to musicmaking might seem dangerously myopic. But personal taste doesn’t develop in isolation. My taste was formed not only by my temperament and personality, but also by the culture and subcultures around me and by a host of influences: teachers, colleagues, performances I loved, the musical traditions I have encountered, other people’s taste, audience reactions, favorite recordings, and things people said to me years ago and yesterday. As a distillation of multiple influences, personal taste can be a rich and inspiring guide, more helpful than imaginary “standards of artistic excellence,” and far more supple and adaptable than any artistic standard that could be codified. Personal taste isn’t a static set of rules; it keeps developing in response to new inputs. Eventually these questions of quality and taste drew me back to Robert Pirsig’s amazing book Zen and the Art of Motorcycle Maintenance. Through much of the book, Pirsig wrestles with an old problem in philosophy and the arts, trying to define quality (goodness, beauty, excellence). Some people say that quality is an ingredient or attribute that exists in the world, ready to be noticed and appreciated wherever it is found. Others say that quality isn’t “out there” in the world, but that it resides inside the observer - that “beauty is in the eye of the beholder.” Pirsig finds a new way through this problem. He discovers that quality is neither in the observer nor in the thing observed. Yet he is certain that quality exists, because people do encounter it and recognize it. Eventually, he realizes that quality is an event, and it can happen only when an object and an observer such as some music and a listener - come together. To put it in musical terms, if the music and the listener resonate, then Quality happens. 18 EarOfTheBeholder.indd 70 That’s a way to recognize excellence, and a way to cultivate it: look for resonance. When we’re at our best, I think this is what musicians do. We don’t measure music against some set of criteria; we check for resonance. We can’t define excellence, and we don’t agree about where to find it, but we can recognize it, we can foster it, we can try to serve it. Fortunately, many audience members - probably most of them come to concerts not to judge or to evaluate, but to experience the music and to be affected by it. Most listeners bring their hearts, not their clipboards. At our best, all of us - musicians and listeners - come together to share an experience. We are, all of us, seeking moments of resonance. I don’t know how it happens, but many of the sounds that resonate for me also resonate for others. Not everyone is moved in the same way, of course, and somebody will probably get mad, but some listeners do seem to receive something like what I meant to send. And that’s more than enough. u Bassoonist John Steinmetz, a Los Angeles freelancer, plays chamber music with XTET and Camerata Pacifica. He is principal bassoonist for the Los Angeles Opera. Steinmetz’s compositions have been released on Crystal, Helicon, and Albany CDs. In June 2006 he completed his term as a CMA board member. Contact him at bsncomp@hotmail.com, or visit http://www. johnsteinmetzmusic.com. 5/16/07 6:47:42 PM 71 The Double Reed The Alexander Technique and Oboists, Part II Applications of the Alexander Technique to Playing the Oboe Andrea Fedele Minneapolis, Minnesota head is held ahead of the center of gravity. The upper back is ‘rounded,’ causing stress in that region. The shoulder blades rotate downward, placing stress upon the scapular muscles, which then cause myofascial pain. The head is held in ‘forward head posture,’ causing the neck muscles to sustain a painful muscular tension. The neck has to arch to compensate for the increased thoracic kyphosis, which may cause stress upon the cervical discs.1 E Increased suboccipital backward bending (posterior rotation) in FHP [Forward Head Posture] leads to suboccipital tightness and anterior cervical flexor weakness, or an imbalance in the agonist/antagonist relationship of muscular action. When the occipital condyles slide anteriorly and the occipital bones move closer to the atlas, as in a relaxed slump, compression of neurovascular structures results. 2 very individual moves in a unique way and an Alexander teacher will work with each individual according to his or her needs, much in the same way a good oboe teacher will work with each oboe student to strengthen his or her particular weaknesses. Just as oboists’ ideal embouchures will differ from one another a little according to the structure of their mouths and reeds, each individual’s most balanced and free way of moving will differ from another’s because of his or her structure. What follows in this article are some ideas of ways in which oboists may use what is learned in Alexander Technique lessons in their oboe-playing, but oboists will need to discover for themselves exactly how the Technique may be applied specifically to their own playing by taking Alexander lessons. Because habits associated with playing are very strong, most Alexander teachers will first work with a musician for several lessons without the instrument, bringing in the instrument later after the musician has learned the basics. This method can be compared to being able to do scales well before attempting to play a difficult piece of music. When physicians discuss the misuse and overuse problems of musicians, they very often state that musicians need ‘good posture’ or ‘correct body mechanics.’ They have also researched the problem and written articles on their research that show time and time again how postural faults are a cause of musculoskeletal difficulties: In the process of ‘leaning into the music’ the 19 Alexander_Fedele.indd 71 Excessive or improper physical use of our bodies certainly is not illegal (like recreational drugs) or otherwise restricted, but it too may cause problems such as strains of the joints, muscles and tendons, accompanied by pain and decreased function. Such difficulties may occur during our musical lives and at other times, including the activities of our ‘day jobs’ or our recreational pursuits.3 Articles The article preceding this one (“The Alexander Technique and Oboists, Part I: What the Alexander Technique is and How it is Relevant to Oboists,” The Double Reed, Vol. 29 No. 4) introduced the Alexander Technique and explained why the information that one learns in Alexander lessons is relevant to oboe players. An explanation of the main principles of the Technique, as well as some of the vocabulary associated with it, was included; a glossary is located at the end of this article as well. Although the musician may note a problem of the hand or fingers, it is likely that the problem originates in a much higher center; the bad habits that have been incorporated at an unconscious cerebral level cause a modification of the normal movements of all the muscles of the upper extremity and possibly the entire body.4 Muscle strain symptoms from playing can be precipitated or aggravated by the improper use of muscles anywhere in the performer’s body. Playing ‘under tension,’ for whatever reason, involves using more muscles than are usually 5/16/07 6:47:53 PM 72 The Alexander Technique and Oboists, Part II Articles needed to get the job done or using the correct muscles in a state of greater tension than is necessary. Co-contractions (the simultaneous contraction of both agonist and antagonist muscle groups during a specific action) are usually counterproductive to the smooth performance of rapid, repetitive motions and must be minimized or eliminated.5 All of these medical professionals are describing the problems that can arise in a musician from misuse. They describe various forms of misuse and talk about the role of habits and misuse in causing improper functioning and pain. There is no doubt about the link between misuse and the pain that many musicians experience. This link is an example of Alexander’s more broad statement that use of oneself affects functioning, or how one uses oneself affects everything one does. Because of this link between misuse and pain, people in the medical field always recommend ‘good posture’ and ‘correct body mechanics.’ Quarrier, a physical therapist, says musicians should “be instructed in proper postural alignment.”6 Another physical therapist, Novak, writes, “Postural connections must be understood and incorporated into the musician’s daily habits and performance technique.” 7 Tubiana, an M.D., states that “it is important to have a clear understanding of the concepts behind the fundamental positions (for instrumental musicians), beginning with basic posture, before proceeding to a discussion of specific positions for a particular instrument.”8 Efforts have also been made to describe in writing what the optimum physical condition is for a musician. Dr. William Dawson, frequent author for the The Double Reed, writes, Optimum performance on musical instruments, like doing any other physical activity well, requires a precise and correct degree of tension (force) in the muscles performing the task. It is usually not possible to play well with insufficient muscle tension, whether manual or facial. Excessive tension, on the other hand, can be compatible with good performance, but the frequently deleterious effects of abnormally large forces ultimately may be noticed by the musician.9 Another medical doctor, Dr. Lippmann, says, “Basically, playing skill at any instrument comprises relaxed coordination at needed speed, carried out with a minimum of energy and utilizing the helpful 19 Alexander_Fedele.indd 72 forces of gravity, inertia, and tissue elasticity to the hilt in order to save on muscle power.”10 The difficulty arises from the attempt to acquire such an optimum state. ‘Bad posture’ is the result of a general pattern of misuse present in an individual. This pattern of misuse is an influence on every activity the individual does, including, for example, exercises. It is generally accepted that exercises can ‘fix’ posture, but a person who habitually slouches, also tends to slouch during exercises, therefore strengthening the very imbalances causing him pain in the first place. Even if the sloucher is an unusually motivated person and decides not to slouch during exercises, two problems are setting him up to fail. First, he is only exercising for a small percentage of his day. For the rest of the day, he is slouching. His habit of slouching will not be overcome by just a few minutes per day of change. Second, when this person with a habitual misuse pattern that causes slouching decides to ‘straighten up’, he’s not eliminating his habitual tensions but adding to them. He’s using himself differently, but just a different kind of badly. What is missing from these direct ways of trying to acquire optimum use is an acknowledgment that because misuse is inseparable from one’s total pattern of coordination, the total pattern as a whole must be addressed. This may sound difficult, but only because it is unfamiliar. From the viewpoint of someone with experience of the Alexander Technique and musculoskeletal pain who has tried both ways (trying to change the parts involved in misuse versus trying to change the whole pattern), it is much easier to change the whole pattern, with the help of an Alexander teacher. Dealing with general habits of misuse is only difficult without a means to do so. The Alexander Technique is unique in that it provides a practical way to change one’s total pattern of use so that this use is a constant positive influence on functioning rather than a detrimental influence. Furthermore, movements performed with the resulting integrated coordination and balance of muscle tone are characterized by a “precise and correct degree of tension (force) in the muscles” and are “carried out with a minimum of energy and utilizing the helpful forces of gravity, inertia, and tissue elasticity to the hilt in order to save on muscle power”, as optimum use is described by Dr. Lippmann above. Lessons in the Alexander Technique often begin by addressing the student’s habits while sitting in a chair as well as standing and getting in and out of the chair. These actions are clearly relevant to oboe playing, even though the student is not at the time 5/16/07 6:47:53 PM The Double Reed 19 Alexander_Fedele.indd 73 to which she can compare all other activity. For example, she learns how to use the arms with a minimal amount of tone, rather than too much, and can then explore what the minimum amount of tone would be for her to pick up and play the oboe. When focusing on the arms, the Alexander teacher may begin by having the student just raise her arms in front of her. In just this one action various forms of misuse may become apparent and could be eliminated. For example, to raise the arms people often raise the shoulders, lean back a bit, and push the pelvis forward, which compresses the spine and puts extra tension throughout the body. They might do something similar when they bring up the oboe. Most people who do this are not aware of it, but it feels ‘right’ to them. The muscles involved are under one’s control, unlike the involuntary muscles, but use of these muscles is not always conscious. The late Carol McCullough, Alexander Technique teacher and violist, writes, “It is because this musculature is under the voluntary control by the human nervous system that difficulties arise in an individual’s use, and consequently, potential exists for improvements in an individual’s use. Voluntary control should not be confused with conscious control. It is the unconscious control of the voluntary musculature that gets one into trouble.”11 When the Alexander teacher and student eliminate misuse while the student lifts her arms, the student is already going to be using herself in a more coordinated way while playing the oboe. Another common misuse in oboists is the tendency to excessively contract the muscles of the arms, pulling the oboe in towards oneself by applying too much pressure with the fingers on the keys. This requires more work of oneself than necessary, and the arms, from the thumb to the back, then have to counteract that effort to keep the oboe away from the body. These simultaneous contractions of the muscles that bend and extend the arms result in excess tension. In Alexander Technique lessons, the student becomes aware of her habits of misuse and learns how to encourage length of the musculature of the arms and freedom of movement, rather than shortening and rigidity. This experience provides the student with a new standard and conscious control over her use. In this way, such habits are changed fairly easily. Much attention is given to the fingers by musicians and music teachers. We focus on the fingers when practicing technique, for example. Again, people don’t tend to be aware of the connection between problems with tense fingers or problems with technique, and the tension resulting from misuse Articles playing the oboe. These are basic, relatively simple movements that allow the Alexander teacher to work with the student’s overall habits of use, the same habits that influence any activities the student engages in, including playing the oboe. Besides, when someone plays the oboe, he’s either sitting or standing, so there is a direct application of this work with sitting and standing to playing the oboe as well. Most musicians consider the workings of their arms and hands to be separate from the workings of the rest of their bodies, but in fact the arms are supported through the musculoskeletal system by the back. A well-coordinated back that has an appropriate balance of tone is a strong back which provides support to the arms, a kind of buoyancy. A non-integrated back does not do its part in supporting the arms, causing the smaller muscles of the arms to do more work than they are intended to do. In addition, a collapse of the torso or the opposite, an excessive rigidity of the torso that occurs from an imbalance in muscle tone puts an additional burden on one’s structure, a burden that the arms must overcome in order to lift the oboe. The reader can get an idea of what this does to the arms by sitting normally and lifting his or her arms and extending them in front of him like a conductor, then collapsing and lifting his or her arms. The arms are noticeably more difficult to lift when one is collapsing. If the oboist’s normal way of sitting includes a lesser degree of collapse, that collapse is always making it harder for the oboist to lift the arms. The difference between this oboist’s norm and the demonstration above is simply one of degree. Neither is helpful to the oboist. When working with a student in a lesson, the Alexander teacher will begin by asking the student not to move in her normal way, but to allow the teacher to move her in a new way. Through this procedure the student learns what Alexander called ‘inhibition’ or ‘non-doing’, which is simply a pause during which the student decides not to continue the activity in her habitual way. This then allows something nonhabitual and more coordinated to happen, assisted by the teacher’s both verbal and hands-on directions (suggestions for how to move in a more coordinated way). First the teacher and student may focus on the relationship between the head and neck and torso, later expanding the student’s awareness to include the extremities. The goal is awareness, a good balance of tone throughout the body which results in free, dynamic, and integrated use, and the ability to consciously control how one carries out an activity. Through lessons the student develops a new standard 73 5/16/07 6:47:54 PM 74 The Alexander Technique and Oboists, Part II somewhere else in the body that seems distant, such as the neck, back, or hips. A couple of oboists related in interviews with me their experiences of the connection between overall use of themselves and technique. Peter Cooper, principal oboist of the Colorado Symphony, described his experience related to technique: “I found that freeing my neck enabled me to perform cleanly under pressure certain technical passages that were within my ability, but not always ‘nailed’ under pressure. Freeing my neck actually allowed my fingers to work better.”12 Articles He then elaborated using Ravel’s Tombeau de Couperin as an example: I was applying that throughout the audition. Pieces like Tombeau, or Mendelssohn’s Scottish Symphony, La Mer and others were works that I knew I could play cleanly, but hadn’t always done so in auditions. This time I focused during the audition on keeping my neck free and my arms and fingers soft. I was oblivious to the audition pressure and just kept giving myself those ‘Alexandrian’ messages. All of those excerpts were sparkling clean at this audition. I attributed it to 10,000 times practicing Le Tombeau de Couperin slowly and keeping my neck free at the audition. Keeping your neck free doesn’t work if you haven’t put in the 10,000 times.13 Alecia Lawyer, oboist in Houston, Texas, said that she always had good technique, but that lessons in the Alexander Technique “really made it more fluid and effortless and it [Alexander work] just got rid of the unnecessary tension.”14 As her awareness improved, she said she “started really chipping away at it [technique] and literally trying to get rid of finger motions that I did not need.”15 It has already been mentioned that oboists often apply too much pressure to the keys. Fingers can look somewhat claw-like on the oboe, as everyone knows. Marcel Tabuteau, principal oboist in the Philadelphia Orchestra from 1915 to 1954 and ‘father’ of American oboe playing, “strove for lightness of finger technique and supreme economy of movement.”16 This need is clearly nothing new, and the Alexander Technique is just another way of exploring