From Leipzig, Germany, home of the legendary Gewandhaus Orchestra, that orchestra where Julius Weissenborn was once the solo bassoonist and where Weissenborn produced the universal standard method for the German-system bassoon -- which has formed the starting point for thousands of successful bassoonist's careers -- now comes a thorough, very up-to-date, welcome and excellent new Bassoon Method. The authors are two current Leipzig bassoonists, Werner Seltmann and Gunter Angerhöfer.
At the time of receiving part of this method directly from the publisher, I remembered a conversation of two years ago with busy London bassoonist William Waterhouse who told me of his own part in this undertaking -- the "translation of a large new German method book" from German to English.
Now the work is nearly completed and at least half is available from the publisher -- the remainder to be ready soon. And what a mammoth task it must have been for all three bassoonists!
The material contained in the three volumes pictured here will already assure this method a position as the largest and most detailed ever assembled (Another excellent older Mèthode by Edouard Flament -- in 12 separate parts, including a fine illustrated plan for finishing commercial reeds, does not contain the wealth of material to be found in the new Seltmann/Angerhöfer Tutor.)
Here is a table of contents for the entire Method. It will give readers a clear idea of the scope and breadth of the work:
Volume I
Volume II
Volume III
Volume IV
Volume V
Volume VI
After all this thoughtful presentation, the writers modestly included in their preface, written "im Früjahr 1976" (Spring '76), "In order to improve this tutor in the light of the latest knowledge and developments, we would welcome any suggestions for making it more complete."
Technical description and information about the instrument is clearly and accurately laid out in Volume I. The history contains no errors of research, (ably supported by William Waterhouse whose collection of instruments and bassoon material is world-famous) and information is given even about the recent development in Rumania of the advanced keywork designed by Professor Gheorghe Cuciureanu of Bucharest.
The modern approach to very efficient wind instrument breathing for performance is made crystal clear. No player should be confused by this clear and accurate description - with good anatomical drawings (not too complicated). The authors discuss balancing breath-taking for health comfort (living) with that required in the varying demands of performance. For the first time in print I am pleased to see a mention of the problem of hyperventilation, especially applied to the playing of long continuo lines in Baroque compositions.
A good short chapter discusses the dynamic range of the bassoon, compares it with other orchestral instruments and describes in a clear way the manner of making various accents and dynamic effects.
Articulation, staccato, portato and double and triple tonguing are described (later, I am sure that etudes and detailed descriptions will guide students into good habits of articulation).
Vibrato and the uses of vibrato are given their proper importance. It is nice to see that in Germany also, the "regular" pulsating vibrato and the continuous use of an unvarying vibrato is deplored.
Rules for Worth-While Practice are given: Regularity, Concentration, Playing Position, Control, and Sequence of Practice. The remainder of Volume I (36 lessons) consists of carefully ordered short patterns and progressively more challenging material. This includes: scales, short exercises for musicianship and tone-formation and somewhat longer etudes (but not excessively long . . . the emphasis is on presentation of many examples of gradually expanding complexity to prepare the student for the multitude of musical requirements.)
To best describe the worthiness and practicality of the Volumes IV and V (the other two which I have in possession) I refer you to the authors' Preface:
"Of the duets contained in Volume IV and the pieces for bassoon and piano in Volume V, which should also be studied, special mention will be made elsewhere. These works date from the seventeenth to the twentieth centuries: the early ones have been especially selected so that the beginner can, after only a few weeks, make music with a partner. Both parts of the duets are of equal difficulty and may be played alternately by teacher and student, or by two students. The piano parts of the pieces for bassoon and piano are not too advanced, so an accompanist should not be difficult to find."
Volume IV contains 93 large pages of duets, 32 of them in total. Some of the composers represented are:
The twentieth century is represented by good practical modern duets. New techniques are not included. But, in a way, every avant-garde composition presents unique problems and are "etudes" as well as compositions. In a future Appendix volume, I would like to see a section giving assistance in multiphonics, advanced multiple staccato techniques, fingerings for coloration of tone, etc.
The Volume V, Pieces for Bassoon and Pianoforte, contains 28 different solos, many by composers we are not yet familiar with. The first solos are 26-50 bars in length and may easily be handled by neophyte bassoonists. As they progress, the solo pieces take on more significance musically and technically, preparing a good footing for success in actual recital situations.
I am convinced by the excellence of the material, presentation and music contained in the three volumes I now have to be quite sure that the three more volumes to come will add only lustre to a magnificent educational effort.
The quality of printing and packaging of this Method is absolutely first class and should provide many years of useful service to teachers and pupils alike. We are still waiting for price and ordering information and will give this information at the earliest possible date. (See New Music, Books, this issue)