From England comes word of the establishment of the Double Reed News, a quarterly newsletter devoted to the special needs and interests of British double reed players. The Publication Manager is Peter Munro (21 Templars Firs, Wootton Bassett, Swindon, Wiltshire, SN4 7EW, Tel. Swindon [0793] 850587), and the Editorial Advisor is I.D.R.S. Vice President William Waterhouse. The first issue appeared in September, 1987, and the subscription rate is 4.85 British pounds, though I would suggest non-British subscribers to write directly to the above address for additional costs to cover foreign mailing.
As a footnote to his report on the 1987 Geneva Bassoon Competition elsewhere in this issue, I.D.R.S. Honorary Sol Schoenbach writes:
"...I'd like to add that Stanley Pope showed me his copy of the score of Stravinsky's Firebird - the original is owned by the Orchestre Suisse Romande - and I immediately sought out the 'Berceuse' for the controversial 4th bar of the recap of the theme. There, clearly indicated, was the D natural creating the augmented second. Stravinsky corrected it to D flat when I performed it under his direction with the Philadelphia Orchestra. 'Too exotic,' he shouted. Well, I have no more opportunities to play it but, Too Bad! "
From Lewis Dann (Felixstowe, England) comes the information that E.M.I. recordings has just reprocessed and re-issued the 1955 recording of the Beethoven Quintet op. 16, featuring the marvelous Buffet bassoon sound of Cecil James, as well as the exquisite playing of Dennis Brain, Sidney Sutcliffe, Bernard Walton and pianist Walter Gieseking. This recording is a must for every double reeder's collection!
The University of Maryland, College Park, has announced the creation of a National Orchestra Institute to be held at the University from June 10 through July 2, 1988. The institute offers professional training and career development to musicians interested in an orchestral career. All participants will receive full scholarships which will include tuition, room and board for the entire three-week period. Admission is by audition. Regional audition centers will be organized at announced dates and times across the United States. Institute participants will study orchestral literature with the internationally renowned conductors Andrew Litton, Jorge Mester, and David Zinman. Principal musicians from leading American orchestras and faculty from the University of Maryland will be members of the Institute's resident faculty. Students enrolled in colleges, universities and conservatories are encouraged to audition. For information, application form, and an audition schedule, contact Donald Reinhold, Program
Coordinator, Office of Summer Programs, University of Maryland, College Park, MD 20742, or call (301) 454-5276.
Of special interest to all double reed players - oboe, bassoon, baroque oboe, dulcian, shawm; are a series of summer 1988 workshops in historical music sponsored by the San Francisco Early Music Society. These are:
Baroque Music Workshop, June 26 thru July 3. - Technique and ensemble studies for singers and players of all Baroque instruments. Skilled amateurs to professionals. Baroque oboes and bassoons at A440 or A415, and modern oboes/bassoons equally welcome. Faculty of 12 includes Sand Dalton, oboist with Philharmonia Baroque Orchestra. At Dominican College, San Rafael, California. Tuition: $225. Room and board for eight days: $275. Information: San Francisco Early Music Society, Box 15024, San Francisco, CA 94115, or call (415) 566-9610.
Medieval Music Workshop, July 31 thru August 6 - Classes in technique and theory of Medieval music, with emphasis on developing performance style. Special coaching for double reed players who want to learn the shawm. Ensembles include shawm and slide-trumpet trios ' with emphasis on improvisatory playing of Me - dieval dance music. Elective class in instrument building; shawm kit available. Faculty: Robert Dawson, Lyn Elder. At Dominican College, San Rafael, California. Tuition: $215. Room and board for seven days: $235. Information: San Francisco Early Music Society, Box 15024, San Francisco, CA 94115, or call (415) 566-9610.
Renaissance Music Workshop, August 7 thru 13 - Technique and theory of Renaissance music for singers and period instruments, including shawm, dulcian, sordone (all double reeds). Program designed for experienced players, but coaching available for oboists/bassoonists to help adapt their chops. Faculty of eleven includes Herb Myers, curator of instruments at Stanford and ex-member of New York Pro
Musica, Robert Dawson, David Ohannesian. At Dominican College, San Rafael, California. Tuition: $215. Room and board for seven days: $235. Information: San Francisco Early Music Society, Box 15024, San Francisco, CA 94115, or call (415) 566-9610.
Those of us who enjoyed Arthur Grossman's innovative performance of the Cesar Franck Sonata for Violin and Piano, arranged for Bassoon and Piano at the Las Vegas Conference were probably as intrigued as I was by the specially-built apparatus that Arthur used on his bocal to accommodate the opening and closing of the second small hole on the bocal, thus facilitating the playing of altissimo high notes, such as the high f's in the Franck Sonata. Following is a description of the apparatus by Arthur, along with a detailed photograph of it:
The idea of having an additional hole in the bocal is not a new one. I am indebted to Bernie Garfield for the idea of placing a second hole in the bocal. The dimensions of this hole are as follows, and I have not altered them: The hole should be 18mm from the reed end of the bocal; the hole itself is .002 inches. (Pardon the mixing of inches and metric, but this is how I received the dimensions.) My concern with the original idea of making the hole and then covering it with tape or rubber sleeves was that it did not enable a rapid shift from having the hole open to closed. Thus I designed a system which operates a key from the high D key. There was still a further problem in that many players do not have the high D key open for high F, G etc. so I added a lever by means of which one can lock the key open. I believe that with this information and the photograph, anyone can see how it is done and duplicate the effect. If anyone has specific questions, I'd be happy to answer them.
(c/o Soni Ventorum Wind Quintet, School of Music, DN-10, University
of Washington, Seattle, WA 98195.)
As a final note, I urge you to
fill in the Genealogy Report found on page 72 of this issue if
you have not done so in the past. We hope to have a full report
in the future.