how to use the fingers in a released, lengthening, easy way. In his book on the Alexander Technique and music, Indirect Procedures, Pedro de Alcantara includes 19 Alexander_Fedele.indd 74 a quote from a 1600-page work on the physiology of breathing: Surely no organ or system of the human body is at present completely understood anatomically or physiologically. It would be difficult, however, to single out one vital organ concerning which more has been written, on which more lively differences of opinion are still expressed in print, and of which more remains to be learned, than the mammalian lung.17 It is not necessary that we understand breathing to ensure that it functions, luckily, because we oboists, like others, have many conflicting beliefs regarding breathing. Some say the abdominal muscles should be raised in; some say they should be pushed out and held there. Some people advocate big breaths; some recommend exhaling then playing with what remains. Some suggest ‘learning’ how to breathe and doing exercises for this purpose, while others prefer a more ‘natural’ approach. Oboists also disagree as to whether there should be movement of the chest and shoulders while breathing. Regardless of what we believe, like other forms of functioning, breathing is influenced by an individual’s overall condition of coordination. Frederick M. Alexander (the man who developed the method that was later called the Alexander Technique) was himself an actor, and as he began to teach his Technique, he focused quite a bit on breathing for a while. This was probably because it was fashionable at that time for people to do ‘deep breathing’ exercises, and to take ‘breathing lessons’ to improve their breathing and therefore their health. Acting students also came to him with questions about breathing, since he was apparently relatively unique at the time in that he didn’t gasp between phrases while performing. Alexander was well-acquainted with doctors in Sydney, where he was living at the time; they referred patients to him sometimes if they believed his work might be able to help them. In his book, Constructive Conscious Control of the Individual, Alexander gives a rather lengthy description of what happens during breathing, but his mention of the diaphragm was rather brief, stating that “the floor of the [thoracic] cavity (diaphragm) plays its part, moving upwards and downwards in sympathy”18 with the contractions and expansions of the thorax. Reference to the diaphragm is often made by oboists and other people conscious of their breathing, and while it is better understood than previously, misinformation is still 5/16/07 6:47:54 PM The Double Reed fairly common. The diaphragm is the muscle that separates the chest and abdominal cavities. When the lungs are relatively empty, the diaphragm is relaxed and domeshaped, the top of the dome resting almost as high in the torso as the lower point of the sternum. Evelyn Rothwell gives a clear description of how the diaphragm works in her book entitled Oboe Technique, first published in 1953: “When we breathe in, the abdominal muscles work on the diaphragm to contract and pull on its central tendon, flattening the dome and pushing down the abdominal organs…When we breath out the diaphragm relaxes and becomes dome-shaped again [italics hers].”19 19 Alexander_Fedele.indd 75 and other forms as well, often result in restricted movement of the ribs, which, in unhampered breathing, expand and contract freely and with a great deal of flexibility. For example, everyone knows that if an individual slumps, he is restricting his breathing, but if he is habitually even just somewhat collapsed during ‘normal’ breathing, he will still always be preventing his ribs from expanding and contracting freely. Nicholas Quarrier, a physical therapist, writes, “Poor posture affects the breathing mechanism, thus creating abnormal muscle tension and undue expenditure of energy.”21 One would expect this to have some detrimental affect on the average person’s health, but the detrimental affects on an oboist’s ability to play are especially clear. Put simply, the oboist would have to work harder and would be more tense. It also seems clear that breathing exercises are not going to change the influence of misuse on someone’s breathing. The influence of misuse on someone’s breathing is tricky, because an individual is completely accustomed to how he uses himself and how he breathes, so without having the experience of breathing freely with his misuse eliminated, he is probably unable to even imagine what the difference could be. In Alexander Technique lessons, the student becomes aware of his habits related to breathing and learns to get out of the way of the process so that the breathing mechanism functions freely and reflexively. For example, if one’s habit is to collapse while exhaling, then one learns not to collapse. If one’s habit is to overarch the back, as pulling oneself into a well-intentioned attempt at ‘good posture’ often does, then that habit is eliminated. Through being guided by an Alexander teacher, one can learn to remain free instead of collapsed, and instead to be easily lengthened. One learns that after exhaling, by simply remaining free and allowing the ribs to be free, the ribs will spring open automatically which results in a free and reflexive inhalation. Joseph Robinson, former principal oboist of the New York Philharmonic, makes a wonderful analogy between exhalation and wringing water out of a sponge in his article entitled, “Oboists, Exhale before Playing.” He writes, “To replenish the supply of water, one need only return the sponge to the tub of water…We need only to relax the muscles that have been wringing out air to replenish our supply of wind for the next phrase. In this way, blowing is an active process, and inhaling is completely passive.”22 Rather than focusing on how to inhale properly, if the oboist takes care of exhaling and then allows the ribs to be free, the inhale will simply happen, easily. Articles The suggestion to “breathe from the diaphragm” is common, but does not really work for a couple of reasons. First, doing so would literally only involve the chest cavity, or approximately the upper half of the torso. Breathing involves the whole self, but most actively the whole torso. That is what most teachers are probably trying to communicate when they say to “breathe from the diaphragm,” to use the whole torso rather than just the upper half. Secondly, because the diaphragm contains no proprioceptive nerve endings, it is without sensation. Being impossible to feel, it is also therefore impossible to “exercise any control over diaphragmatic movement except through the reflexive act of breathing,”20 writes Cornelius Reid, singing teacher. If the goal of the suggestion to “breathe from the diaphragm” is to involve the entire torso in breathing, and not just the chest, then perhaps the suggestion to “breathe from the pelvic floor” would be a better one, since the pelvic floor is located at the base of the torso. Alexander Technique teachers will frequently work with a student’s breathing during lessons, whether the student is a professional breath user or not. As habits of misuse influence breathing, habits of misuse in breathing can have a negative affect on a student’s overall use as well. In the quote of Cornelius Reid, above, breathing is referred to as “reflexive.” Wind players have the potential to improve their functioning while playing simply by allowing their inhalations to be reflexive, rather than ‘trying’ to inhale ‘correctly’, or worse, gasping. What one needs to do is to not interfere; ‘correct’ breathing then occurs. By trying to control the inhale, oboists often misuse themselves, and this misuse actually gets in the way of free breathing. Tensions from this form of misuse, 75 5/16/07 6:47:54 PM 76 The Alexander Technique and Oboists, Part II Articles Alexander Murray, Alexander Technique teacher and former principal flutist of the London Philharmonic, describes how he first began to work with allowing the inhale to be reflexive: My earliest recollection of applying what I learned from the Alexander Technique to playing was (and continues to be) to rid the mind of ‘taking a breath’ to play. This is an important aspect of all my practicing. If I wish to play a long phrase, I first exhale, then allow the breath to return (through the nostrils silently) and then play when the breath is ready to move out. When playing continuously, I always take time to breathe, even if it means stopping the flow of music. Naturally this is applied to practice. When performing, one does what the music requires with whatever means one has at the time. 23 Of course inhalation can be controlled, by interrupting the breathing process at any point and inhaling, but done in this way, the inhalation becomes tension-producing and uncomfortable instead of free. It is also similar to what one does when frightened by something, like an unexpected loud noise. One gasps. Gasping is part of the startle reflex, a pattern in which a person gasps, raises the shoulders, draws the head down into the shoulders, collapses the chest, locks the knees, and generally stiffens the entire body when startled. This pattern is present to a lesser degree when an oboist gasps for a breath instead of allowing the ribs to expand freely to inhale at the end of a phrase. Gasping is inefficient, and as contradictory as it sounds since one gasps in an effort to bring in air quickly, one does not have time to breathe like that. Oboists ‘take’ breaths of all different sizes while playing and in life outside of playing. The size of the breath is determined by the body’s need for oxygen. After exercising for a while, the breaths are bigger and more frequent, but not bigger or more frequent than necessary. While sitting and watching a movie, the breath will be slower and smaller because of a lesser need. After playing a short phrase on the oboe, the following inhale is likely to be fairly small, but at the end of a long phrase, the breath will be bigger and quicker, because it is needed. If one needs a great deal of air quickly because there is a long phrase coming up, by simply knowing this one can allow the ribs to expand quicker as the air comes in quicker, if the ribs are not restricted by excess tension. This is far more efficient and effective than gasping. Gasping 19 Alexander_Fedele.indd 76 produces unwanted tension that must then be overcome. Free ribs do not. The requirements of the music determine the speed and size of the breath with minimal tension as long as one’s use is coordinated and free. “No rigidity anywhere: that’s the objective,”24 states Robinson. The late Arnold Jacobs, former tubist in the Chicago Symphony who was sought after by musicians of all types for lessons in breathing, advocated “letting the music be the guide.”25 This is similar to what happens in conversation. Joseph Robinson writes, “I challenge anyone to discover a friend who, during casual conversation, prepares for a remark by taking a breath. The fact is that we go along, communicating very comfortably with one another without intentionally doing anything at all.”26 This idea also came up during my interview with Julie Ann Giacobassi. She said, “When I have a young student, I say to them, ‘When you answer the phone, you don’t take a deep breath and say “HELLO!”’ So much of playing can be very much like what your air is doing when you’re conversational. You don’t take a deep breath before you start to talk. The air just comes in and out naturally.”27 In a master class at the Banff Center for the Arts in 2001, Richard Killmer, professor of oboe at the Eastman School of Music, remarked, “you breathe as often as you need to, and as naturally as you can.” In order to “breathe naturally,” one needs to stay out of the way of the breathing process by stopping misuse and using oneself well. The idea of breath ‘support’ is another confusing concept for many wind musicians. One is told to “use more air support” or “support the air,” and everyone agrees it is necessary, but identifying what is means exactly is difficult. Some people maintain that it is the inward and upward push of the abdominal muscles that results in support, but one is able to do this push and produce an unsupported sound. Focusing on the abdominal muscles can be tricky as well because it may cause a rigid tightening that gets in the way of playing freely. This is a subject also discussed in my interview with Julie Ann Giacobassi. She said, John Baron (her Alexander Technique teacher) kept trying to get me to relax my abdominal muscles, which was another thing which is just so anti-everything you’ve been brought up [to do], particularly with holding your stomach in and all of that stuff. And I found that very hard to do. It’s not support but tension that he was trying to get rid of – that sort of gripping the abdominal muscles which you don’t need to do. 5/16/07 6:47:55 PM 77 The Double Reed You need to have a strong support but there can’t be any tension in it at all. 28 19 Alexander_Fedele.indd 77 Articles Other oboists describe support as having to do with air pressure, speed, focus, or air direction. It seems that support has something to do with all of these ideas together, and that the lack of a sufficient amount of any of them can result in an unsupported sound. When all of these are in balance, a feeling of support results. An interesting definition of support is proposed by Michael McCallion in The Voice Book: “To put it simply, it is the refusal to collapse.”29 Refusing to collapse is a natural result of using oneself well. The feeling of ease that accompanies good use and coordinated breathing mechanisms has a positive affect on every aspect of oboe playing. For example when one isn’t constantly fighting tension resulting from misuse, one has more endurance. If the oboist is familiar with what a neutral level of muscle tone is, he can take advantage of that during even brief rests in the music, releasing the higher level of muscle tone required to play the oboe and returning to a minimal level of muscle tone for a moment. Jim Mitchell, an oboist in the Chicago area, said in our interview that he appreciates having that ‘neutral’ to return to, and takes every possible chance to “back up, let go.”30 If the oboist is constantly in a state of excessive tension, even during rests, he will not be able to use the rests to his best advantage and will have less endurance than he otherwise could have. He will also feel more tired when he is done. Any number of other problems that oboists encounter while playing can be related to excessive tension and the oboists’ habits of misuse, including problems with sound, vibrato, intonation, the throat, jaw, and embouchure. Every oboist has experienced playing with a bad reed that requires too much work to control, resulting in a response, sound, vibrato, intonation, and so on that is not as free and easy as one would like it to be, and making one feel very tired or even in pain by the end of a rehearsal. Then the oboist makes that last adjustment to the reed and everything falls into place: the response is easy, the sound and vibrato are free and pleasing, intonation is accurate. Everything is easier. A similar improvement in how one feels while playing, though spread out over a longer period of time, is possible with integrated use of oneself, free of excessive tension. Like no longer having to fight a bad reed, one no longer has to fight excessive tension. Good use doesn’t exempt anyone from needing to have talent, to practice, or to find a great teacher, but like a good reed, it certainly helps. Though the relationship between an individual’s overall condition of coordination and the embouchure, jaw, and articulation can be difficult to imagine for some people, studies do show the connection. One of the studies cited at the beginning of this article states that forward head posture (allowing the head to fall forward of one’s center of gravity) “may lead to multiple sources of pain,” including “temporomandibular joint (TMJ) pain from faulty head, neck, and mandibular alignment.”31 Misuse such as forward head posture changes the relationship between the head and neck and the rest of oneself, disrupting the balance of the jaw. This changes the demands placed on the musculature and therefore impedes the functioning of the jaw. Even if the imbalance is not exaggerated enough to cause the oboist pain in the temporomandibular joint, the compromised functioning of the jaw and unbalanced tensions could have implications for the embouchure and tongue as well because of proximity alone. Several oboists who I interviewed had noted a change in embouchure and tonguing as a result of a change in the way they were using themselves. Andrea Ridilla, professor of oboe at Miami University, was able to tongue faster after an adjustment made to the relationship between the head and neck initially made by an Alexander teacher. Both Julie Ann Giacobassi and Daniel Stolper, former professor of oboe at Michigan State University, oboe instructor at the Interlochen Arts Academy, and editor of The Double Reed, stated that a slow tongue was the result of tension. Giacobassi stated that “the more tense and rigid one is the slower the tongue is.”32 Stolper observed the relationship between tension and rigidity in his chest and the functioning of his embouchure and tongue: “And if I did that (a use of himself that resulted in a tightening of the chest) I found that my embouchure was getting tired, my tongue was getting tired, lots of things.”33 Alexander Technique principles may also be applied to personal practice time. Every musician has probably been taught to practice a new or technical piece of music slowly. Slow practice works. Frank Wilson, M.D., a neurologist, describes why it works: Slow practice is the key to rapid technical progress. The cerebellum is a non-judgmental part of the brain; it assumes that any repetitive activity in the muscular system is being repeated because the conscious mind is trying to make it automatic. The cerebellum will be just as efficient an automatizer of incorrect sequences 5/16/07 6:47:55 PM 78 The Alexander Technique and Oboists, Part II Articles of timing as of those that are correct. When practicing takes place at a pace too fast for accurate playing, there is very little chance for the material to be mastered, and reliable, confident performance simply will not occur. On the other hand, it is probably true that practice for speed is seldom necessary. The cerebellum can supply all the speed wanted if patterning is correct during practice.34 This statement probably also explains how habits of misuse become automatic as well. In Alexander lessons, the student learns that the first step toward changing a habit is to become aware of it. An oboist can become aware of those habits of misuse that may be interfering with her playing and her practice. The second step toward changing a habit is to stop oneself from doing something that one knows is misuse. In personal practice, this skill can help the oboist to just stop and consider what she is doing and how she can do it better, rather than blindly pressing ahead and practicing mistakes and probably misusing herself. On the other hand, when something goes well in playing, an oboist with good awareness and coordination will be more likely to notice and repeat the process that had the desired result in order to achieve that result again. The ability to stop and consider how one is doing what one is doing will also help an oboist to avoid fatigue and therefore harmful levels of tension. An oboist who is accustomed to and is in the positive habit of being comfortable while playing will be more likely to be comfortable while performing under pressure as well. From