"Fagotto Concertante" - Milan Turkovic, bassoon
Blue Ensemble: Sokoa Tanz: Alexandre Ouzounoff, bassoon
Live in Osaka: Eastman Wind Ensemble
Melange: French Music for Bassoon Christopher Millard, bassoon
Oboes, English Horns, Bassoons, and Contrabassoons Play Music for Double-Reed Ensemble; members of the Los Angeles Philharmonic Orchestra; Bert Gassman, Oboe
Musette: French Baroque Favorites. David Dutton, oboe and musette
The Miami Wind Quintet
Oxford Compact Disc Digital Audio CD 991: (Sandra Seefeld, flute; Andrea Ridilla, oboe; Michele Gringras, clarinet; John Heard, bassoon; and Gregory Phillips, horn)
Contents:
Three Songs from Das Knaben Wunderhorn
Mahler - Dramer
Rheinlegendchen
Wer hat dies Liedlein erdacht?
Lob des hohen Verstand
Kleine Watermuziek (1951) Jaap Geraedts
Allegro con spirito
Sarabande; Gavotte
Vivace assai
Quintet No. 2 in C Minor Peter Muller
Allegro con brio
Andante con moto
Menuetto
Allegro ma non troppo
Woodwind Quintet (1967) Vladimir Soukup
Grotesco (Allegro giocoso)
Nocturno (Andante)
Finale (Vivo)
The Miami Wind Quintet is an ensemble-in-residence at Miami University in Oxford, Ohio. Both double reeders are members of the Society. Here we have a collection of quite nice music for the woodwind quintet performed in excellent fashion by the Miami Wind Quintet. There is something to be said for the group which has the means and time to be together on a regular basis for rehearsing and performing. The ensemble playing of this quintet clearly show these advantages. Yet, when called for, each performer manages to take the lead graciously loaned to them by the composer and the other members of the Quintet.
The Muller piece is a visit with an old friend, while the other works were new to this listener. I enjoyed all of them but was particularly impressed with the Soukup work whose first movement did indeed live up to its name.
Surprisingly, at least to me, is the delightful, lighthearted sound of the Mahler pieces so skillfully arranged by Trevor Cramer. But then, who cares who wrote this song?
I have thoroughly enjoyed this CD and recommend it to you.
Lowry Riggins
Monroe, Louisiana
"Fagotto Concertante" - Milan Turkovic, bassoon; Stuttgarter Kammerorchester, Martin Sieghart, conductor.
Mozart: Concerto; M. Haydn: Concertino; VillaLobos: Ciranda del sete notas; Francaix: Divertissement; Gershwin: Porgy and Bess (Suite) Orfeo C 223 911 A
This CD's selections almost seem like they were meant to be played (or recorded) together. It is a great recital, and Milan Turkovic shows us once again why he is considered as one of today's greatest bassoonists. This new recording of the Mozart (his fourth) is very elegant and gracious. Turkovic this time allowing himself to "improvise ... without having to fear that this will be copied by anyone like a photograph or a chess game." The results are wonderful: his creativity and sense of ornamentation make the Concerto sound joyful, and even though some people may think that Turkovic goes "too far" with these ornaments it never sounds overdone. It is always very tasteful. This is a welcome addition to the list of Mozart recordings.
The rest of the album is equally enjoyable, especially the Divertissement by Jean Francaix. Turkovic's interpretation of this work is brilliant; the playing is irreproachable, everything sounds very easy and relaxed, and the Lento movement is very expressive and singing. Finally, the arrangement of Porgy and Bess is played with a lot of color and style (en francais: "Chantant") - a great encore for this superb disc.
RATING: 3 CROWS
Stephane Levesque
Montreal, Quebec
CANADA
Blue Ensemble: Sokoa Tanz: Alexandre Ouzounoff, bassoon; with Mino Cinelu, percussion; Tomas Gubitsch, guitar; Jean Schwarz, electronics; and Jean-Francois, Jenny Clark, bass. Celia Records CL 9212.
This is the third CD produced by French bassoonist Alexandre Ouzounoff and the Blue Ensemble and it's definitely my favorite. It's more laid back and relaxed than a lot of their previous work and it allows you to enjoy Alexandre's lovely lyricism as well as his incredible technique. The title cut, Sokoa Tanz is a spirited Latin-rhythm dance featuring guitars, electronics, bass, percussion and finally the bassoon. With electronic enhancement and contact mikes Alexandre produces some wild ensemble playing with himself. But my favorite selections are the lovely, laid back tunes, Milesan that precedes it, and most especially the lovely Assante written, like Milesan, by Alexandre himself. In many ways this mellower Blue Ensemble reminds me of some of the dreamy lyricism achieved by oboist Paul McCandless and his group Oregon. I like it much better than the harder-edged quality of the earlier Assoluatamente and Destroy CD's by Blue Ensemble. While still displaying ethereal and somewhat hard-edged playing from time to time especially in the works by Jean Schwartz, the group overall seems to be mellowing more into an enjoyable, easier listening style. Could this be a new phase for Blue Ensemble? I certainly wouldn't hesitate to recommend this latest effort to you as some of their best. Bassoonist Ouzounoff, playing on a Buffet French bassoon, displays clearly both his facility and inherent lyricism which makes him one of the leading avant garde bassoonists in the world. He has cut a unique niche for himself with his ability to play music of all styles - from jazz to Ozi. Brave Alexandre! Keep up the good work.
