Robert Cochran -- Bassoon Professor Ohio State University, Columbus, Ohio (site of the 1979 IDRS Conference hosted by Mr. Cochran and William Baker, Oboe Professor).

5/79. A faculty bassoon recital including: Serenata Invano by Carl Nielsen (clarinet, horn, bassoon, 'cello, bass); Gabriel Faure's Petite Pièce (transcribed by bassoonist Fernand Oubradous); the Pastorales de Noël for flute, bassoon and harp of Andre Jolivet; J. S. Bach's Recitative and Aria Phöbus eilt for soprano, bassoon solo obligato and B.C. from Cantata No. 202 ("Wedding"); Concertino by Marcel Bitsch; and B. Martinu's Sextet for piano and winds. Mr. Cochran also directed his University Bassoon Choir in a May concert shared with multiple flutes: Des Pres' The Coronation of Louis XII; D. Dondeyne, Pour se Diverter and Pour se Distraire; Last Tango of Bayreuth of Peter Schickele; and Charles Maxwell's Idyls of Four Goblins.

David DeBolt -- Solo Bassoon, Kansas City Philharmonic.

5/79. Recital, assisted by Mary Posses, flute; Katherine DeBolt, viola; Gerald Kemner, piano; and John Schaefer, harpsichord. The program included the Kansas City premiere of DeBolt's Adagio and Fugue for flute, viola, bassoon and piano-and his editions of Vivaldi Largo F. VIII, No. 11 and Selma y Salaverde Fantasia VIII for flute, viola, bassoon and harpsichord. Also performed were Villa-Lobos Bachianas Brasilieras No. 6, Alvin Etler's Sonata and C. M. von Weber's Andante e Rondo Ungarese.

Bruce E. Gbur -- Until recently, bassoonist and contrabassoonist of the Hong Kong Philharmonic.

11/78. Recital, and 12/78 solo performance with Hong Kong Phil: Paul Hindemith Sonate; Hurlstone Sonata in F; and L. Thuille Sextet, Op. 6. His orchestral solo appearance was the Asian premiere of Ruth Gipps Leviathan for solo contrabassoon and orchestra.

Charles Lipp -- Bassoon Professor, University of Nevada, composer and new music specialist. During last winter's work period in Europe:

11/78. Maurcio Kagel ATEM (1970); Herbert Brun Mutatis Mutandis (1970-78) and Charles Lipp Bassoon Pieces (1970-71).

12/78. Vivaldi Concerto Grosso in G Minor (violin, 2 oboes and bassoon).

3/79. Recital: Telemann Sonata in F Minor; Harold Budd New Work No. 2 (1968); Hindemith Sonate; Tadeusz Baird Four Preludes (1954); Philip Corner Attempting Whitenesses (1964) and James Fulkerson Patterns VII (1972).

3/79. Boguslaw Schäffer Project (1979)** All the above were performed at Cracow, Poland.

4/79. (Rotterdam, The Netherlands): Stockhausen Solo (1966); Carel Brons Monoloog IV (1968).

5/79. (Warsaw, Poland): A. Etler Sonata (1952); Simon Thorne Bassoon Solo (1979);** Tom Johnson Scrawls (1976); Janusz Kohut Situation (1979);** Eero Hameenniemi Theater Work (1979);** W. A. Mozart Concerto K. 191.

Congratulations, Charles, on a most meaningful and strong performance year! N. B. Works marked with double asterisk (**): composed specifically for Charles Lipp. Readers wanting information about any work may write to: Charles Lipp, 828 Magnolia Drive, Joliet, Illinois 60435, U.S.A.

Robert Moore -- Bassoon Professor at Bowling Green State University, Ohio.

1/79. From his class of 17 bassoon students, Mr. Moore sent the following senior recital programs: Lisa Noble -- Capel Bond Concerto No. 6 in B-flat; Mario Castelnuovo-Tedesco Sonatina for Bassoon and Piano; Paul Hindemith Duet for Bassoon and 'Cello; Johann Wenzel Kalliwoda Variations and Rondeau, Op. 57; Anton Reicha Suite No. 1 for 2 horns and bassoon; Lisa Noble HA! HA! . . . . John A. Fairlee -- Hindemith Sonate; Devienne Duo Concertante No. 5; A. Tansman Sonatine; J. N. Hummel Grand Concerto; and L. van Beethoven Quintet in E-flat for piano and winds . . . . Karen Gillfillan -- C. Saint-Saëns Sonate, Op. 168; Vincent Persichetti Parable for Solo Bassoon; Telemann Quartet in D Minor; and Alvin Etler Sonata.

Cyrle Perry, Gregory Barber, and Robert Hughes -- Oakland, California, Symphony bassoon section.

4/79. The world premiere of Antiphonal Responses by American composer Henry Brant. The work is scored for: three solo bassoons (on the stage apron), eight isolated wind and percussion instruments (in the balcony), improvised piano obbligato and symphony orchestra (on the stage). From several reviews sent (all most favorable to the work and to the bassoonists' performance), I selected this passage by Charles Shere (The Tribune):

"Antiphonal Responses" is clear enough anyway. The music alternates between prominent bassoon trio statements and orchestral colors, generally set in pure tone colors-unison strings or unison brass much of the time, with fluttering woodwind commentary. The 27 linked episodes develop a linear scheme which is classical in its simplicity, richly colored, occasionally humorous, nearly always lyrical. It was very well played, but then the Oakland Symphony's bassoon section has always played with enviable ensemble: Gregory Barber, Cyrle Perry and Robert Hughes pool their enthusiasm for the music and their accurate intonation to achieve a remarkable flexibility and power."

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