the audience’s point of view, this makes her more pleasant to watch than someone who appears to be suffering. The oboist who practices comfortable playing will also be more able to avoid or manage the symptoms of stage fright. The startle pattern reflex was described earlier in this article with reference to gasping. When a person is startled, besides gasping, he instantly shortens his neck, raises his shoulders, collapses his chest, grips his abdominal muscles, locks his knees, and generally stiffens his entire body. John Henes, an Alexander teacher in Chicago and former Lyric Opera trumpet player, points out that the physical manifestations of stage fright are like the startle reflex, only to a lesser degree and slowed to span hours, days, or even weeks. Using oneself well as taught in Alexander Technique lessons, however, is the opposite of this reaction. Therefore, as Henes concluded, “even though you are still nervous you don’t have to 19 Alexander_Fedele.indd 78 allow those physical manifestations to take over; you can be doing the opposite.”35 Several oboists I interviewed described ways in which lessons in the Alexander Technique helped them to deal with the symptoms of performing under pressure. Julie Ann Giacobassi said, “part of it is just trying to bring myself back to the really comfortable sitting position that he’s (her Alexander teacher) worked on (with) me in a session, trying to remember that…and getting the air flowing calmly instead of hyperventilating.”36 Alecia Lawyer has found that the Technique helps her deal with her thinking during a performance: I do feel like it [the Technique] also helps me to integrate myself when I am performing. I mean, I have done a lot of studying of what goes on in your brain, too, when you play and audition and stuff. It really, I think, makes you help your thoughts skim by, you know, I’m talking about when you have negative thoughts. I think that Alexander helps you deal with the really bad physical stuff that happens when you are nervous, but also lets you calm your brain down, too.”37 The discussion of technique above included Peter Cooper’s experience of being able to perform Tombeau de Couperin to the best of his ability by keeping his neck free. He said, “what it (the Alexander Technique) helps is being able to pull off under pressure things that you can play.”38 Cooper gave another example of this experience as well: I find that when I have to play soft low notes in the orchestra, there is an instinctive tendency to crunch up your torso and make your body look like the way you want the note to sound – small and un-noticeable. I find the Alexander Technique is actually the complete opposite of that physically. If I think about using Alexander Technique, I’m thinking about my neck, thinking about my back, thinking about my shoulders, thinking about my head, and the lower notes are much more likely to come out softly and without cracking. I remember thinking, why is it so easy to play soft low notes when you’re alone and so difficult to play them in the orchestra? Years ago I remember thinking [that]. I realize it’s because of the tension I create in myself when I’m in the orchestra. If I don’t manufacture that tension, then I’m more likely to play how I can play.”39 5/16/07 6:47:56 PM The Double Reed As one can imagine, tensions resulting from time spent collapsing over a reed have an influence on one’s use of oneself in general, and while playing the oboe. At the very least, it would be nice to have a way to be more comfortable while making reeds rather than feeling tight, strained and sore afterwards. This is particularly important for those oboists who sell reeds and therefore spend even more time than most making reeds. 19 Alexander_Fedele.indd 79 There exist as many specific applications of the Alexander Technique to playing the oboe as there are oboists, and probably even more. This article demonstrates many ways in which an oboist’s habits of use can affect her oboe playing, but each oboist’s distinct habits and relationship to the oboe will make manifestations of Alexander Technique work and the resulting more-integrated, coordinated use differ. A couple of constants do seem to present themselves among those oboists who have learned and applied the principles of the Alexander Technique to their playing, however. One is that playing the oboe or English horn gets easier. The other is that these oboists appreciate the additional skills acquired in their Alexander lessons and frequently and effectively use them to deal with challenges that they encounter in their playing. How the Alexander Technique could benefit the individual reader will only be discovered if that reader takes some lessons. u Glossary endgaining carrying out an activity without paying attention to how the activity is being accomplished. directions one’s own thoughts, or verbal or handson suggestions from the Alexander teacher, that encourage a free and balanced use of the musculature. inhibition (also called ‘non-doing’) pausing and consciously deciding not to do an activity in a habitual way. By stopping the habitual misuse from happening, 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. Often heard in the Alexander Technique in the phrase ‘the use of the self’, meaning how one organizes oneself in an activity. Articles The pressure of performance upsets one’s equilibrium. What happens to a musician when he or she is nervous is not a reaction of just the mind or body, but the whole person. The Alexander Technique, by addressing the habits of the whole individual, can help a musician to deal with the manifestations of stage fright. Oboists are probably as well known by the general public for being hunched over whittling a piece of wood as for giving the tuning ‘A’ in an orchestra concert. Oboists have so much invested in their ability to make a comfortable reed that they tie themselves into knots in the effort to make the ideal reed. Oboists’ use of themselves is notoriously bad during reedmaking, and their habits associated with making reeds are probably even stronger than those related to playing the oboe. Daniel Stolper said, “I have tried to expose my students [to principles of the Alexander Technique] partly through some of my own little ideas of stance at the oboe and posture and stance at the reed desk even.”40 Julie Ann Giacobassi shared the following story in our interview when asked about her approach to personal practice time: I know one big thing about it is reed-making. Because at some point during the Alexander sessions he [her Alexander teacher] said he has seen a lot of oboists, and he said, ‘What about reed-making? You never talk about that. Why don’t you bring your stuff in and show me how you’re making reeds?’ So here I am, we were halfway through the session and I’m all relaxed and ready to go. I pick up my reed knife and my shoulder goes up, I hunch over, all this tension in my hand and he just fell apart laughing. I would say that it was a definite help for him to help me to line up and approach the reed-making the same way. You know, I had this nice posture and the whole bit and then just destroyed it all in a fell swoop, every time I’d pick up that damn knife! It was so funny, because it was one of those ‘DUH’ things that I’d never considered at all. Reed-making – that necessary evil.”41 79 Notes 1 Rene Cailliet, M.D., “Abnormalities of the Sitting Postures of Musicians,” Medical Problems of Performing Artists 5 (December 1990): 134. 2 Glenna Batson, P.T., M.A., “Conscious Use of the Human Body in Movement: The Peripheral Neuroanatomic Basis of the Alexander Technique,” 5/16/07 6:47:56 PM 80 3 4 5 6 7 8 9 10 Articles 11 12 13 14 15 16 17 18 The Alexander Technique and Oboists, Part II MPPA 11 (March 1996): 5. William J. Dawson, M.D., “Caring for your ‘Equipment’ – Arts Medicine for the Double Reed Player,” The Double Reed 17 (1994): 56. Raoul Tubiana, M.D., and others, “Fundamental Positions for Instrumental Musicians,” MPPA 4 (June 1989): 73. William J. Dawson, M.D., “Common Problems of Wind Instrumentalists,” MPPA 12 (December 1997): 110. Nicholas F. Quarrier, M.H.S., P.T., “Forward Head Posture in Vocal Performance,” MPPA 8 (March 1993): 31. Christine B. Novak, P.T., M.Sc., “Conservative Management of Thoracic Outlet Syndrome in the Musician,” MPPA 8 (March 1993): 20. Tubiana and others, 73. Dawson, “Common Problems of Wind Instrumentalists,” 110. Heinz I. Lippmann, M.D., “A Fresh Look at the Overuse Syndrome in Musical Performers: Is ‘Overuse’ Overused?,” MPPA 6 (June 1991): 58. Carol McCullough, “The Alexander Technique and the Pedagogy of Paul Rolland” (Research paper for D.M.A., Arizona State University, 1996), 55. Phone interview with the author, 2002. Printed in Andrea Lynn Fedele, “The Alexander Technique: A Basis for Oboe Performance and Teaching” (D.M.A. diss., University of Illinois at Urbana-Champaign, 2003), 224-228. Ibid. Phone interview with the author, 2002. Printed in Andrea Lynn Fedele, “The Alexander Technique: A Basis for Oboe Performance and Teaching” (D.M.A. diss., University of Illinois at Urbana-Champaign, 2003), 247-250. Ibid. Lana C. Neal, “The American Oboe School: Its History and Hallmarks,” The Double Reed 22 (1999): 53. Vernon E. Krahl, “Anatomy of the Mammalian lung,” in Wallace O. Fenn and Hermann Rahn, eds., Handbook of Physiology: A Critical, Comprehensive Presentation of Physiological Knowledge and Concepts, iii: Respiration (Washington, DC: American Physiological Society, 1964), 213; quoted in Pedro De Alcantara, Indirect Procedures: A Musician’s Guide to the Alexander Technique (Oxford: Clarendon Press, 1997), 90. F. Matthias Alexander, Constructive Conscious Control of the Individual (USA: E.P. Dutton & 19 Alexander_Fedele.indd 80 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 Co., Inc., 1923), 1997 ed. from collection entitled The Books of F. Matthias Alexander (New York: IRDEAT, 1997), 334. Evelyn Rothwell, Oboe Technique, 3rd ed., (London: Oxford University Press, 1982), 72-73. Cornelius Reid, A Dictionary of Vocal Terminology: An Analysis (New York: Joseph Patelson Music House, 1983), 88; quoted in De Alcantara, 93. Quarrier, “Forward Head Posture in Vocal Performance,” 29. Joseph Robinson, “Oboists, Exhale Before Playing,” The Double Reed 19 (1996): 95. Alexander Murray, “The Alexander Technique,” Hands On, Achieving a Healthier Relation With Your Flute 8 (Spring 1996): n.p.; quoted in Solomon R. Baer, “The Alexander Technique and Performance: A Clarinetist’s Journey” (D.M.A. diss., University of Illinois at Urbana-Champaign, 2002), 48. Robinson, 96. Solomon R. Baer, “The Alexander Technique and Performance: A Clarinetist’s Journey” (D.M.A. diss., University of Illinois at Urbana-Champaign, 2002), 50. Robinson, 95. Phone interview with the author, 2002. Printed in Andrea Lynn Fedele, “The Alexander Technique: A Basis for Oboe Performance and Teaching” (D.M.A. diss., University of Illinois at Urbana-Champaign, 2003), 239-246. Ibid. Michael McCallion, The Voice Book (London: Faber and Faber, 1989), 37; quoted in De Alcantara, 94. Phone interview with the author, 2002. Printed in Andrea Lynn Fedele, “The Alexander Technique: A Basis for Oboe Performance and Teaching” (D.M.A. diss., University of Illinois at Urbana-Champaign, 2003), 251-254. Quarrier, “Forward Head Posture in Vocal Performance,” 31. Phone interview with the author, 2002. Printed in Andrea Lynn Fedele, “The Alexander Technique: A Basis for Oboe Performance and Teaching” (D.M.A. diss., University of Illinois at Urbana-Champaign, 2003), 239-246. Interview with the author, 2002. Printed in Andrea Lynn Fedele, “The Alexander Technique: A Basis for Oboe Performance and Teaching” (D.M.A. diss., University of Illinois at UrbanaChampaign, 2003), 257-263. 5/16/07 6:47:56 PM The Double Reed Please feel free to contact Andrea at anewfedele@ yahoo.com with any questions or comments. Andrea encourages you to visit the American Society for the Alexander Technique website (www.alexandertech. org) as well. Articles 34 Frank R. Wilson, M.D., “Mind, Muscle, and Music: Physiological Clues to Better Teaching,” (Walnut Creek, CA: published privately by Frank Wilson, 1981): 14. 35 Baer, 82-83. 36 Phone interview with the author, 2002. Printed in Andrea Lynn Fedele, “The Alexander Technique: A Basis for Oboe Performance and Teaching” (D.M.A. diss., University of Illinois at Urbana-Champaign, 2003), 239-246. 37 Phone interview with the author, 2002. Printed in Andrea Lynn Fedele, “The Alexander Technique: A Basis for Oboe Performance and Teaching” (D.M.A. diss., University of Illinois at Urbana-Champaign, 2003), 247-250. 38 Phone interview with the author, 2002. Printed in Andrea Lynn Fedele, “The Alexander Technique: A Basis for Oboe Performance and Teaching” (D.M.A. diss., University of Illinois at Urbana-Champaign, 2003), 224-228. 39 Ibid. 40 Phone interview with the author, 2002. Printed in Andrea Lynn Fedele, “The Alexander Technique: A Basis for Oboe Performance and Teaching” (D.M.A. diss., University of Illinois at Urbana-Champaign, 2003), 257-263. 41 Phone interview with the author, 2002. Printed in Andrea Lynn Fedele, “The Alexander Technique: A Basis for Oboe Performance and Teaching” (D.M.A. diss., University of Illinois at Urbana-Champaign, 2003), 239-246. 81 Andrea Newhouse Fedele (AmSAT-certified) 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 in general. She became certified to teach the Alexander Technique while she was pursuing a Doctor of Musical Arts degree at the University of Illinois at Urbana-Champaign, combining what she had learned about the applications of the Technique to playing the oboe in her doctoral dissertation entitled “The Alexander Technique: A Basis for Oboe Performance and Teaching”. She currently resides in Minneapolis, Minnesota, teaching oboe at St. Cloud State University, the College of St. Benedict and Concordia University and maintaining a private oboe studio as well. In addition, Andrea teaches private Alexander Technique lessons and gives Alexander Technique workshops. 19 Alexander_Fedele.indd 81 5/16/07 6:47:57 PM 82 Outta the Closet Outta the Closet Nehama Timstitt Jerusalem, Israel S ince my arrival in Oboeville eleven years ago, I have become aware of a certain four-letter word that is never mentioned verbally or in print. To me it seems like a useful, quite mentionable word, and the members of my quartet (of different instrumental persuasions) don’t hesitate to make it a subject of lively discussion: Flute: “You know those objects brass players stick up the bells of their horns to kept things dynamically manageable?” Oboe: “Yeah. Mutes.” Articles Clarinet: “In the second movement of this piece, the oboe sounds like it’s just plain taking over.” Flute: “So can you get a mute somewhere?” Oboe: “Uh, they don’t sell oboe mutes in stores; I guess it has to be an original job. I never heard it mentioned before.” I was unprepared for the sound. However, I generally liked the new tone quality. Suddenly, screechy reeds worked, though some made me feel like I was sitting behind an Undefined Woodwind. Removing the new invention in time for the oboe solo was impossible, requiring an enormous amount of concentrated digging. So I cut a black shoelace in half and tied it around the middle of what was left of the sock. Two short string ends now hung down for quick, easy yanking. Since I felt that this subject was now out of the closet (in every sense), I began asking teachers and oboe acquaintances if they had had any personal mute experiences. Surprise. Ninety-nine percent answered “yes,” each one telling of his/her mute version and adventures therewith, technical details included. I hope that someday I will open a book on oboes and find a few pages about this fascinating topic. Anybody out there....? u Classical Guitar: “This is a howl.” After the rehearsal, I listened to the piece in question on a homemade CD. They were right. I really blew that one. Whereupon I stuck my hand into a drawer in me closet and pulled out a clean, black sock. It looked too voluminous for an oboe bell, so I cut the sock in half. In it went. After adjustments here and there, so as to free the low C and Cs , it did its job well and interestingly. 20 OuttaTheCloset.indd 82 5/16/07 6:48:07 PM The Double Reed 83 It’s Never Too Late: Beginning the Bassoon at 70 Robert M. Stein Los Angeles, California “Well, you got to the bassoon as soon as you could! Very Warmest Wishes, Chris Weait, June 4, 2005” I 21 NeverTooLate.indd 83 Articles have always been an adult music student. I began playing the piano at forty. I started the cello at fifty. And at seventy began playing the bassoon after injuring my right thumb and no longer able to hold the bow without pain. The bassoon was recommended to me as a good replacement for the cello by a friend and well known conductor along with three pieces of advice. “Start with a good instrument - it will make your playing easier and at your age easier is important. Listen to lots of CDs to get an idea of what the bassoon should sound like. And most importantly – when you attend master classes, don’t open your case and they’ll think you’re the teacher.” So what are the benefits, pitfalls and problems of learning to play the bassoon as an older adult? Learning anything new as an older adult is brain food. Recent studies have shown that the brain, like other muscles in the body is a “use it or lose it” proposition. Previously, it was believed that as we age it was strictly “lose it” but that is no longer believed to be the case. The brain is actually vitalized by having to learn new skills, process new ideas and store new information. Memorizing, on the other hand, is an entirely different story. When we are young we can memorize large amounts of information and spew it out on command. But as we get older memorizing becomes much more of a challenge. As with many things, as older adults we have to learn to replace the sheer power and strength of youth with the more subtle and elegant solutions of maturity. In the case of memorizing, techniques such as association and mnemonics work quite effectively. How appropriate that mnemonics derives from Mnmosyne, the name of the mother of the Muses in Greek Mythology. Something we should not forget are ego issues. We older adults are used to being competent in our fields and admired for our expertise and accomplish- ments. Therefore ego can play a significant role in the psyche of beginning older adult students. I like to tell the story of when I was learning to play piano in my forties. My next door neighbor was Joseph Silverstein, the then concert master of the Boston Symphony. I must admit that I had became just a bit too arrogant when my teacher, who loved adult students, told me how gifted I was. Mistakenly I pushed Joe, despite his reluctance, to listen to me play and tell me what he thought of his gifted friend’s playing. After hearing me play he responded as diplomatically as he could and still preserve our friendship by saying “The best I can say about your playing is that at your age Mozart had been dead for ten years.” We must as older adults set aside our egos and enjoy the pleasures and accept what might be said to be the indignities of being a student. I often deal with this by thinking of myself and my progress in terms of a youngster. I think I’m now playing like a junior in high school and aspire to soon reach the level of a college freshman. What better way to judge my progress. I certainly don’t want to compare myself to bassoonists who have been playing for thirty years or more. It’s very important as an adult learner to determine just how good a player you want to be and are capable of becoming. Do you just want to play the bassoon or do you really want to become a very good bassoonist with the technique, musicality and sound that