RATING: 2 1/2 CROWS
Live in Osaka: Eastman Wind Ensemble, Donald Hunsberger, conductor. Sony Music [666 Fifth Ave., P.O. Box 4452, New York, NY 1010144521 SK 47198 DDD.
This is a recording of two live performances by the Eastman Wind Ensemble on tour in Symphony Hall, Osaka, Japan on June 8 and 13, 1990. The spirited performances of both traditional transcriptions of works like the Bach Toccata and Fugue in D Minor, and Jesu Joy of Man's Desiring, and the Flight of the Bumblebee, wind classics like the Holst E-flat Major Suite and Grainger's Lincolnshire Posy, and new like Josef Schwantner's ... and the mountains rising nowhere is of the highest calibre as one might expect from one of America's best wind ensembles. Under the sure baton of Donald Hunsberger the talented Eastmanites display a broad dynamic range that never, however, becomes overly strident as can often be the case with wind ensembles. Moreover, the solidity of the bass register instruments is particularly enjoyable throughout. With this recording the "contemporary edition" of the long tradition of fine wind ensemble playing from Eastman continues to maintain and flourish.
RATING: 2 1/2 CROWS
Melange: French Music for Bassoon Christopher Millard, bassoon; Kenneth Broadway, piano; Camille Churchfield, flute. Summit Records, [Box 26850, Tempe, AZ 85285] DCD 128.
This is an interesting compilation of some of the more popular French "Conservatoire" works known to German bassoonists: the Pierre Solo de Concert, the Dutilleux Sarabande et Cortege, the Grovlez Sicilienne et Allegro Giocoso and the Tansman Suite,- along with a few less well known ones like the Jeanjean Prelude et Scherzo, the Gabaye Sonatine, the Koechlin Sonate, Op. 71; Un Sori a Saint-Emilion by Henri Sauget, Caprice en Forme de Valse by Paul Borineau and Cantilene et Rondo, Op. 75 by Henri Busser.
All are played with both authority, artistry and warmth by Christopher Millard, who is principal bassoon of the Vancouver Symphony and the CBC Vancouver Orchestra. He plays with a lovely dark tone and clear vibrato, and interprets the works beautifully and convincingly. Particularly impressive is his performance of the Dutilleux where he doesn't shy away from producing two beautiful high F's and then follows it with elegant lyricism in the very next selection, the Prelude of the Paul Jeanjean Prelude et Scherzo (along with another high f2!). Playing on a relatively new Heckel (#13171), Christopher shows a complete command and mastery of the instrument. This is a lovely recording and I recommend it most highly to you. My only objection comes to the somewhat "tubby" overall sound to the recording which tends to make the piano sound a little unclear and distant. But this is a minor distraction to some exquisite playing by both Christopher, his pianist Kenneth Broadway and flutist Camille Churchfield who joins him for a spirited, witty performance of the Gabaye Sonatine.
RATING: 2 1/2 CROWS
Oboes, English Horns, Bassoons, and Contrabassoons Play Music for Double-Reed Ensemble by J.S. Bach, Handel, Pillin, Heussenstamm. Akira Endo conducting members of the Los Angeles Philharmonic Orchestra: Lukas Foss Concerto for Oboe and Orchestra. Bert Gassman, Oboe; Akira Endo conducting the Crystal Chamber Orchestra. Crystal Records [2235 Willida Lane, Sedro-Woolley, WA 98284] CD 871.
This is a digital re-mastered release of two Crystal LP's S851 and S871 first released in 1972. The players in the double reed ensemble, with the exception of oboist Peter Christ were all members of the Los Angeles Philharmonic at that time: oboists Bert Gassman and Barbara Winters, English hornists Donald Muggeridge and Peter Christ, bassoonists David Breidenthal and Walter Richie, and contrabassoonist Fred Dutton. Since the recording Dutton and Gassman have retired from the orchestra. The ensemble plays the Bach Ricercar a 6 from the Musical Offering (arr. by Peter Christ); Two Pieces by Handel/Christ; Three Pieces for Double Reed Septet by Boris Pillin; and Set for Double Reeds by George Heussenstamm. The Pillin piece is a strong serious, atonal work of difficult but not impossible technique. It has a rough edge throughout, but displays the virtuosity of the ensemble fairly well. The five movement Set by Haussenstamm is also written in a similar disjunct atonal style and unfortunately continues to sound too similar to the Pillin piece. The overall playing of the double reed ensemble is very good and solid technically. It is, however, a somewhat lifeless grouping of pieces that sound too much alike - the Bach to the Handel and the Pillin to the Heussenstamm.
