Dard, Sonata in D minor, Op. 2, No. 5, for bassoon or 'cello, Nova Music.
A recent publication of Nova is particularly deserving of comment and praise. The new issue, Sonata in D minor, Op. 2, No. 5 for bassoon or cello, one of a set of six by an obscure composer named Dard, has been edited by Himie Voxman and Richard Hervig. This modern edition brings to light another remarkable work, first published in 1767, that had become lost to present-day players and teachers. The editors explain that so little is known about Dard that even his surname, birth and death dates are uncertain. However, a performance of this sonata was given at the last International Double Reed Society meeting by Mark Kelly, and the programs on that occasion listed the surname as Marcel.
In any case, while an audience may take little note of the name Dard on a program, it will be seized instantly by the arresting nature of the dramatic opening of this sonata. This is a work of superior craftsmanship that shows a fine gift of melody and a nigh incomparable use of the bassoon's noble character in a dramatic setting. Such lavish praise may be open to question, so it should be understood that this is a work that needs an intuitive and sympathetic approach, a piece that requires the soloist to perceive what the music conveys, rather than be constrained by the notation's appearance. Thus it is this reviewer's opinion that some truly beautiful moments may occur in the first movement, for example, if the tempo is taken slower than indicated so that the music can "breathe" or ebb and flow.
The second and fourth movements are well constructed, being both interesting and quite idiomatic to the bassoon. Consequently, players of modest ability will be elated to find such a fine work that is eminently so playable. The third movement is an arietta in da capo style which has considerable appeal throughout. A brief but effective cadenza, supplied by R. Hervig, is found prior to the da capo in a moment of uncommon drama reminiscent of the first movement.
The sonata concludes with a brilliant final movement that should make good players sound great. The only suggestion needed here is for slurs to be added freely to the extended technical passages which would otherwise require rapid and prolonged tonguing.
The Dard sonata is indeed a significant work for bassoon.
Ronald Tyree, Iowa City, Iowa
Carl Jacobi, Concertino, Op. 7; and Introduction, Theme and Variations, Musica Rara.
Musica Rara recently brought out reprints of two works, Concertino, Op. 7; and Introduction, Theme and Variations, by Carl Jacobi. Both are available from the company's United States outlet, which is at 305 Bloomfield Avenue, Nutley, New Jersey 07110; the Concertino at $11.25; the Introduction at $10.
Jacobi was a famous bassoonist who lived in the first half of the 19th century. His compositions for the bassoon are reminiscent of the Weber works for clarinet, but do not have the musical value of even the Weber Concertino. Jacobi's works are, however, a useful addition to the repertoire of the high school bassoonist; and for the professional who needs some froth, they are ideal.
Unfortunately neither piece is available with either orchestra or band score. The piano reductions are excellent, but a band accompaniment would almost certainly be often used. These are the sort of compositions that are most at home in a "park band" version.
The compositions are both in B-flat Major, and neither exceeds B-flat'. Modulations are seldom encountered, and, for the most part, the harmony sticks to tonic/dominant patterns. Rhythmically the same simplicity is evident. These are period pieces, but as with many such, the performer who can transcend the printed page will find that audiences can still be moved by them.
Edgar Kirk, East Lansing, Michigan
Richard M. Polonchak, Primary Handbook for Bassoon. Meredith Music Publications, 170 N.E. 33rd St., P.O. Box 24330, Ft. Lauderdale, FL 33307. $6.00.
Mr. Polonchak has written this handbook primarily for music teachers who are not bassoonists. The assembly, playing position and hand position instructions are helpful since these are common areas for young bassoonists to go astray. The section on the embouchure is a little weak, lacking explanation of how bassoon embouchure is different from other instruments. Mr. P. suggests starting the new bassoonist on low notes since they require less embouchure. It is this writer's experience that most students transfer from another instrument and have an idea of embouchure, whereas the finger stretch on the bassoon often makes low notes difficult to get. The rest of the book is devoted to basic information that most music teachers should already have.
Barbara Novak, Spokane, Washington.