requires? Either goal is appropriate but each requires a very different commitment and challenge physically and mentally. I chose the latter, to become a very good if not an outstanding bassoonist. In making this choice I was prepared to make the commitment necessary to achieve, as near as I could, my goal. When I asked my teacher if I had the talent to achieve that goal I was reminded of the apocryphal story of Franz Liszt who when told by an admirer that his playing was an expression of genius replied “Madam, my genius is practicing ten hours a day.” A very effective modality for learning a foreign language as an adult is the total immersion program. These programs consist of traveling to a foreign country where the language is spoken, living with 5/16/07 6:48:18 PM 84 It’s Never Too Late: Beginning the Bassoon at 70 Articles a family, taking courses and only speaking the language to be acquired. In a way, it is possible if one is willing to make the effort, to immerse oneself in the sub-culture of the bassoon. The bassoon community is a very welcoming one and there are many readily accessible programs that provide knowledge, support and encouragement for the adult learner. I have attended the annual IDRS Conferences and use the IDRS forum on a regular basis. There is the Glickman-Popkin Bassoon Camp in Little Switzerland each year. Last year I audited the Judith LeClair master classes at Hidden Valley. I have attended several Bassoon Day programs at various colleges. In every instance I have been warmly received, learned a lot, met a lot of wonderful people of all ages who I keep in contact with and come away with renewed enthusiasm which is very valuable in keeping me going during many long hours of practice. Learning bassoon has been a rich and rewarding experience for me. Since I am only at the performance level of a high school junior, I still have a long, long road to travel. u 21 NeverTooLate.indd 84 5/16/07 6:48:19 PM 85 The Double Reed Cor Anglais: Selected Chapters Rachel Tolmie St. Ives, New South Wales, Australia Chapter 7: Breathing in detail “Breathing for the Oboe” first appeared in The Studio Vol. 9 No. 1, February 2003. It is reprinted with permission. ED B *************** 22 CorAnglais.indd 85 Having sorted out the diaphragm movements, it is important to remember that the chest cavity is quite large and extends down your back and sides as well, so everything needs to expand and deflate. It can be helpful to think of a tyre expanding and deflating all around the middle of the body (just below the rib cage) while playing. Observe what happens when lying on your stomach. The back expands and contracts. This movement causes the lungs to gather in more air. If we can cause the back and bottom of the lungs to work, this is favourable for any wind player. Put your hands on your sides, thumbs pointing forwards. These hands must be high enough so they can feel the expansion and contraction of the bottom of the chest cavity (more particularly, the sides and back.) Exhale, pushing in with your hands. Still pushing with your hands, try to inhale (or inflate that imaginary tyre.) Your diaphragm muscle, sides and back will fight the pressure of your hands. Do this exercise three times, feeling the strength of your muscles. You should feel an expansion all the way around your middle. This exercise really wakes your muscles up. Another good exercise for getting air into the bottom of your lungs is to stand up and simply bend over from the waist. Breathe a few times in this position. Your back will expand and contract as your thorax cavity expands and contracts which causes the lungs to expand and contract. A final exercise is to light a candle and hold it out so that when you exhale slowly the candle flickers. This is an excellent breath control exercise. Keep the candle flickering as long as possible without blowing it out. Articles reathing for the oboe is very simple. The first rule is that it comes from the diaphragm. This means that the diaphragm is the muscle that needs to be activated when breathing in deeply. When you breathe in deeply the brain tells the phrenic nerves to activate the diaphragm. The diaphragm then contracts, moving downwards and flattening out. Because the diaphragm is placed at the bottom of the lungs, at the base of the thorax (chest) cavity, this flattening out causes the lungs to expand and breathe in. At the same time the intercostal nerves under the ribs tell the inspiratory intercostal muscles to move the ribs outwards also causing the lungs to expand. When breathing out the expiratory set of intercostal muscles are told by the intercostal nerves to pull the rib-cage inwards, decreasing the chest cavity. At the same time the abdominal muscles push the diaphragm inwards and upwards also decreasing the chest cavity. These movements cause the lungs to breathe out. BREATHING OUT IS VERY IMPORTANT. ALWAYS BREATHE OUT BEFORE BREATHING IN. Breathe out a lot but only breathe in a normal amount of air. As an oboist you only have a small hole (ie. the reed) to blow through so you cannot possibly blow all your air down the reed. As a result you gradually accumulate carbon dioxide if you keep breathing in without getting rid of what is left over from the last time you breathed. You will faint if you do not expel all air before breathing in. Therefore you breathe out first, for longer than you breathe in. The lungs are very big so you will discover that even if you breathe out like this you will still have enough air to play. The lungs will work automatically if the diaphragm is moving correctly. Exercises: *************** To sum up, the diaphragm is at the base of our lungs. As wind players, we use the diaphragm to control our breathing. The lungs are contained in the thorax or chest cavity. In order to let the lungs expand or breath 5/16/07 6:48:32 PM 86 Cor Anglais: Selected Chapters Articles in we need to expand this thorax cavity as much as possible. We do that by telling our diaphragm to push down and out and letting the front, back and sides of the thorax cavity expand. This allows the lungs to expand, inhaling air. To exhale we need to tell the diaphragm to push in and up using our abdominal muscles. This decreases the thorax cavity causing the lungs to breathe out or exhale. The back and sides will automatically be drawn inwards in response to the diaphragm’s movement. Support is when you breathe in and then keep the stomach extended outwards in the just breathed in position while playing. Firm up the muscle while breathing out. Keep a lot of air whooshing down your instrument while doing this. It is very important to keep throat relaxed while breathing. If it becomes tense, you tense the vocal chords. This is bad for your vocal chords and leads to noisy breathing. When you breathe, open your mouth and keep the reed on the bottom lip, then close your mouth again to play. Chapter 11: What is Attitude? “What is Attitude” first appeared in The Studio Vol.12 No.3, August 2006. It is reprinted with permission. ED Attitude is the way you behave. What you say, the way you say it, level of politeness and the way you approach life. Good attitude is being grateful for your opportunities, wanting to practice, practicing in a constructive way with positive energy and making the most of your time. Bad attitude is grumbling, complaining about practice or rehearsal or life in general. Bad attitude is letting your own ego take over, putting yourself before others and being discourteous to conductors and other musicians to their face and worse, dissecting their character and saying bad things about them when they are not there to defend themselves. Bad attitude is not helping someone in trouble or not doing something, when you have been asked politely to do something important. Good attitude is being nice to people, complimenting them when they do something well and giving them the benefit of the doubt when they slip up. Good attitude is more than practicing when required. It is being aware of what you are saying and behaving well when the instrument is not in your mouth but still in your hand. It is behaving well away from the 22 CorAnglais.indd 86 instrument altogether, as well as when you are playing. It is knowing that it is OK to relax and chill out after a job well done. It is not being too hard on yourself and learning from your mistakes. It is being able to laugh at yourself. It is taking your job seriously. It is not laughing at others but always laughing at their jokes. It is being sociable and then working hard when alone. Good attitude is not talking in rehearsal about something unrelated to the rehearsal. Good attitude is treating a conductor with respect. Good attitude is listening carefully and not talking instead. Good attitude is doing the best job you can with what you have been given and not wishing yourself in someone else’s shoes. Good attitude is playing the part you are given and not insisting on a more interesting part or job. It is being prepared to play any part in the oboe section. You must play as part of a team well before you can play solo well. Music is about teamwork like any other profession. Create good vibes and be pleasant within the section or group. And most importantly be prepared and have fun. Good attitude is a skill that is continuously evolving. You do not get it right one day and decide you have good attitude. You must work on it every day in the same way you practice your instrument. Smiling helps and being happy. If you are not happy you need to concentrate harder on being pleasant and polite. Practice on your instrument is about playing better. This can mean bringing your bad playing up to an acceptable level. This then makes you a more consistent player. Consistent good playing is what it is all about. The same logic applies to attitude. Bring your bad attitude days up to an acceptable good attitude and you will find it easier to play consistently. Music is a great thing to do. Treat your own playing with respect and be kind about other people’s musical attempts. After all, musicians understand the work and energy that goes into making music. So, please be nice to and about each other. We want others to know that it is the best of professions and one of the most challenging and interesting things you can do. Music is always used at important occasions and celebrations. That is because music makes everyone feel better. It can also help us deal with grief and gives people something beautiful to remember, In other words, music helps us celebrate life. It deserves our best attitude. Be proud of your musical profession or playing. Be helpful and courteous to conductors and administrators, managers, recording engineers, accompanists and other fellow musicians. Remember they work just as hard as you do and they want it to work 5/20/07 9:31:02 AM The Double Reed 22 CorAnglais.indd 87 less then an hour before you may feel dizzy, uncomfortable or nauseas. If it has to be less then an hour before, eat a small amount. The way you approach music needs concentration, attention to detail and the ability to live in the present. Learn from the past but also move on and treat each practice session or concert like a new experience. Attitude is also professionalism and like your instrument playing, it needs practice every day. Chapter 12: The Musical Career “The Musical Career: a Letter to Students” first appeared in The Studio Vol.11 No.2, May 2005. It is reprinted with permission. ED Dear Student, Right, so you have a music scholarship at school but where do you go from there? Join an orchestra and do as much music as possible, of course. Then when you are at tertiary level you need to think laterally. While doing a B.Mus or a BME you need a job. This is very important. The best musicians are well-balanced, with a firm grip on realities like the weekly pay cheque and going to work regularly. Very talented musicians sometimes do not think of realities until it is too late. They assume they will walk into a job. Some do. If you are talented you will have a musical career. However it never happens the way or when you expect it to. It is important to realise that playing music is not the only thing you can do. What happens in between gigs? As a musician you work very hard. Music is your highest priority work-wise. That is fine but a lot of music is financially unrewarding. That is OK as long as you have something to fill the financial gap. Many well-known artists have been secretaries, retail salepersons, and waitresses. Or librarians, barmen/maids or real estate agents. Many musicians find music related jobs within the industry. You could start with a job selling CDs in a music store. However I am in favour of a job outside the industry as it helps to maintain perspective and anyway it is interesting to meet people from other professions. It is also important as these people see you as you and not just “that really fab oboe player.” The people who you work with at the “office” do not mind whether you play an instrument or not. This reduces pressure enormously on yourself as you are not forever measuring yourself on your musical ability. Articles out well too. Employers look first for motivation and enthusiasm for the job being offered. That is another way of saying they are looking for a good attitude. Uphold traditions in music (eg. stand for the Hallelujah chorus, though not if you are actually playing it) Easter music, Christmas music, outdoors music, chamber music and orchestral music as well as your solo music. All have histories with past performances. Research all the music you play. Look after your instrument, reeds and equipment, also music, (never keep originals of large group music; give it back). Respect copyright laws and when writing respect your sources. Always give fresh, interesting performances that are up to date and in today’s mode. Baroque instrumentalists concentrate on re-creating the past. That is fine as they research these things endlessly and the end product is a joy to listen to. Modern instruments demand a freshness of approach and a modem interpretation. By all means use old techniques and ideas or articulation but remember you are in the 21st century. Playing the oboe can be expensive (instrument and repairs, new music, reeds, reed equipment) so make sure it is a financially viable option before taking the plunge. Pay attention to your soul and spirit. Whether that means an established religion or just the ideas by which you live your life, make sure you are spiritually refreshed and that you have a clear idea about the best way to live your life. This self-confidence will help the way you interact with other people. Being a musician is a very sociable thing to do so you need to be able to cope with lots of people at the same time. Cor anglais playing especially demands a good approach. Keep your reeds up-to-date, as you would for your oboe. Try not to become blasé about cor anglais playing. It demands the same attention as oboe. It is a first-class instrument in its own right and must be treated with respect. It has a repertoire of its own. If in a group pay attention to detail and what people are saying about the music. Always bring a pencil. Make sure you are ready to go on stage. It is amazing what you forget when nervous. Make sure you are concentrating on what you are doing. Water to drink, as well as soak your reeds, reeds, (a spare one as well), an instrument whose keys you have just cleared of water. Make sure you are wearing the right clothes, your hair and make-up are right and that you have cleaned your teeth. You also should have eaten a large amount about 1 and a half hours before going on stage. This helps stamina and concentration. If it is 87 5/16/07 6:48:33 PM Articles 88 Cor Anglais: Selected Chapters For example: What happens if there is a death in the family and you take a break from playing? Are you less important as a person because you can’t play perfectly in tune today? This is what I mean by perspective. You are not just a musician. It is important but not the most important thing. Musicians get their important musical jobs when they are relaxed, enjoying life and firmly pursuing their life in an orderly fashion. It is not when they are stressed, in financial difficulty or ill. Or when they are comparing their playing to that of other people. They have a positive outlook firmly based in the present. They are doing something constructive musical or otherwise each day. They are not following some vague dream they don’t know how to achieve. Dreams are very important but they must be approached realistically. PLEASE REMEMBER THAT TALENT HAS ABSOLUTELY NOTHING TO DO WITH WHETHER YOU GET THAT JOB OR NOT. So you have finished school and you want to do a Bachelor of Music. Or perhaps a Bachelor of Music Education (BME). A BME teaches you to become a class room music teacher. Many good and varied careers emerge from the music department of a good school. A simple Diploma of Education can also be pursued at the same time as a Bachelor’s degree. (At another place). The organisation that does your grade exams also has teaching diplomas you can do. A syllabus can be found at a local music store. MOST MUSICIANS TEACH. A teaching certificate of some kind is a very good thing to have. Being a private one-to-one music teacher can be rewarding both as a teacher and financially. Being your own boss can be fun. Joan Sutherland worked for years as a secretary before her musical career took off. (We do music because we love it, not because we want to be famous.) The best consistent musical careers I have seen are those that started in Yrs 11 and 12 with the student having a part-time job outside music. Or perhaps you could start in the tertiary years. A job in Year 11 could be three hours on a Saturday morning working as a receptionist. Find a job that uses a computer perhaps. Understanding employers are out there. This job gets you into the habit of good work behaviour and helps you understand the value of a regular income and regular hours. Then perhaps another better job might come along and you move to that job instead. This is while pursuing your musical life. Your 6th job may be musical, the one you dreamed about in primary school. 22 CorAnglais.indd 88 This might be very fulfilling or it might be that you find a different job that is more interesting. There are some interesting statistics out there that show that the majority of job-getters already have a job and are simply transferring from one to another one. Employers are looking for interesting, well-balanced, mature and friendly, happy people. And people who are genuinely interested in the job being offered. The thing that catches many musicians by surprise is the gaps. There are long periods of life with very few performances in them. What do you do? See it as an opportunity to have a party! Pursue social activities, a non-musical job and broaden your other interests. Play team sport or have a holiday. (Do take holidays. Everybody needs a break sometimes.) Yes, I hear you say, but I want to play. Look around for any group you can play in. Community orchestras are good for keeping the playing good when you leave your youth orchestra. Form your own chamber group with friends. Put on a concert at your local church. A good idea once you leave school is to audition for a band. By this I mean the Police band, the Army or Navy band or the Air Force. These particular professional bands require oboes. Ring them up to see what positions are coming up and apply. You can find them on the internet. This is a very good job and is similar to playing in the school band, only better. (Remember, playing the saxophone (alto) will be important in this job.) There are lots of bands about (Salvation Army, Ambulance) so think laterally. If you can’t find one watch the Anzac Day parade. They always play in that one. (Most are voluntary.) This is generally not the oboist thing. In a marching band oboe is banned because it is unsafe if someone runs into you. This is where you play the saxophone instead. If you decide to go overseas be aware that one tertiary institution is very like any other, world-wide. The fun of living overseas and possibly speaking another language makes it quite interesting. Can I suggest again some kind of job while you are over there? Find out what your visa will allow you to do. Be careful that you live and work in a SAFE area. People who are employed will find it easier to find more work then those who are not. What I am trying to cover here is the interesting part of your life that involves going from being a student to a professional person. I am suggesting that if you combine the two from an early age the transition will be easier. What I am recommending is a dual career. 