The Foss Oboe Concerto, accompanied by a chamber orchestra of single winds and strings is the most interesting work on the CD and saves it somewhat. Here oboist Bert Gassman plays the solo part with a nice feel for the style, though his tone sounds a bit thin by 1992 standards. That's probably the biggest problem with the entire CD. It definitely lacks freshness and brilliance. Even with the digital re-mastering the sound is still muted, dark and somewhat dull. It lacks the brilliance of both highs and lows - there's not much "ring" in the sound. This sadly distracts too much from the overall high quality playing throughout the disc.
RATING: 2 CROWS
Ronald Klimko
Moscow, Idaho
Musette: French Baroque Favorites. David Dutton, oboe and musette; Beverly Biggs, harpsichord. B&D Recordings (CD102). Works by Couperin, Delalande, Marais, Lully, Rameau, Lavigne, and Philidor. [B&D Publications, 615 West Cotta Avenue, Spokane, WA 99204, Tel: 509-747-7398]
This new release from the husband-and-wife team of David Dutton and Beverly Biggs should be of great interest in a variety of ways. The oboe seems to have been "born" at the court of Louis XIV, so the music of Lully, Philidor, and their French baroque colleagues represents the instrument's stylistic "roots." The playing from both Dutton and Biggs is fluent, musically varied, and stylish throughout, showing expert command of such niceties as notes inegales, embellishment, and the lilt of French syntax in general.
The instruments themselves are fascinating. These include a musette - a sort of sopranino oboe, if you will - and a boxwood oboe made in 1991 by Ken Decker of Billings, Montana. (Readers may recall an article on the Decker oboe bell in the Spring, 1989 edition of the Double Reed) The harpsichord is a copy of a 1769 Taskin double. manual (a logical, and to some extent, predictable choice for this repertory). Dutton made the instrument himself, and in this lies the same sort of personal connection between performer and instrument so characteristic of the French baroque musical scene.
Dutton's choice of oboe is intriguing as a baroque performance alternative somewhere between period and fully modern instruments. One might theoretically argue that today's conservatoire system oboe, made of grenadilla, is a bit anachronistic when paired with the harpsichord, even though both instruments are played at modern pitch. Thus an instrument made of boxwood, a material known to the earliest oboe manufacturers, makes sense as a historical compromise.
The literature on this CD reflects some of the French baroque "standards" for oboe, as well as a sampling of lesserknown "musettes" - hence the album's name. Some of these are actually played on the musette, which was one of the Baroque oboe's cousins. The 17th-century musette existed both as a simple country bagpipe (the musette de Poitou) and as a smaller instrument fitted out with an arm-pumped bellows. This latter instrument, often gussied up with ivory drones and chanters and lavishly embroidered bags, was enormously popular with the aristocracy and was an essential musical ingredient in many of the pastoral entertainments of the 17th and 18th centuries.
(You may recall from a distant history class that France's ill-fated queen Marie Antoinette loved playing at shepherds and shepherdesses, in costume, and even had her own miniature farm, complete with sheep.) So - what does this have to do with the musettes on this album? This craze for rustic life inspired the creation of an entire genre of music, known as the musette, which featured the bagpipe's characteristic drone. In its modern guise (chez Fratelli Patricola) the instrument, although still "outdoorsy," has a remarkably versatile sound, ranging from bright to deep to muted. Bagpipestyle graces also lend an air of authenticity.
Although a champion of the viola da gamba, Marin Marais did specify that his variations on the famous "La Folia" tune could be played on other instruments, including the oboe. Dutton's realization shows a variety of musical effects, including rolled chords, castanets, and some pretty jazzy strumming effects.
Philibert de Lavigne's Sonata in A Minor gives a nod to the south of France with its concluding pair of Tambourins: stylized dances (avec drone) imitating the pipe and tabor style of Provencal folk music.
Three dance movements from Rameau's 1724 collection of Pieces de Clavecin make an effective timbral contrast to the rest of the album. Beverly Biggs' playing here virtually defines the qualities of the French clavecin school: elegance, fire, rubato, poise, and wonderful variety of touch.
The concluding Couperin Suite displays yet another trait of the French Baroque. In this case, the two performers have crafted their own assemblage of movements from several sources (notably the Concerts Royaux and several of the harpsichord Ordres), adapting the music to fit their instrumentation.
Carol Padgham Albrecht
Moscow, Idaho