INTERESTING PERFORMANCES


Marc Apfelstadt -- Bassoon and Oboe Prof. at University of Prince Edward Island, Charlottetown, P.E.I., Canada.
8/79. At last summer's music course at the University of Wisconsin, Madison: Marc performed with Thomas Zantow a Concerto in G Minor for 2 bassoons (originally cellos) and strings of Antonio Vivaldi and in numerous other works for bassoon ensemble (2-15 bassoons and assorted accompanying instruments). The program was called a "BASSOONATHON". Composers represented--original works and arrangements -- were Alec Wilder, Orlando Gibbons, J.S. Bach, Jacobus Gallus, Rodney Winther and J. F. Pachelbel. The bassoon class is under the guidance of Richard Lottridge, recent IDRS Vice-President. (Bassoonists.: Marc Apfeldstadt, Richard Beene, Toni Berg, Cindy Cameron, Angie Brandt Fechner, Jon Gaarder, Mary Beth Lamb, Robin Lemer, Richard Lottridge, Karen Miller, Jayne Pike, Alan Ray, Larry Reed, Cynthia Zantow and Thomas Zantow.
Don Christlieb -- Sherman Oaks, California (of reed profile and West Coast studio orchestra renown)
2/80. Don has recently made a fine private taping (cassette) of two works for bassoon and piano with a young and excellent pianist, Bill Morosi:
Don comments, "Stevens holds an audience . . . Kanitz was well liked as a teacher at University of Southern California (he is dead now). (His) work is strangely fragmented and it is a classic example of intervals that don't work on the bassoon. It is ambivalent in that he seems to regret the tempo he has just established and goes reminiscent of a contrasting one." These very good tapes will be donated to the IDRS Library at Indianola, Iowa at Don Christlieb's request. Thanks, Don. We hope other artists will follow suit.
Connecticut Bassoon Ensemble -- New Haven, Conn. (Yale University), Joseph Polisi, Director.
1/80. After a "light-hearted concert given at Branford College, highlights of the program were aired on local television Channel 3. Well-known soprano Phyliss Curtin narrated David Carroll and John Miller's version of "Peter and the Wolf"; Charleen Ayers sang the Aria for voice and bassoons from Reinhard Keiser's "Octavia" (1705).
Charles Holdeman -- Wilmington, Delaware, free-lance bassoonist and teacher-- performs only on Buffet-Crampon bassoon.
11/79. A concert for "The Parlor Chamber Series" by "The Friends of Chamber Music" (Charles Holdeman is Artistic Director), included Pastorales de Noël of André Jolivet (Flute, bassoon and harp), String Quartet No. 1 in C Minor of G. Fauré, Saint-Saëns' Sonate, Op. 168 for Bassoon and Piano, and Sonatine of Ravel (solo harp) transcribed by Carlos Salzedo. Carol Wincenc, flute and Karen Lindquist, harp were guest artists. James Kidd was pianist for the Saint-Saëns work.
Picture of James Jeter
James Jeter -- principal bassoonist with the Goldovsky and Virginia Opera companies, free-lance artist New York City.
2/80. Debut recital at Carnegie Recital Hall, New York. Featured were two cantata arias for countertenor with solo bassoon obbligatos newly transcribed for this performance: one from Telemann's Cantata No. 33 and one from J .S. Bach 's Cantata No. 24. Other works included Weber's Andante and Hungarian Rondo, Gliere's Impromptu and Humoresque, Saint-Saëns' Sonate, Op. 168 for Bassoon and Piano and Rossini's Quartet for Woodwinds No. 6. A very positive review of the recital was written by Joseph Horowitz of the New York Times. Prior to the recital, Mr. Jeter appeared on Robert Sherman's live radio show "The Listening Room" (WQXR New York) where he was interviewed and asked to perform selections from his recital.
Gail Terry -- Limestone College, Gaffney (Atlanta) Georgia.
11/79. Senior recital with Darrell Plumley, clarinet. A student of Dan Dowdakin, of the Atlanta Symphony, Gail gave a very fine performance of Vivaldi Concerto in A Minor and Burrill Phillips' Concert Piece.
Linda Smith -- Carnegie Recital Hall program.
10/79. The first performance of a new song cycle for mezzo soprano with solo bassoon accompaniment by Daniel Pinkham marked this recital of special interest to bassoonists. The cycle of seven songs, sung by Pamela Gore, is set to verses of Howard Holtzman and is titled Transitions. Donal Henahan of The New York Times described the poetry as evoking elegaic, nostalgic or autumnal moods and thought the mezzo voice "too wholesome and straightforward" to match the words. The remaining works on Linda's program were sonatas by Alvin Etler and Paul Hindemith, and an arrangement of the Sonata No. 7 in G Major for Viola da gamba and B C. by J. S. Bach. Nigel Coxe, piano; and Miriam Whaples, harpsichord, were assisting artists.
Joseph Polisi -- Doctoral candidate Yale University School of Music. (Joseph, who is the son of William Polisi, former solo bassoonist of the New York Philharmonic, is completing the first doctorate (DMA) in bassoon at Yale.)
Recital, 11/79. Ciranda das Sete Notas by Heitor Villa-Lobos, W. A. Mozart's Sonata for Bassoon and Cello, K.292 (Jenny Kallick, cello), Paul Hindemith's Sonata and the Poulenc Trio for oboe, bassoon and piano. Jeffrey Lyons was oboist in the Poulenc. Thomas Schmidt performed at the piano.
William Waterhouse -- Lecture-Recital -Workshop tour of the Northwestern U.S.
10/79. IDRS Secretary, Ronald Klimko, who helped Bill Waterhouse set up this fine tour, reports in a letter from December, 1979: "Just a short note. . . on the immense success of the Waterhouse/Ritchie Northwest tour. Bill played brilliantly on all the instruments! And Elisabeth accompanied with equal excellence. The Workshops, too (Alexander Method and Bassoon) were beautifully presented and very well received. Bill concentrated on basics -- warm-up procedures, breathing, scales, etc. -- and Elisabeth got everyone turned on to basic Alexander Techniques." One of Bill Waterhouse's lecture programs, "Four Centuries of Bassoon" included the following works and were performed on the indicated instruments:

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