5/16/07 6:48:33 PM The Double Reed Your musical career will have big adrenaline rushes and low points. If you are doing something else as well there is less pressure and you will be financially secure. This will enable you to pursue your musical career with gusto. It will be easier to deal with if you make music fun, don’t take other peoples opinions about your playing too seriously and remember that music is one of many important and enjoyable elements in your life. Yours sincerely, Your teacher Rachel Tolmie Oboist, Cor anglais player 22 CorAnglais.indd 89 Music degree Rachel was awarded the Fellowship in Music, also from the AMEB in 1995. Also in this year Rachel recorded a ‘Young Australia’ Recital for ABC Radio, 92.9, Classic FM. 2MBS-FM, 102.5, Sydney’s Fine Music Station has been important to many musicians in Sydney. Rachel is no exception. Twice a finalist in their Young Performer’s Award in 1989 and 1991, Rachel returned there in 2004 and 2005 to record two CDs of Australian oboe and piano music with John Martin. These are called Summer Madrigal and Nightfall and Merrymaking. In 1996 Rachel undertook and was awarded with Distinction, a Post-Graduate Diploma in Performance as a Solo/Ensemble Recitalist at the Royal College of Music, London. She was assisted in this with an Australian Music Foundation Award, a Sydney Conservatorium Association Award and held a Senior Exhibition scholarship while at the College. Currently, Rachel works as a freelance musician in Sydney. As such, she is currently in the orchestra for the Sydney Philharmonia Choirs and the Sydney University Graduates Choir. As well, Rachel has had the wonderful experience of playing casually with the RAAF Air Command Band. As a soloist Rachel has appeared with the Con, High Orchestra, the Balmain Sinfonia, the EastWest Philharmonic Orchestra and the Central Coast Symphony Orchestra. As a solo recitalist, Rachel is currently appearing in music clubs around Sydney with her fabulous associate artist, John Martin. Rachel now teaches at the Central Coast Conservatorium. Her e-mail is ltolmie@bigpond.net.au Articles Rachel started playing the recorder and piano when she was four. Aged six, she won the first Eisteddfod she entered, on the piano. She continued to win awards at Eisteddfods (mostly Warringah and City of Sydney) on the piano, recorder and oboe for many years. Needing an orchestral instrument to audition for the Conservatorium of Music High School, Rachel started the oboe at age ten. Owing to her grandmother’s generosity Rachel was able to start playing the cor anglais with a magnificent new Lorée instrument at age twelve. Rachel still plays this instrument and would never consider parting with it. Rachel’s first orchestra was the Sydney North Youth Orchestra of which she became a member in primary school. At high school she played in the Conservatorium High School Orchestra for five of the six years of high school. She also joined the Sydney Youth Orchestra in Year 9 of which she was a member for many years. Rachel had her first professional gig at age sixteen. It was Gilbert and Sullivan’s “The Yeomen of the Guard” in the Broadwalk Studio at the Sydney Opera House. Also in this year she started teaching the oboe. In years 11 and 12 she took part in and was awarded the Certificate of the Sydney Conservatorium of Music with merit. Rachel continued her music education after her HSC with a Bachelor of Music, also at the Con. During this time she played with many amateur and semi-professional orchestras in Sydney. Included among these were the Sydney Concert Orchestra, the East-West Philharmonic Orchestra and the Balmain Sinfonia. Also during this time, Rachel completed her Associate in Music and her Licentiate in Music Awards from the Australian Music Examinations Board (AMEB). After completing her Bachelor of 89 5/16/07 6:48:33 PM 90 Something New and Something Old: A Survey of Some Bassoon Recordings. Something New and Something Old: A Survey of Some Bassoon Recordings. Alf Sollie Narvik, Norway Articles T he most recorded work for bassoon is, not surprisingly, the Mozart Concerto. So far more than one hundred recordings have been made. Of these are about 40 currently available. And this includes CD re-issues of old recordings like Camden (1926), Oubradous (1937), Sharrow (1947), Bidlo (1952) and Oehlberger (1954). So far the Mozart jubileum has triggered at least four new recordings; Gustavo Nunez, principal Concertgebouw Amsterdam (PentaTone PTC5186 079); Luc Loubry, principal Belgium National Orchestra (Harp&Co CD 5050 03); Ursula Leveaux, principal Scottish Chamber Orchestra (Linn CKD 273) and Daniel Jemison, principal of Royal Philharmonic Orchestra London (RPO SP 005). Also triggered by the jubileum is a re-issue of some old French Mozart recordings. The Sinfonia Concertante from 1946 and the piano/wind quintet from 1948, both works with Maurice Allard on basson. The Sinfonia Concertante is directed by another great French bassonist, Fernand Oubradous. The CD also includes the Oboe Concerto with Pierre Pierlot from 1951. The first of his three recordings (Alpha 800). If Mozart only left us with one bassoon concerto, Vivaldi was much more generous with his 37 concertos. The majority of these concertos are well served on records, in particular the E minor concerto (RV 484) with more than 30 recordings. The Naxos label has just released volume 3 in their complete series. The soloist is a young Hungarian, Tamas Benkocs (8.557556). There are also new albums of Vivaldi bassoon concertos from Italian label Tactus with soloists Paolo Carlini (TC 672240) and Roberto Giaccaglia (TC 672242). Plus there is more Vivaldi from Germany - six of the cello sonatas played by Hanno Dönneweg on bassoon (Organum Ogm 251112). The US label Crystal must be credited for their many wind recordings. Recently released are Benjamin Coelho with Bravura Bassoon (CD844), Carolyn Beck with Beck and Call (CD846), and Bellissima with Susan Nigro and her contrabassoon (CD854). All three albums have been reviewed in The Double Reed by Ron Klimko. Another CD worth to mention is Music for Per 23 SomethingNew.indd 90 with Per Hannevold (Albany TROY 784). Also this CD has been reviewed in The Double Reed. And from Sweden Fagotto con Forza, modern Swedish music for bassoon played by Knut Sönstevold (Phono Suecia PSCD 164) A lot of bassoon CDs have been made in Japan. The majority of the recordings are domestic and not easily available in the US and Europe. Some of the Japanese labels, like Camerata and Denon, have international cataloges. Many European artists, like Milan Turkovic and Michael Werba, have recorded for these labels. Japanese artist Isamu Magone has recorded several albums for Camerata, including four albums with bassoon and harp, the Devienne Quartets for bassoon and strings (32CM-515), modern Japanese concertos (32CM-175) and Mozart coupled with Vanhal two bassoon concerto together with Milan Turkovic (32CM29). Mr. Magone has also recorded Weber’s Concerto and the Andante and Hungarian Rondo (Canyon Classics D32L0008). The Meister Music label has a very rich catalog of wind recordings. They have just released their 5th bassoon and piano recital (MM 1208) with Koji Okazaki. This is Mr. Okazaki’s fourth album for this label. ALM Records also have many bassoon CDs. Recently released are Duos with my Friends with Shinkichi Maede (ALCD-9055) and Kiyoshi Koyama’s Basson Francaix II (ALCD-3075). His Basson Francaix I was released in 1999 (ALCD-3052). Another recital from this label is with Akio Koyama, not related to Kiyoshi (ALCD-3038). The best known Japanese bassoonist outside Japan is probably Masahito Tanaka and he has made two albums for the ALM label – Bassoon Banquet (ALCD-30 from 1987) and Arpeggione Sonata (ALCD-3043 from 1996). It is regrettable he has passed away, but his web site (masahito-bsn.com) is still up, including a complete list of his recordings If anyone would like more details, don’t hesitate to contact me privately. Alf Sollie Narvik / a-sollie@online.no 5/16/07 6:48:43 PM The Double Reed 91 Rivers, Spacecraft, and Opera Buffa Michele Murray South Park, Colorado This article originally appeared in the Mountain Gazette, April 2006, and is reprinted here with permission of the author, Michelle Murray. ED Life is always changing and in not so subtle ways, either. S 24 RiverSpacecraftOpera.indd 91 Articles ometimes life changes in great spurts. Oh, there is always a constant low-grade ebbing of hormonal changes due to age and microbial influences in the body that make a person feel strange from time to time, but as I sit here in the Seattle- Tacoma Airport waiting for my flight to Juneau, Alaska, to board, I try to maintain a hold on this planet’s hide with my gripping toes. I feel a change coming on that has more to do with the Earth tipping on her axis. My priorities have been flung into orbit and I know it’s my bassoon’s fault: again. A mysterious black suitcase, which holds a bundle of wooden tubes, sits by my leg. It lies next to me like a bad dog. A good dog would just wait without issue. A bad dog lies there pondering remorseful thoughts: That’s my bassoon. I don’t know if I hate the thing, but I do know that the bassoon has issues of its own. My bassoon lives in a closet for most of its dormant life, shut away from my world of rivers, horses, mountains and dories. It waits dutifully, like devoted dog, for me to touch it, even after a hiatus of many years. I brought this bassoon to the Colorado River once, to State Bridge Lodge below the confluence of the Piney. We performed a Sunday Brunch on the deck next to the frightened horse mural across from the train trestle, across from the monstrous cottonwoods and the kayakers’ take-out. I think it was Mozart - it usually is. Mozart is for the whitehaired brunch ladies dining at cafes on Broadway in New York City. Mozart is also for Teva/Patagonia-clad, dreadlockdonning, hard-body river rats. They all dine on Bloody Marys and breakfast potatoes, but on the Colorado River, they dine below the angular unconformity of Cretaceous sandstone, which dominates the view above the vast river. I think, a very long time ago, I also had my bas- soon with me in the desert sand way out in Navajo territory looking for access to the banks of the Rio Grande. I don’t remember the details of that part of my life very well, mostly due to too much peyote, mescaline, psilocybin and whatever else I found in the glove compartment of my boyfriend’s pickup truck (a handsome cowboy dumb as a brick but adorable, like a stray dog). I have no idea why I toted the bassoon clear out there. I resented it even then. It took me a long time to learn I can live without it - that I don’t need it to serve as an entree into the lives of more sophisticated people. I don’t need a double-reed hanging out of my mouth to be a complete person. So, my bassoon went with me to Juneau. An orchestra there was performing the “Great Requiem”: Mozart’s (not Verdi’s, not Faure’s). My invitation was extended to perform in Rossini’s Barber of Seville opera, as well. These opportunities arose as a result of having once been a terrific bassoonist in New York City. I couldn’t very well say, “No,” could I? To Mozart’s Requiem? To an opera? In Alaska? I held a day job on Admiralty Island near Juneau working as a geologist. My life incorporated helicopters, drill rigs and guns on an island full of grizzlies. In the evening, I would be flying or sailing into town for rehearsals. The innate problem has always been with the bassoon itself: It is a poorly designed instrument. There are “zones” on the bassoon that are unnatural to human fingers (e.g.: the Fs -G-Gs -A connection). That cluster of notes is like the La Brea Tar Pits for a bassoonist, and not just physically - the tone is terrible! Also, the C-Cs -D-Ds is completely contrived. The horror! I devoted the first half of my life to making my bassoon sound good. Then, I took a dory trip down the Grand Canyon, returned to Manhattan, sold my things in one week and moved to the Colorado River at the confluence below the Piney. I put my bassoon in storage to let it burn in my thoughts, simmering in the darkness of forgotten memories. I commenced the second part of my life: geologist/river guide. For the life of me, I have no idea why the Sitka black-tailed deer on Admiralty Island like bassoon music. Caribou probably do too. I know that elk will bed down outside my cabin in the winter to 5/16/07 6:48:53 PM Articles 92 Rivers, Spacecraft and Opera Buffa hear me play the thing. And apparently, Rossini loved the bassoon, too. I will play Rossini most any day. He understood the bassoon and gracefully ignored the ugly parts when he wrote his comic opera (Opera Buffa), his Barber of Seville (the Bugs Bunny and Elmer Fudd haircut cartoon music). I’m certain Rossini wrote the opera to showcase the bassoon. When Maestro Hunt contacted me via e-mail (on the island full of grizzlies between helicopter flights and drilling core) to play the opera in Juneau, I brought my bassoon up from Colorado to end its banishment. And the bassoon is not a light instrument, either. The plastic handles broke off the case first thing. Then, the shoulder strap snapped. Even my reed box disintegrated. What Columbia or Helly Hansen need to design for the Arctic North is a highimpact, lightweight, waterproof, thermally dynamic bassoon case (a black one so as to remain concealed on stage) and sleek enough to fit under the backseat of a D-500 helicopter. I need a bassoon case thin enough to stow in a kayak, stout enough to pack by burro, and probably, in consideration of the future, a good bassoon case should be worthy of outer-space travel, too. (An attachment for clipping on a water bottle or carabiner would also be nice.) So, the change I felt coming on in the airport lounge was that, in addition to aging, I am coming around to thinking that the bassoon may not be that bad a dog after all. The Requiem was a tremendously gratifying experience (directed by a different Maestro, Kyle Pickett). The opera (conducted by Maestro W.T. Hunt) was simply inspirational! Both conductors seemed to become possessed by the dead composers’ spirits, like mad men. I didn’t have battle with my bassoon, either. After all these years, there were no longer any issues to resolve. No double-reed demons waiting for me when I opened the case after a three-year hiatus. In all, great music was performed in the Inside Passage, along a corridor utilized by humanoids for tens of thousands of years. Mozart and Rossini were alive and well and living in Alaska. I’ve put my bassoon back in its closet already, and it seems content in storage again. I think perhaps, that even Hunter Thompson, Edward Abbey but most especially now, John Fayhee, would know exactly how it feels to put a bassoon away for a while. Perhaps those writers know (or, in the case of the two dead ones knew) (and, now that I think about it, in the case of the comatose one might have known or one day will know) that from time to time - special needs that are above and beyond (when in doubt, go higher...) the capacity of a normal, casual life to fulfill 24 RiverSpacecraftOpera.indd 92 need to be put away for a while. That’s because, too much of anything will most certainly kill you. That’s what I believe. And that’s why I have no intention of opening that black case again for at least another couple of years. u Contributing editor Michele Murray lives in a very remote part of South Park, Colorado, a part of the country where even the nonremote parts are remote. © Mountain Gazette Publishing 04/01/2006 ©Copyright 2006 Mountain Gazette. All Rights Reserved. 5/16/07 6:48:54 PM The Double Reed 93 Where No Oboist Has Gone Before Brenda Schuman-Post San Francisco, California S 25 WhereNoOboist.indd 93 - public and private, wishing me well, sending encouragement, expressing love of Star Trek and nurturing support for my daring. It was great to share this unusual double reed/Star Trek bond. Thus began two weeks of obsessive mental composing and intensive practicing. I created a new musical composition/arrangement by mentally improvising and mentally practicing while I drove, while I ate, while I slept. I was urgently putting together the various themes, chronologically and creatively. I thought about the shows, what they expressed, what were their differences and similarities, and all the while my wonderful son, Elijah, nine years old at the time, would pop into my studio to inform me that I was playing a wrong note, an incorrect rhythm, a misunderstanding of that particular melody. I hung on his every word, followed his instructions, and came up with a five minute Fantasy on Themes from Star Trek. I decided to dedicate it to the android character Data, who played the oboe in a Next Generation episode entitled In Theory, and who had died in the latest movie Nemesis. It was time to pack up my family and leave. I was freaking out. I’d practiced for so many hours but still there were entire sections of my own composition that were not trek-nically perfect! I needed more time. I was frantic. “Brenda, put down Brent Spiner as Data the phaser - you are going to win”. It was a message on my answering machine from oboist/friend Bennie Cottone. During the long (still mentally practicing) drive to Las Vegas, and during the several convention days prior to the contest, those words became my mantra. On the morning of the contest, I was informed that there would be no rehearsal time and no sound check. Internally, I screamed, “AAARGHH!” then remembered, “Brenda, put down the phaser.” I calmly Articles ummer, 2003. For our family vacation, we decided to drive nine hours from San Francisco, California, to Las Vegas, Nevada and attend the Creation Entertainment Star Trek Convention. We’ve been watching Star Trek forever, it’s a source for family bonding, and we knew it would be fun! I logged onto creationent.com and discovered a notice about the first annual Star Trek Idol Talent Search, taking place during the convention. I took a chance. I got hold of the music to all five TV show themes, practiced until I had memorized tiny sound bites from each, noodled around until I had them strung together in a recognizable one minute medley. The deadline for submission was July 1, and at 3:15 PM on June 30, I leaned up against the wall of my studio, dressed (because I know you are wondering if I wore a costume) in my normal street attire of leopard print clothing, and videotaped myself playing the oboe. My daughter ran to the post office for me, and in the nick of time, mailed it off via express mail. “Hello”. It was about 2:00, in the afternoon, just two weeks before the convention. “Hi Brenda, this is Tina from Creation Entertainment. I’m calling to tell you that you have made the finals of the Star Trek Idol Talent Search”. I screamed. Then “uh, uh, uh.” I could hardly speak, I was so excited. It