Mozart, W. A. Concerto in B-Flat KV 191Revision and edition by Maurice Allard (Gerard BILLAUDOT, Editions Musicales, 14, Rue de l'échiquier, Paris 10, France) This is a brand new and beautiful preparation of our prized masterwork by the leading French bassoon soloist of our day. The music is so clearly revealed in this edition that it practically plays itself. Mr. Allard has followed the best editorial practice by explaining ornaments in footnotes, by adding his own new cadenzas which are brilliant, extremely musical and completely in keeping with the Mozart style, and by clarifying many details which were cloudy in previous editions. I predict that once it is known, this will become a standard for most schools where bassoon is taught.
This collection of solos, all written originally for bassoon and several in print for the first time is also beautifully edited and free of problems pertaining to correct interpretation and performance. It is such a relief to begin to see examples of clear, and well-edited repertoire for bassoon. So much of what we have used in the past is very confusing for teachers and students alike. Bravo to Bill Waterhouse (and Chester Music Series) and Maurice Allard (Editions Billaudot) .
This is a fine recent book (1979) with much valuable information about the woodwind quintet, its history, current performing groups (although many change personnel quicker than any book can keep pace with), music, recordings, etc. It should grace the libraries of all music schools and will be a valuable addition as a reference to many professional ensembles. More than 3000 titles are given, lists of publishers, libraries and a bibliography of sources. There are also many diagrams, portraits of composers and music facsimiles.
This is a fine little reference book designed as part of an educational series by this enterprising Canadian publisher. Chris notes in the introduction, "The purpose of this book is to serve readers who are thinking about playing the bassoon, and for those who may be guiding the progress of new bassoonists."
These section headings (not the total number) will give you an idea of the scope of the guide: The Bassoon's Function in Music, Careers for Bassoonists (quite philosophical and well worth reading by any serious young bassoonist), the Personality of the Bassoonist, Choosing an Instrument, The Bassoon Reed (dimensions and basic instructions), Care of the Bassoon (and an excellent section on safe assembly of the instrument), A Word About Technique, Practicing, The Contrabassoon, Suggestions for Further Reading. I would advise one change in selecting an instrument in terms of essential keys: Chris mentions, "A high d'' key is not essential unless the player is doing a lot of high register playing." But nowadays, every bassoonist plays often enough in the higher regions to really need this key, not only to help form the highest d'' but also to really help high c''# (by combining and depressing both the high c'' and high d'' keys simultaneously) and lastly (crucially) to be used as a vent for slurs up and down to middle d'. There is even an advanced fingering for highest e''-flat which will not work if your bassoon has no high d'' key: that is, high e''-flat with left thumb, high d'' and left-hand, one and f/f# trill key! Except for this small point I find Chris's guide an excellent help to younger devotees and to high school music teachers who need more basic information about the bassoon.