wasn’t the possibility of the $1000 gift certificate prize. I have had an intriguing career devoted to bringing the oboe to audiences that don’t usually have the opportunity to hear it either at all, or in a soloistic context. Here would be a chance to bring this gorgeous sound to thousands. “Uh, how many finalists are there? “Eight,” “What’s my competition?” “Mostly singers. Some comedy. Other stuff.” “Is everyone good?” “Yes”. My mind was racing. Maybe I should play a Telemann Fantasy. “Should I keep the theme to Star Trek?” “I think so. That would be a good idea”. I notified the double reed world via the IDRS and Double Reed online lists. I received dozens of e-mails 5/16/07 6:49:05 PM Articles 94 Where No Oboist Has Gone Before explained about reeds in relation to unfamiliar environments, and Tina gave me special dispensation and kindly arranged for me to have five minutes to adjust my reeds on stage. That’s when I met the sound technician. Dr. Benn – a former oboist. There were maybe two hundred people in the audience for the contest. The competition was fierce an hilarious and uplifting Klingon with all the moves and props attached to his attire, singing Tom Lehrer’s Masochism Tango, a Beverly Crusher look-alike coloratura soprano singing “Queen Of The Night” from Mozart’s The Magic Flute, a Scotsman in full kilt, singing a perfect imitation of Louis Armstrong, an incredible soprano singing “I will always love you”, several other extraordinary singers/entertainers and a seven year old boy who had composed his own song. Everyone was wonderful and memorable. The judges were Larry Nemecek, editor of Star Trek Communicator Magazine, J. Kelly Burke, co-author with Larry of the Voyager episode Prophecy, J. G. Hertzler and Robert O’Reilly, actors who played Martok and Gowron. Imitating American Idol, they offered hilarious comments to each of us. While all of the contestants sat backstage, the judges compared notes and deliberated out front. My family reported afterwards that from the audience there arose a steady chant: “oboe, oboe, oboe”. I won. What a feeling of exhilaration! Onstage after the announcement, the judges asked intelligent questions. I don’t remember much of my interview, except for the comment by Janice Kelly Burke who said, “I must tell you that when I heard there would be an oboist, I cringed”. The Las Vegas Hilton, site of the event, hosts The Star Trek Experience which includes a “promenade” in imitation of the set of Deep Space Nine. That night, we went to Quark’s Bar. I was famous. Klingons pounded their beer mugs on the tables as I entered, and Star Trek actors and convention attendees radiated appreciation and love. My career as a visible, innovative oboist has developed largely because of my own determination and perseverance. Being different, as we know from Star Trek, can lead to Live, onstage audition the attraction of nega- 25 WhereNoOboist.indd 94 tive energy, but determination and perseverance can ultimately lead to profound positive influence. In Adam and Gary, owners of Creation Entertainment, I found understanding and support. I persuaded them to allow me to perform at the Pasadena Science Fiction Convention in March, 2004. They generously provided me with free admission to the convention and a free table to sell my Oboe Of The World CD in the merchant’s room. I would perform as the closing act for Leonard Nimoy, (Spock) and my dream come true! as the opening act for Brent Spiner (Data). As time approached for my performance, I had to change clothes in the public ladies room, and I asked advice of the woman standing next to me at the sink. I told her what I was about to do and asked “Which shoes should I wear?” “The gold ones”. We talked a bit and she told me that her husband is Malachi Throne, who played Commodore Mendez in the original series, and Pardak in Next Generation. She invited me to come visit them in the autograph room. There were 3000 people in the audience. Dr. Benn had, once again, set the microphones perfectly. I played the five minute Fantasy, and with applause still ringing, I walked down the steps into the makeshift, very dark, backstage. Brent Spiner walked over to me and said in an exuberant tone, “what’s that?” “The oboe” I answered. “I love the oboe” he responded, “are you going to play”? “I just did! I composed a piece to honor Data, and I won the Star Trek Idol Talent Search last summer. That’s why I’m here.” “I’d like to hear it,” he called back to me as he was hurried onto the stage. Whoa. Brent Spiner. Damn! He hadn’t heard it. I sat down and began to pack up. Two very attractive young teenage boys approached. I knew they had to be actors, in order to even be backstage. One held out his hand, to shake mine. The look on his face was one of awe, and in a trembling voice he said “wow, I just want you to know, that was great!” I could hardly see in the dark, but I thought I recognized this kid. But from where? The other young man began to speak. I recognized the voice and British accent before I clearly saw is face. “Oh, I know you” I said, and leaped to my feet. “You’re Neville Longbottom!” (from Harry Potter, actor Matthew Lewis). “I just want you to know,” he said, ” when you played that theme from Voyager, that was, that was awesome”. “Thank you, thank you”, I said, “I’ll come over to your table and visit you guys later”. They took off, and I realized that the first young man, was Daniel Logan, 5/16/07 6:49:05 PM The Double Reed Daniel Logan, Devon Murray, Brenda, Matthew Lewis. 25 WhereNoOboist.indd 95 Being a celebrity myself was energizing and exhilarating. What a trip! I headed over to talk to Mrs. Throne. She and Malachi were in the autograph room. They had come to hear me play and we had a delightful conversation. Malachi is a thoughtful, kind person, and I asked him what it’s like for him, getting employment. Having had so long and successful a career, does he get lots of offers, lots of opportunities, or does he have to look for work? He quoted a friend of his: “The job is looking for work. The vacation is when you get it”. Brenda with Malachi Throne. With my gift certificate “prize” I had arranged to have my photo taken with Brent Spiner and now was the time to head over to the photo booth. Bennie Cottone had made a brilliant suggestion: “Bring two oboes!” So I stood on line with two oboes in hand, and my oboe backpack on my back, and engaged in conversation with Star Trek fans who indeed knew what the oboe is, and asked really good questions about reeds and more. When my turn came I said to Brent, Will you? I held up one oboe. “Sure why not”, was the answer. I must explain that there are thousands of people at these conventions, paying substantial amount of money to have their pictures taken with the Articles Baba Fett from Star Wars, episode 2. I finished packing up. Brent Spiner was still onstage, now answering questions from individuals lined up alongside the stage. My website designer, oboist/friend Brian Moses had asked me to inquire of Brent, what training if any, he’d undergone in order to so skillfully imitate an oboist, in the episode In Theory. So now I stood last on line, and just as Brent turned to me so that I could ask my question, he was informed that time was up, he had to depart the stage immediately. Nevertheless, Brent graciously turned to me, and quite hurriedly, I simply thanked him on behalf of the oboe playing community, for doing such a good job of pretending that he played the oboe. “I do play the oboe” he responded, and left the stage. All those years of practicing oboe embouchure must have finally paid off, because my jaw could not have dropped any lower. I was dumfounded. Brent Spiner plays the oboe? My oboe was still backstage, I’d arranged to return, and the guards knew me, so I ran backstage, stood real close to Brent and inquired: “You really play the oboe?.” No”, he said, “I was just kidding”. I hugged him, and he was rushed out to begin signing autographs. I deposited my oboe in a secure location and went off to find the young actors. They were signing autographs. Devon Murray, (Seamus Finnegan from Harry Potter) was also there. They were posing for photographs, having their pictures taken by blissful fans. These are just wonderful, young teenage boys, rather awed at the attention, at this convention with their parents. I asked Matthew’s (Neville’s) dad if he’d take my picture with these delightful young men. 95 5/16/07 6:49:05 PM Articles 96 Where No Oboist Has Gone Before stars. Each photo shoot takes exactly 20 seconds, so there was not much time to look over at Brent to see what pose he had adopted. Besides, I was Star struck. It never occurred to me that he was unfamiliar with holding an oboe and was expressing kindness and generosity in agreeing to this photo. Later, much later, at a different convention, Brent explained to me that he had no memory of ever playing the oboe in any episode. “Did I play the oboe?” he had asked. “You didn’t”, I’d answered, “Data did.” In Pasadena, I was staying with bassoonist John Steinmetz and family. His wife, Kazi is the violist who performed, on viola, the misnamed violin solo that was so gorgeous it made Vulcan Spock’s father Sarek, cry. Kazi had just invested in a substantial number of baby chickens with the intention of raising them for the eggs. Born and raised in New York City, living in San Francisco, I have had no experience with baby chicks, so spending time in that delightful and wondrous environment was the perfect ending to this Pasadena Sci-Fi Grand Slam and I left LA in quite the happy state. I used the rest of my $1000 gift certificate to purchase tickets for the August, 2004 Star Trek Convention in Las Vegas. I figured I’d show up at the 2nd annual talent contest and pass the crown to the next 25 WhereNoOboist.indd 96 winner. But, huh? There was no contest scheduled. The annual Star Trek Idol Talent Search was not to be and I retain the crown! “Hello, Brenda? This is Sky Conway. I run Planet XPO. We’re having a convention in Hollywood to honor Jimmy Doohan. It’s called “Beam Me Up, Scotty”. I hear you’re a terrific oboist. Would you like to come to Hollywood and play at the convention?” To be continued…. Coming soon: Episode 2: An Oboist Among the Stars Episode 3: Do Vulcan’s play the oboe? These are some of the voyages of the oboist, Brenda Schuman-Post. Her lifelong mission to bring the gorgeous sound of the oboe to every being in the universe, to educate oboists and audiences alike about the instrument’s effect and potential, to liberate all beings through sound and kindness, to perform in every conceivable venue, to boldly go where no oboist has gone before…. 5/16/07 6:49:06 PM The Double Reed 97 Hearing Loss From Music – Causes, Treatment, and Prevention William J. Dawson, M.D. Glenview, Illinois A 26 AskTheDoctor.indd 97 Articles ll of us are exposed to sound as we play or sound level. listen to music. This sound has specific All musicians in a band or orchestra share in characteristics which our brain recognizes this risk of excessive sound levels, although not all and defines as music. It reaches us through the air to the same degree. For instance, double reed orchesand enters our ears, the external part of the heartra performers are seated in front of the trumpets, ing mechanism. It also reaches us directly by means trombones, and/or percussion and must regularly of the instruments’ contact with our bodies, as the experience the high sound levels and intensity fresound waves are transmitted to the inner ear through quently produced by those instruments. In bands, our jaws, fingers and other bony parts. they may sit next to piccolos or in front of high brass Most people are born with normal hearing—the instruments. Fortunately, unlike piccolo or tympani ability to hear both loud and soft sounds in frequenplayers, double reed players do not add to the sound cies from about 20 Hz to18,000 Hz—and usually assault with their own instruments. Although the maintain this high degree of acuity for many years. overall sound pressure levels in such ensembles are However, some elements of our environment can inless than in groups who use amplification, these interfere with this ability. Excessive or repeated expostrumentalists are also at significant risk for developsure to very loud sounds at any age can cause daming music-related hearing loss. age to the hearing apparatus and result in decreased Sound pressure or loudness is measured hearing acuity. In some cases this loss may be tempoin decibels, or dB; the type of loudness measurement rary, while in others it is permanent. Musicians are that applies most to musicians is the A type, which at considerable risk for such damage, in good part is labeled dBA. According to OSHA, the governmenbecause they are regularly exposed to loud musical tal Occupational Safety and Health Administration, sounds, and because the source of the sound is so there are limits of both sound levels and durations close to their ears. that are important for many occupational groups (inObviously, not everyone who plays or listens to cluding musicians). Their recommendation for a 24music develops hearing losses. There are several comhour period are listed in the table below. ponents of musical sound that can be considered increased Exposure to sound pressure of 90 dBA should not exceed 8 hours risk factors. Three of these are 95 4 hours of crucial importance to all musicians; they are loudness, 100 2 hours or sound pressure level, inten105 1 hour sity, and duration. Loudness 30 minutes 120 or sound level of music varies from the ppp of many comTable 1. OSHA standards posers to the ffff required by some of Tchaikovsky’s compositions. Intensity can often be related to the type of The National Institute for Occupational Safety instrument making the music. For instance, the forand Health (NIOSH) is more stringent in its stantissimo of a trumpet’s or piccolo’s high notes is much dards, mandating a maximum exposure of 8 hours more intense than the same ff produced by a bass at 85 dBA. In addition, their recommendation of clarinet. Finally, the duration of sound exposure is a decreasing exposure for increasing pressure levels factor in potential damage to the human hearing apis based on 3 dBA, not the 5 dBA of OSHA. So, for paratus. Prolonged or repetitive exposure obviously each increase of 3 dBA, NIOSH recommends that one carries a greater risk than short periods at the same halve the exposure time. 5/16/07 6:49:16 PM Articles 98 Hearing Loss From Music – Causes, Treatment, and Prevention Some instruments are capable of producing potentially damaging sound pressure levels. Flutists can generate levels in excess of 105 dBA, piccolo players 120 dBA, and trumpeters 95 dBA. Full concert bands and orchestras can produce sounds in excess of 99-105 dBA. Other studies of marching bands and jazz bands have found equally high, or occasionally higher, sound pressure levels during rehearsal or performance. Musicians who function primarily as teachers are as susceptible as the instrumentalists themselves. This includes conductors of large ensembles—bands, orchestras, and choruses/choirs. Although hearing damage is more prevalent in these conductors, many instrumental teachers also can be afflicted, especially if they teach in small practice rooms with hard wall, floor, and ceiling surfaces. Prolonged and/or excessively high sound levels affect the inner ear and cause permanent damage to the microscopic hairs or filaments that transform the fluid motion of sound to neural (electrical) impulses for the brain to process. When these filaments are damaged or even broken off, the specific frequencies they detect cannot be transmitted to the brain; this loss is permanent, since the filaments, once damaged, will not regrow. Damage from sound exposure is cumulative over the years. Moderately high exposures may cause damage to only some of these hair cells, but repeated exposure may affect additional ones, thus making the hearing loss progressive with continued exposure. This change in hearing acuity is termed noise-induced hearing loss (NIHL). In NIHL, the characteristic deficits occur around the frequency of 4000-6000 Hz. People with this condition often complain of ringing in their ears, a symptom known medically as tinnitus. This symptom is usually perceived as a highpitched sound; it has been likened to a hum, whistle or the sound of a cicada. Although the person with tinnitus is more aware of it in a quiet environment, it usually is continuous. It interferes with conversations, especially those in the higher pitch ranges, and often produces difficulty in understanding words spoken by groups of people during social occasions. For a few, tinnitus can be so loud that it interferes with everyday activities. Some sufferers prefer to have a continuous level of background sound, such as a radio playing, to minimize the perception of tinnitus. The diagnosis of NIHL is made by having an audiogram performed by a hearing specialist or audiologist. The normally level printout of hearing acuity at various frequencies shows a dip or notch at the 4000- 26 AskTheDoctor.indd 98 6000 Hz level, which may extend toward the higher 8000 Hz level as well. The degree of dip indicates the severity of loss, measured in decibels (dB). This measurement is exponential, so that a change of 10 dB indicates that the sound level is doubled (if a positive change) or halved (if negative). Figure 1. Audiogram of person with NIHL, worse in right ear (circles) Currently there seems to be no good treatment for NIHL. Traditional hearing aids only amplify the sound in the outer portion of the hearing apparatus and have no effect on the inner, or nerve, portions where NIHL develops. Research into the effectiveness of cochlear implants is under way, but this is a surgical treatment and is not usually recommended as an option in managing NIHL. The best hope, therefore, lies with prevention, or with minimizing further losses in those already affected. The concept of prevention is simple, but often extremely difficult to put into practice: one must decrease either the sound level or its duration down to accepted standards. Simply put, this means that sound pressure levels reaching the middle and inner ear should be lower, and/or they should be of shorter duration. Ear plugs or sound attenuators to decrease dangerous sound levels have been worn for years by members of the military, industrial workers, and in shooting sports, but only in the past 15-20 years have satisfactory models become available for musicians. These include custom ear molds made by an audiologist, which are fitted with a central sound filter or at- 5/16/07 6:49:17 PM The Double Reed 26 AskTheDoctor.indd 99 Figure 3 ETY•Plug™ and plastic carrying case techniques to minimize sound exposure and prevent this progressive, permanent type of hearing loss. Music educators and band directors need to address this situation with their younger students and performers, providing accurate information and indicating their approval and encouragement of hearing loss prevention. u Suggested Readings Chasin Marshall: Hearing aids for musicians. Hearing Review 2006;13(3): Cutietta RA, Klich RJ, Royse D, Rainbolt H: The incidence of noise-induced hearing loss among music teachers. Journal of Research in Music Education 1994;42(4):318-330 Niquette P: Hearing protection for musicians. Hearing Review 2006;13(3): Owens Douglas T: Sound pressure levels experienced by the high school band director. Medical Problems of Performing Artists 2004;19(3):109-115 Schweitzer, Marsha: Hear today - gone tomorrow. Senza Sordino 1999;37(1):1-3,5 Articles tenuator designed by Etymotic Research Co. Sounds heard with these earplugs have the same quality as the original, only quieter. The result is that speech and music are clear—the wearer still can hear the blend clearly, feel the bass, and distinguish each tone. Attenuators can lower the sound level by 9, 15, or 25 dB, or from about 60% to 85%; most instrumentalists choose the 15 dB model. The cost for a pair of these molds and attenuators averages $150-$200. In the last few years a new model has been developed, ready-to-fit without the need for custom molds. These ER•20 High Fidelity Earplugs were developed to provide low-cost, one-size-fits-most high fidelity earplugs that can be used in a variety of noisy environments. The design goal of this earplug was the same as for Musicians Earplugs: to reduce noise but preserve sound quality; in effect, to turn down the noise but not muffle voices, environmental sounds or music. Other advantages of this type of attenuator include: (1) they replicate the ear’s natural response; (2) speech is clear, not muffled; (3) they reduce sound approximately 20 dB at all frequencies. By decreasing the intensity of sound heard through the air, but not changing that which is transmitted through the body, attenuators alter the sound perceived by the musician. When wearing then, one’s instrument seems to sound louder than it actually is (when heard by others nearby), so the performer must learn to compensate for this by increasing his or her dynamics appropriately. Figure 2 ER-15 attenuators This is possible with comparatively little practice, but input and guidance from the conductor or nearby musicians also can be helpful. It goes without saying that this type of hearing protection is also recommended for conductors. Transparent sound baffles or shields have found a place in many orchestras over the past decade and are another useful way to protect certain musicians from excessive sound levels. These come in various sizes, to protect several persons in a row or just one performer. In general, they are placed in front of the brasses and percussion. I recommend reading the Senza Sordino article (referenced at the end) for a more complete explanation of these shields and their use. Hearing specialists, as well as performing arts medicine physicians, recommend that young musicians start early in their careers to become aware of the damaging effects of noise, and to use appropriate 99 About the Author Dr. William Dawson is the medical consultant to the IDRS, and has written articles for The Double Reed and the IDRS Journal since 1988. A retired hand and orthopaedic surgeon, and Emeritus Professor of Orthopaedic Surgery at Northwestern University’s Medical School, he currently is president of the Performing Arts Medicine Association and serves on its Education/Research Committee. Musically specializing in low reeds (bassoon, contrabassoon, and sarrusophone), he belongs to several regional and community orchestras and bands in the Chicago area and teaches bassoon privately in the northwest suburbs. Dr. Dawson has no affiliation with or financial interest in Etymotic Research. 5/16/07 6:49:17 PM 100 A Bassoon Lite, Please... The Perfect Rest A Bassoon Lite, Please... The Perfect Rest Alan Goodman Bedford, Wyoming Articles E fforts to create a more perfect bassoon beckon the woodwind world’s greatest minds as the ultimate challenge of acoustical engineering. Making a perfect bassoon presents a challenge as forbidding as climbing the Himalayas in bare feet. Recently I had an invitation to take a journey to a far away and forbidding place that promised an answer to the riddle of making a perfect bassoon. An old friend, Flora Adora, tried to convince me that this was an invitation I dare not refuse. “Puleeeeze!! For mercy’s sake, Al, get a life!” Flora Adora sat on my reed table - the one with no reeds. Her lovely legs were crossed, revealing through the flimsy material of her dress a suggestion of many past fantasies. In all the years I’d known her she hadn’t aged a day. “I’ve had enough,” she continued, lips pouting in a way that had managed to befuddle me more than once in the midst of playing the bassoon solo in Scherazade. Flora Adora had entered my life one day when I was fifteen years old and strolling down Eighth Avenue in mid-town Manhattan on my way to a bassoon lesson. She stared out at me from a life-sized poster in the window of Petie’s Porno Shoppe. I stopped long enough to memorize every curve of her alluring intellect, which was attractive enough to cause me to arrive at my lesson somewhat late. From that chance encounter Flora Adora seared a permanent home in the shallows of my imagination. “It was fun at first,” she said somewhat wistfully. “But when you went off to seek your fortune as an orchestral bassoonist I figured this was my chance to finally get some much-needed sleep. But no, no, here you were in the middle of rehearsing Beethoven’s Fifth Symphony when I sensed your mind turning inward again for some X rated frolic.” “But I thought you liked Beethoven,” I asked, somewhat hurt over this outburst. “He’s okay. But I like Stravinsky better.” “Why?” I wanted to know since Flora Adora had always professed to be a romantic. “Fewer rests. Those rests were interrupting the best chance I had to get some sleep. Every rest you 27 PerfectRest.indd 100 got you were back in my boudoir peeling my nightie off. Stravinsky was the only composer that kept you so busy you didn’t have time to wander back and forth between me and your imagination. Oh, the sleep I managed while you counted like crazy in Stravinsky!” “Gee,” I said somewhat taken aback. “My favorite composer was actually Buckner - no bassoon solos, hundreds of bars of rest, just waves of pulpy notes splashing endlessly upon the sands. Why one time when the orchestra played Bruckner you and I found this isolated section of beach in Tahiti during the endless first movement. By the time the last movement rolled around we were in each other’s arms about to ...” “Now that’s just what I’m talking about,” she interrupted before I could get to the good part. “It just so happens I had checked your schedule that week, and had made plans to visit my mother in Romania. Little did I know that Bruckner was nothing but a sea of rests interrupted occasionally by a buried bassoon burp here and there. If I had known that I wouldn’t have even bothered making the plane reservations.” Flora Adora broke into sobs. Her amply endowed body threatened to fall from my reed table into my lap. I reached out to pat her shoulder, but she shrugged my hand off. “I’m sorry, Flora,” I said. “ I didn’t know you even had a mother.” “See, that’s how your mind works. To you I’m nothing more than an X rated fantasy during an endless sea of rests during another Bruckner symphony.” “Well,” I answered trying for a sympathetic tone. “Mahler’s rests had their moments too ...” But by that time, Flora Adora had jumped from the reed table and hurried out of my imagination. Her last words before she disappeared were something like, “You’d better take that journey to find the perfect bassoon dimensions, because you won’t have Flora Adora’s to distract you anymore.” And she was as good as her word. I suspect that she’s found another bassoon mind to inhabit. I’m determined to get her back even if I have to give up 5/16/07 6:49:33 PM The Double Reed 101 Bruckner symphonies. I’ve hired a detective agency to track her down. I told them it should be an easy assignment - all they have to do is monitor the world’s orchestras to see which bassoonist is occasionally drifting off during his solos in Scheherazade. Until they find Flora Adora and I can talk her into returning to my imagination, I’ve decided I don’t need the perfect bassoon. It’s the rests between the bassoon solos that I miss anyway. And so, I think it best to let someone who’s too distracted by the music to enjoy the rests, conduct the search for secrets to making a perfect bassoon . Don’t you? u Articles 27 PerfectRest.indd 101 5/16/07 6:49:33 PM 102 Reviews Reviews 28 Reviews.indd 102 5/16/07 6:49:47 PM The Double Reed Oboe Recording Reviews Reviews by Robert J. Krause Canyon, Texas Leslie Bassett – Song of the Aulos and Sonatas by Handel and Telemann Susan Louise Bissiri, oboe; Don Fishel, flute; Gail Jennings, piano; Janice Clark, piano; Carol Wargelin, piano Recorded by Solid Sound Studio, Inc. Ann Arbor, Michigan Produced privately by Susan Bissiri, 2004 (slbissiri@sbcglobal.net) 29 Reviews.indd 103 emeritus) was commissioned by Mu Phi Epsilon to write a number of pieces to be premiered at the annual May 2000 luncheon. Song of the Aulos for Unaccompanied Oboe was one of those pieces and Susan Bissiri gave the premiere performance. She was later invited to perform the work at the International Mu Phi Epsilon Centennial Convention in 2003 in Cincinnati, Ohio. Song of the Aulos is a very challenging and attractive piece for solo oboe. Ms. Bissiri’s performance is very substantial. Her fluid control and clear technique are nicely enhanced by her warm, but authoritative sound. This was my first exposure to Mr. Bassett’s addition to the solo oboe repertoire. I like Song of the Aulos and recommend it highly for teaching and personal performance. It is published by Edition Peters and may be obtained from TrevCo or Forrests Music. Sonata in C minor for Flute, Oboe, and Piano by Telemann is nicely performed by Ms. Bissiri, Mr. Fishel, and Ms. Clark; the ensemble works well together. Like the Sonata in A minor, the slower movements contain very attractive cantabile playing, but lack performer embellishments, and the tempi in the faster movements are on the conservative side and tend to lack spirit. Handel’s Sonata for Oboe, Violino, and Basso Continuo and the “Allegro” from Sonata No. 1 in B flat for Flute, Oboe, and Piano are collaboratively played well by Ms. Bissiri, Mr. Fishel, and Ms. Wargelin. Again, I would like to have heard embellishments in the slower movements, other than just the printed trills, etc. The faster movements tend to become a little plodding and sometimes the tempo actually slows down, but on the whole the performances are enjoyable. This CD will be a nice addition to an oboist’s library. Leslie Bassett’s Song of the Aulos for Unaccompanied Oboe is well worth the price of the recording by itself. Reviews Susan Bissiri presents us with a new CD which includes performances of Leslie Bassett’s Song of the Aulos for Unaccompanied Oboe; George P. Telemann’s Sonata in A minor for Oboe and Piano, and Sonata in C minor for Flute, Oboe, and Piano; and George F. Handel’s Sonata for Oboe, Violino, and Basso Continuo and the “Allegro” from Sonata No. 1 in B flat for Flute, Oboe, and Piano. Ms. Bissiri is currently principal oboist in the Plymouth Symphony Orchestra, Plymouth, Michigan, and has taught oboe privately in the Ann Arbor, and southeast Michigan area since 1986. The first tracks on the CD are the very familiar Sonata in A minor by Telemann. Ms. Bissiri’s warm and sweet sound contributes to her lovely cantabile playing of the slower movements. I was especially attracted to her very delicate playing in the third movement (Andante Amabile). My only reservation of the slower movements is the lack of embellishments which is a vital element of baroque performance. The second and forth movements (Spirituoso and Vivace) are somewhat cautiously played. The tempi are rather reserved, but performed with all the notes and phrasing being very clear and in place. For my taste, these movements are a bit lackluster. The sonata is well played by both Ms. Bissiri and Ms. Jennings. The next recorded selection is Song of the Aulos by Leslie Bassett. Mr. Bassett (who taught composition at the University of Michigan from 1952-91, where he was chair of the composition department from 1970-88 and the Albert A. Stanley Distinguished University Professor of Music from 1977-91, and now 103 Oboe Odyssey from Handel to Castérède Evelyn McCarty, oboe and oboe d’amore Imelda Delgado, piano Boston Records BR2050 Included on the disc are the following: William Grant Still, Incantation and Dance and If You Should Go G. F. Handel, Sonata in G minor Oboe Duets, arranged by E. McCarty: “Happy 5/16/07 6:49:58 PM 104 Reviews Reviews Spring Time,” “The University of Oxford,” “The Crazy Ones,” “The Drunken Peasant” Benjamin Godard, From “Scotch Scenes,” Op. 138: Légende Pastorale and Sérénade à Mabel Marina Dranishnikova, Poem Andre Previn, Wedding Waltz for Two Oboes and Piano Ernest Schelling, Variation XV from “Impressions from a Artist’s Life”, arranged by E. McCarty for oboe d’amore and piano Richard Rodney Bennett, Siesta from “Summer Music”,arranged by E. McCarty for oboe d’amore and piano Jacques Castérède, Sonate pour Hautbois et Piano This is Evelyn McCarty’s third CD release recorded by Boston Records. The initial two were Gems for Oboe and Piano (also a collaboration with Imelda Delgado) and Of Winds and Song. The first two selections on the disc are works of William Grant Still. Mr. Still has often been termed the patriarchal figure in American Black music and was the first African-American composer to achieve significantly wide publication and performances. His works contain many “folkloric” materials, and Incantation and Dance and If I Should Go are certainly not exceptions. Being an oboist himself, Still demonstrates his knowledge and affection for the instrument in Incantation and Dance with the oboe’s initial rhapsodic melody. He also keeps the interest of the listener and performer with the challenging technical passages and interesting rhythms in the dance section. If I Should Go (arranged for oboe and piano by New Zealand flutist, Alexa Still) is a very lovely little gem that fits the oboe so well. The Handel Sonata in G minor performance contains slow movements with flowing lines that are enhanced by eloquent embellishments. The two faster movements contain well executed dynamic contrasts and strong technical playing. The Oboe Duets performed next on the disc, are a result of Ms. McCarty’s doctoral work at Northwestern University. They are interesting little miniatures, but unfortunately the balance does not always sound even. Many times the lower part seems to overshadow the joint effort. The music for these duets is obtainable from Southern Music Co. (Oboe Duets and Trios, Vols. I and II arranged by Evelyn McCarty. Benjamin Godard’s Légende Pastorale and Sérénade à Mabel from “Scotch Scenes,” Op. 138 are wonderful incidental pieces from the nineteenth century romantic period. It is nice to hear a recording of Séré- 29 Reviews.indd 104 nade à Mabel played on the oboe instead of the flute. Both Ms. Delgado and Ms. McCarthy render sensitive performances of these works. Poem by Marina Dranishnikova is probably my favorite composition on this disc. This dramatic, mysterious, sorrowful, and passionate work is a very attractive and much needed addition to the oboe repertoire. Marc Fink, professor of oboe at the University of Wisconsin in Madison, brought attention to the work in 2002 after doing research in Russia. After a performance at the IDRS Conference in Greensboro, North Carolina, he was able to have TrevoCo Music publish his edition of Poem. Both McCarty and Delgado make convincingly impassioned statements while carrying on intense dialogues between the two instruments. Andre Previn’s Wedding Waltz is a short dialogue for two oboes and piano that alternates between lyrical and more agitated passages. This interesting piece seems like it could be somewhat programmatic as alluded to by Ms. McCarty in her program notes, she writes, “...which seems to have programmatic inferences to married life. Towards the close of the piece, the fussy dialogue then settles into a calm ending.” Evelyn McCarty arranged the next two selections, Variation XV from “Impressions from a Artist’s Life”, by Ernest Schelling and Siesta from “Summer Music”, by Richard Rodney Bennett for oboe d’amore and piano. Both arrangements work very well on the oboe d’amore and are great additions to the repertoire. I hope that Ms. McCarty will make them available for others to perform. I especially enjoyed the lovely lyrical playing in Evelyn McCarty’s performance of the Bennett. As part of a project to compose a sonata for the individual wind instruments of the symphony orchestra, Jacques Castérède wrote his Sonate pour Hautbois et Piano. The following program notes were furnished by Mr. Castérède: “This sonata is in four movements, but these do not follow the order of the classical sonata. It begins with a ‘Moderato pastorale’ which is constructed on two distinct themes, one very song-like, the other lively and of a rustic character. The second movement is a ‘Scherzo’ with a lively and rhythmic ‘refrain’ and ‘verses’ that are more relaxed and varied. In the third movement, ‘Adagio’, the song, very slow, of the oboe is accompanied by the steady harmony in the piano. The fourth movement is essentially a melodic piece in which the principal theme alternates with more animated sections. The Sonata ends in an atmosphere that is very calm and 5/16/07 6:49:58 PM 105 The Double Reed peaceful.” (These notes were written by Jacques Castérède in French and translated by Evelyn McCarty.) This sonata was little known to me, and I am very glad to have had the opportunity to become familiar with it through the performances of Ms. McCarty and Delgado. I am intrigued with it and will certainly pursue its study and possible performance in the future. Oboe Odyssey makes for some pleasant listening and is filled with a wealth of wonderful oboe music. Unfortunately it sounds to me like the recording was not always well engineered. There seems to be some extraneous sounds (air escaping and other throat like sounds) that show up at various intervals. They tend to distract and should have been eliminated. There are also a number of places where the balance seemingly needs adjustment, and times when the intonation is suspect. Oboist Evelyn McCarty and pianist Imelda Delgado are active performers and teachers. They are founding members of the Camerata del Sol Chamber Music Players of South Texas. Both received their degrees in music performance after study with master teachers at the Curtis Institute of Music, Northwestern University, and Indiana University. Oboe Music Reviews Reviews by Robert J. Krause Canyon, Texas Concerto For Oboe (“The Clearing”) by Lucas Richman Oboe Range: c1-g3 Lucas Richman was commissioned to write this concerto by the Pittsburgh Symphony Orchestra for its principal oboist, Cynthia Koledo DeAlmeida. The concerto is a depiction of “one’s spiritual journey through life’s forest of worldly distractions.” 29 Reviews.indd 105 The 23rd Psalm figures prominently in the overall concept of my Concerto for Oboe and Orchestra. To me it conveys a moment of epiphany, expressed in gentle acceptance and understanding, that becomes the quiet climax of the work. Taking the vocal rhythms of the psalm’s Hebrew declamation, I began writing the concerto by setting the words in the solo oboe part as a simple prayer. From this prayer evolved the musical material for the rest of the work. The “clearing” of the subtitle is the place in which the epiphany or spiritual reconnection occurs, and is meaningful on several levels…the term also suggests a purification of mind and spirit after having fought through the trials and obstacles with which we are faced in life. The concerto is constructed with five distinct sections linked together into one movement. Beginning with a plaintive melody of descending tones, the introductory section presents a character prior to entering the symbolic forest of life. A surging tempo stirs the character to life and the reminders of spiritual insight and connection become distant memories with the onslaught of earthly reality. A broad melody becomes the orchestral highpoint of this second section, stemming from the phrase, “Gam ki aylach b’gay tzalmavet…” (“Yea, though I walk through the valley of the shadow of death”). This phrase is presented thereafter in its full form by the oboe in the ensuing prayer, as the character has finally found the clearing. With a simple, child-like, acknowledgement of innocence lost and then re-found, the prayer leads to a brief section of recapitulation. By resigning pride and ego and by accepting divine assistance, the character celebrates in the concerto’s last section, dancing a final dance of affirmation.” The concerto was composed in 2006 and was premiered by Cynthia Koledo DeAlmeida and the Pittsburgh Symphony Orchestra. Andrew Druckenbrod of the Pittsburgh Post-Gazette (February 17, 2006) described the concerto as, “A quietly ravishing oboe vocalise, crafted to inflections of the Hebrew text to the psalm, flowed like milk and honey.” The writing in Mr. Richman’s Oboe Concerto is very well suited to the oboe. The flowing melodies are very attractive and fit the lyrical and melancholic Reviews Published by LeDor Publishing 8905 Kingston Pike, #12-330, Knoxville, TN 37923 Fax: 865-691-0448 Toll Free: 888-624-9094 publishing@ledorgroup.com The following is taken from program notes by Mr. Richman: 5/16/07 6:49:59 PM 106 Reviews tendencies of the oboe so nicely. The technical passages, although difficult at times, seem to fall under the fingers very comfortably. What a beautiful and alluring addition to the oboe repertoire. I recommend this captivating composition to everyone. Bravo Mr. Richman! Lucas Richman has been Music Director and Conductor for the Knoxville Symphony Orchestra since 2003. He served as the Pittsburgh Symphony Orchestra’s Assistant Conductor from 1998-2002 and Resident Conductor from 2002-2004. Bassoon Music Reviews Reviews by Daniel Lipori Ellensburg, Washington Music from EditionsVIENTO 8711 SW 42nd Ave, Portland, OR 97219-3571 http://www.editionsviento.com) Three Renaissance Dances, arranged for Four Bassoons and Harpsichord by Isabel Jeremías. Reviews EV 538 ($8.50) Here are three interesting arrangements of dances by Baroque (not sure why the title says Renaissance) composers François Couperin and Jean Phillip Rameau. As is somewhat typical of keyboard works by these composers, the dances are not too difficult until you add the ornaments. As there is some argument about ornaments from this time, it would have been nice to include an ornament table in the publication. The first dance, in E Minor, is a gigue of Couperin’s, which has a very nice lilt to it. There are mordents in the first bassoon part on g1 and a s1, as well as turns on a1 and g1, making the movement a little tricky. The second dance is a lovely sarabande of Couperin’s, which does not go as high as the gigue, making the ornaments much easier to execute. The final dance is a tambourin of Rameau’s, which depending on the tempo, could be pretty tricky. It is in A Major (my least favorite key, thanks to Nutcracker!), and has some faster sixteenth notes passed between all the voices. Luckily this movement has no orna- 29 Reviews.indd 106 ments within, though it would not be inappropriate to add them. This movement has the melodic material spread between all the parts, as opposed to the first two dances, where the first part dominates the melody. The keyboard line for the most part doubles the bassoons, but there are a few measures of keyboard alone in the tambourin, which perhaps could be rewritten in the bassoon parts, so the dances could be performed as a bassoon quartet. I would give the work a grade of IV, mostly because of the ornaments, and some tricky jumps in the third dance. John Falcone Solo for Unaccompanied Bassoon. EV 106 ($5.50) This work is divided up into two sections. The first part is a slower, cantabile section, with many larger slurs throughout, covering the entire range of the instrument. The second section, titled ‘Agitato Blues,’ is slightly faster, and has many quicker notes, syncopated ideas, and off accents, while changing meters several times. There are also five multiphonic fingerings in this section, which are not too difficult to produce. This work is quite difficult, earning a grade of V, with the bassoon part extending up to e f2. The counting/meter changes in the second section will provide quite a challenge for the performer. I had some trouble making sense of this work, trying to determine how to fit the different motives throughout together. (Perhaps I just need to work on it some more.) If you are looking for a new challenging piece to tackle, you should get a hold of this composition. John Falcone Weaving Reeds, for Oboe, Clarinet, and Bassoon. EV 334 ($ 6.50) The reed trio is one of my favorite chamber music combinations, and this is a nice addition to the repertoire. This piece was originally written to accompany some dancers at the Julliard School. There are two primary sections. The first section, ‘Frolic,’ is at a pretty fast tempo and has all three parts jumping around quite a bit playing larger intervals, some syncopated motives, and several grace notes and accents on off beats. This section is quite difficult, with the bassoon part extending up to e f2. The second section ‘Soliloquies,’ is much slower and has a very peaceful, serene feel to it. Only occasionally do all three parts play together in this section, and it ends with about five bars of solo clarinet. The clarinet part has some 5/16/07 6:49:59 PM 107 The Double Reed quarter tone fingerings in this final section, which adds an interesting color to the work. The work is quite technically challenging, and I would give the piece a grade of IV+. This is a very fun piece to play, and I would recommend it highly. available, this certainly would be a nice additional to your library. Próspero Lopez Buchardo Tres Preludios, for Woodwind Quintet and Piano. EV 606 ($12.50) John Falcone The Invasion of the Fiufas, for Woodwind Quintet and Narrator. EV 534 ($10.50) John Falcone has given us another nice piece for quintet and narrator, similar to The Bassoonist of Hamelin, reviewed a few issues ago. This piece tells the story of a man whose house is filled with fiufas (an endearing term for cockroaches). He tries to get rid of them but cannot, so he decides to share his house with them. The music does an excellent job of helping to portray the story. This work is moderately difficult, as there are many tempo and meter changes throughout, so you must have a solid ensemble, or possibly the narrator could serve as a conductor. The individual parts are also fairly challenging, and I would give this work a grade of IV+. A version in Spanish is due out soon. Johann Sebastian Bach Little Fugue in G Minor, arranged for Double Reed Quintet by Gordon Solie. EV 537 ($6.50) 29 Reviews.indd 107 Gregory Youtz Soundtracks: Seven Themes in Search of a Plot, for Woodwind Quintet. EV 533 ($16) There are some interesting notes given for this work. Gregory Youtz describes this piece as: A series of character studies that explore different ensemble groupings within the standard woodwind quintet. Like a musical melodrama, the ‘characters’ interact in a series of scenes, the plot of which is unknown, even to the composer! Reviews Most of you have played an arrangement of this piece before, as there are ones for orchestra and wind quintet. This version for double reed quintet, is meant to be played with oboe, oboe d’amore, English horn, bassoon, and contrabassoon, though a 2nd oboe may be substituted for the d’amore and a 2nd bassoon may be substituted for the contra. The sound of the double reed ensemble works extremely well for this piece. If using a second oboe, however, the main theme is slightly altered in the beginning, as the oboe cannot play as low as the d’amore can. There are also some low downward slurs that are somewhat awkward in the oboe parts. The most difficult aspect of the work, might be determining where to take breaths in the oboe and English horn lines, as they sometimes play for extended periods. I would give the work a grade of III+. The one aspect I was a little disappointed with is that the contrabassoon part does not play for extended periods. It might be nice to have some more doublings of voices that would give the work a fuller texture throughout. If you have the instrumentation Though the inside page of the score lists Lopez Buchardo as a Chilean composer, all of the web sites I found list him as being Argentinean. There is little information about him, other than the fact that he was a composer and cellist. The parts in this sextet are not overly difficult and the parts are fairly equal. Many of the works for this combination have the piano dominating and the winds accompanying, but that is not the case here. The first movement “Meditación ante la tumba de un Indio” is a very slow, melancholy work, with many longer, thick chords throughout. Movement two, “Cantelenas bajo el balcón,” is the fastest prelude of the three, as well as the most difficult. It moves between several key areas, including a section in B f Minor, where the bassoon has a fun sextuplet pattern for a few bars. Movement three, “En el Valle Encantado,” moves back to a slower tempo, but has faster moving notes than the first movement. There are a few sections where the flute plays piccolo, and one section where the bassoonist gets to play triangle! I would give these preludes a grade of IV-. These works are nice additions to the limited piano and wind sextet combination, and would be very good pieces for a student group to perform. Youtz also gives notes to the performers: The players are invited to imagine themselves as characters in a scene during each movement. Players do not necessarily remain the same char- 5/16/07 6:50:00 PM 108 Reviews acter throughout the seven movements. Melodrama is essential and most particularly in the dramatic moments leading up to the excruciating death of the bassoonist in movement six. Then, of course, the calvary arrive… Youtz obviously wants the performers to use their imagination for this piece and make up their own plot as to how to the movements are connected as well as the overall interpretation of the work. He also gives many descriptive markings in the parts to try to assist the performers in their interpretation. There is no description of how or why the bassoon player dies at the end of the sixth movement. Perhaps that is determined by the performers as well. Each movement is fairly short, each not more than a few minutes in length. Movement two is just for clarinet and bassoon, while movement three is just for flute and oboe. The movements seem somewhat sparse to me, and I had trouble creating continuity between them. Part of the fifth movement reminded me of one of the Elliott Carter Etudes, in that all five parts are playing the same pitch while alternating a mostly eighth note pulse throughout. The work is of medium difficulty, with the only really difficult movement being the sixth, which has some faster sixteenth notes in all the parts, and the bassoon line descending up to an e2. I would give the work a grade of IV. If you are looking for some new quintet literature and have a group with lots of imagination, you should take a look at this work. Mattia Vento Reviews Aria “Chebramate” from the opera Sofonisba, for Soprano, Oboe, Bassoon, and Continuo. EV 720 ($8.50) Mattia Vento was an Italian composer who was born and studied in Naples, but spent most of his productive life in London. The opera Sofonisba was premiered in London in 1766. This particular aria must have been a tremendous success, as The New Grove Opera quotes a newspaper critic from the Public Advertiser on March 19, 1766 as having written: “Sofonsiba is most beautifully heightened by the harmonious sounds of Signor Vento…The Song ‘Che Bramate o Giusti dei’, heightened by Mr. Vincent’s hautboy, worked powerfully on everyone as was evident from the high applause.” The oboe has a very lovely obbligato line that compliments the soprano line well, while the bassoon line reinforces the bass part, and occasionally plays with the oboe in the tutti sections. 29 Reviews.indd 108 The aria has an andante tempo marking, and the most difficult aspect of the work might be the key of A Major that it is in. The bassoon part does not descend very high, only going up to e1, and I would give the work a grade of II+. This would be another nice piece for a student recital. Mariano Mores Tres Tangos, arranged for Woodwind Quintet by Silvia Coricelli. EV 536 ($13) These arrangements of dances by bassoonist Silvia Coricelli, would be great additions to your quintet repertoire. The three dances included easily show the variety of styles there are within the tango. The upper instruments play most of the melodic material, while the bassoon and horn serve more of an accompanimental role. Though the bassoon part is not overly difficult, the other voices, especially the flute, are fairly virtuosic, giving the work a grade of IV. Once the individual parts are learned, putting together the ensemble is not too bad. These would be great closing works for a recital. Seann Branchfield Spontaneous Bassoon Fabricator, for Woodwind Quintet. EV 535 ($12) Well, the title of this one immediately sparked my interest! Seann Branchfield writes of this work: This is a three movement work that features the bassoon in a woodwind quintet. The role of the bassoon changes in each movement to explore the capability of the instrument in an ensemble. The first movement, the bassoon provides a driving bass line while the other instruments, although playing some melodic figures of their own, support and bring emphasis to the bassoon part. The second movement features the bassoon as a solo instrument in opposition to the ensemble almost like a ‘concertino.’ The third movement encompasses both of these principles, using the bassoon as both a foundation and solo instrument. Movement one is titled ‘The Machine” and the bassoon has a fairly regular ostinato pattern, while the other instruments weave in and out of its texture. Movement two “The Randomizer” has the bassoon 5/16/07 6:50:00 PM 109 The Double Reed playing most of its melodic material alone, or with very minimal accompaniment. There is a flowing, legato eighth note line through much of this movement. The final movement “Vertical Cylindrical Planes” is much more rhythmic in nature, with a fairly recurring rhythm of eighth, two sixteenths, two eighths throughout. This is not a very difficult work, deserving a grade of II+, and could easily be handled by a good high school group. It is not often that we have a chamber work that features the bassoon, and this work will certainly help fill that void. Ferdinando Paer Recitative and Aria “Eccomi lieto al fine” from the opera La Lacandra de Vagaboni (La Locanda dei Vagabondi), for Tenor, Bassoon, and Orchestra, with piano reduction by Ronald Richards. EV 721 ($10.75) Ferdinando Paer was an Italian composer, who spent much time in Vienna, Dresden, Warsaw, and Paris, and whom Napoleon was very fond of. The opera was written very early in Paer’s life in 1792, and premiered in Parma. This aria does not have an overly difficult bassoon line, which could be handled by an intermediate player, and I would give it a grade of II+. The aria is in E f Major, and does not go higher than f1. There is a bit of interplay between the bassoon and tenor lines, repeating motives back and forth. The piano reduction is probably the most difficult part of this piece. This would be a very nice piece for a student recital. Music from ALRY Publications PO Box 36542 Charlotte, NC 28236 http://www.alrypublications.com Deborah Anderson This piece was written for a thirteen year old bassoon student, who was also very active in athletics. The composer describes the student’s interest in sports and the piece: On his bike, he likes the downhill rush after riding uphill. At baseball games, he enjoys tensionbuilding situations which then resolve themselves with a hit or home run. He also told me 29 Reviews.indd 109 The work is divided into two sections. The first is a slower, more lyrical line, where the bassoon ascends, then falls back down though much of this section. This is contrasted by a quicker, more articulated part, with some larger intervals throughout. Though it was written for a young student, there are a few tricky items within. Some of the slurs are fairly awkward, and would require flicking for them to come out at all, and there is a g1 to a1 trill which I did not learn until much later. I would give the work a grade of II+. The piano part is at about the same level, and there is a bit of interplay between the two lines. This would be a nice work for an intermediate student to play. Deborah Anderson Nightfall, for Flute, Clarinet, Bassoon, and Piano. CM-68 ($15) Here is a pretty little piece, that could easily be handled by an intermediate student group. Deborah Anderson describes the piece as depicting “nightfall, a time when the day’s duties and cares retreat to the background, a time when day mingles with night.” The tempo is not too fast, and the melodic lines are longer, flowing slurred passages. The parts are all fairly equal, with a lot of interplay between the voices, and the work is not very long, being only about four minutes. The most difficult aspect for a young group might be the key of the second section, which hovers around B Major. I would give the work a grade of III-. There is also an alternate oboe part in place of the clarinet. Since there is not a lot of music for this instrumental combination, this is a welcome addition. Edvard Grieg Four Norwegian Dances, arranged for Woodwind Quintet by Harry Stanton. CM-70 ($28) These dances, originally for piano duet, have been arranged for orchestra previously, but they work very well for woodwind quintet. Each dance is in a ternary form, and shows some of the variety of styles in Norwegian folk music. There are some nice clashes of harmony and accents, giving each movement a very Reviews Out of Bounds, for Bassoon and Piano. BP-4 ($10) the story of one fishing trip with his dad, where a fish got hooked but cleverly swam around a piling and managed to free itself…The phrase ‘out of bounds’ is used here to mean getting free, releasing tension, or breaking out of a binding situation.” 5/16/07 6:50:01 PM 110 Reviews unique sound. The first dance is a march based off the Sinclair March from Vaga. Movement two also has a march-like feel to it, the melody of which is a ‘halling’ from the Osterdal valley. In the third dance, the melody presented at the beginning in a quick tempo, is played about half tempo in the middle section, with a longer note accompaniment, providing a nice contrast to the more jovial sounding opening. The final movement has the most dissonances, and starts with a long slurred melody, before moving to a piu vivo section, that again has somewhat of a dance feel to it. These are just fun pieces to play. They are not very difficult, earning a grade of III+, and would be a nice ending set to a chamber concert. Reviews Daniel Lipori serves as assistant professor of bassoon and music history at Central Washington University. He is editor of Georg Wenzel Ritter: Six Quartets for Bassoon and Strings op. 1, published by A-R Editions, Inc. (1999), and author of A Researcher’s Guide to the Bassoon, published by the Edwin Mellen Press (2002). 29 Reviews.indd 110 5/16/07 6:50:01 PM 111 The Double Reed Contributing Members The Society thanks those who have given additional financial support by becoming contributors. Their additional support is vital to the accomplishment of our goals. BENEFACTOR Carlos E. Coelho Woodwinds Carla DeForest Larry and Karen Festa Jan Kennedy Richard E. Killmer Buffet Crampon USA Francois Kloc Richard Meek Alexander L. Miller Frank A. Morelli, Jr. Musik Josef - Yukio Nakamura Lowry Riggins Christopher Weait PATRON American Bassoon Company, Inc L. 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