Michael Hope, recent artist diploma graduate from the College-Conservatory in Cincinnati and a student of Otto Eifert, will be with the Calgary Philharmonic beginning with the 1982-83 season. Michael was also bassoonist with the Colorado Philharmonic this past summer.
Through the joint efforts of the National Flute Association, the International Horn Society, the International Clarinet Society and the IDRS, Richard Rodney Bennett has been commissioned to compose a new woodwind quintet to be completed by June 1984 and published thereafter. Hopefully, the work will be ready for performance at the August 1984 IDRS Conference.
A recent article in the Thursday, June 12, 1982, issue of the Philadelphia Enquirer deals in depth with the 10-day intensive chamber music study and coaching clinic by the members of the Philadelphia Woodwind Quintet at Temple University. The article notes players from as far away as Sweden, such as bassoonist Chryster Nystrom from the Gothenburg Symphony who came here from so far because: "Teaching in Europe is much more conservative than here. I am interested in the way American musicians have to work: few rehearsals and many performances. We have many rehearsals for one concert. They are very quick learners." The sessions cover everything including reed-making under the watchful eye of Richard Woodhams, Anthony Gigliotti and Bernard Garfield.
From William Fetcher (who delighted the conference at Towson with his demonstration/performance on the sarrusophone!) comes the following letter:
"I hate to blow National Public Radio's cover (Time Magazine "Press", August 27, 1979) but the theme used for NPR's "All Things Considered" lacks in originality what it makes up for in "catchy electronic" treatment. The theme can be found (with variations) in the Andante con Moto movement of the Quartet for Bassoon and Strings in D Minor, Op. 40, No. 2 by Franz Danzi (1763-1826). Those interested in hearing the original can send $3.95 (plus $1.25 for shipping and handling) to Musical Heritage Society, 14 Park Road, Tinton Falls, NJ 07724. Specify LP no. MHS837."
The theme in question by Danzi/NPR is:
In response to my editorial on the French bassoon (in the December 1981 Double Reed) Charles Holdeman has sent me the following information updates, and a short sketch on the evolving history of the traditional Buffet and the newly designed Selmer French System bassoon: "Henri Neuranter has quit the reed business, due to retirement. Andy Ojanto has moved back to Finland: Antero Ojanto; Kairosrinteent 2R 139,10610 Vantaa 61, Suomi-Finland.
Perhaps I mentioned the Orchestre National de France played Selmers on their tour; Gerry said they sounded "distant." I mentioned this to Allard. He described the Selmer as sounding "anonymous and false." Gigliotti was at Selmer in Paris (working on their clarinet) and his son Mark was also there. The Gigliottis said a number of the French players are switching to Selmer, because it will accept a lighter reed; bore changes have been made in a Heckel direction, though the Selmer remains a French bassoon. The Orchestre de Paris was in Wilmington recently (they are all German players now, as you probably knew); Wallez, assistant first, also complained of the heavy reeds which the Buffet requires, but had the impression that the Selmer is not yet too successful from the intonation standpoint. All this is rather fascinating to me as the French bassoon seems to be evolving before our very eyes, and who can guess the outcome?"
Bill Fetcher also brought to my attention an interesting photograph in the book John Phillip Sousa by Paul E. Bierley (p. 74). It is a picture of the Sousa band on tour in 1910 or 1911 in South Africa. In it one can clearly see one of the bassoonists carefully holding his instrument UPSIDE DOWN! I guess we deserve our dingbat reputation after all!!
The following advertisement comes from Sol Schoenbach's recent trip to the Basson Concours de Toulon. It is published in the original French without comment. (I caution anyone however from assuming that all previous problems between the German "Fagot" and the French "Basson" in that country are hereby resolved by this advertisement!)
A two-part article entitled "Tuning Those Bassoons" by Donald Hardisty recently appeared in the February and March 1982 issues of the Instrumentalist magazine. (Feb.: pp. 54, 56, 57; Mar.: pp. 70, 72.) The information, though designed as basic knowledge for the non-bassoonist band director, is still good fundamental information for every bassoonist - especially for understanding and interpreting the various nomenclature for Heckel, Puchner, and Fox bocals. I recommend it highly for your bassoon library.
From Cornelia Biggers comes a strong recommendation for a fine bassoon and contra repairman by the name of Les Brewer at Paragon Music in Tampa, Florida. Good news for bassoonists in the Southeastern U.S.!
From the Eastman School of Music comes the following announcement of a competition for new bassoon music:
"Composers 18 years or older living in the Western Hemisphere are eligible to enter the competition for the George Eastman Prize, to be awarded by the University of Rochester's Eastman School of Music. All submissions for the competition must be postmarked no later than May 1,1983.
Submissions must feature the bassoon, with up to 16 collaborating instruments and/or voices. Submitted works should not have had any prior public performances.
First prize carries an award of $5,000. For further information contact George Eastman Prize, Eastman School of Music, 26 Gibbs St., Rochester, NY 14604."
Because of the significance of this prize the IDRS will not commission a new work or have a competing contest in 1982-83. We urge all composers to submit their finest work to the George Eastman Prize.
The IDRS is truly indebted to two of its members, attorney and amateur bassoonist Jacob A. Schlosser of the firm Wilcox, Schlosser and Bending, L.P.S., of Columbus, Ohio, and to past president Lowry Riggins, for their untiring efforts in obtaining tax free status for the Society with the United States Internal Revenue Service. With this new status we will now be able to: 1) mail our publications at a cheaper rate and 2) allow you to receive full income tax credit for all your contributions to IDRS.
This is the completion of a project begun many years ago and through the considerable administrative work of Lowry and Jacob they have finally pulled it off. I hope you will join the Executive Committee and the Editors of IDRS in expressing our heartfelt appreciation to these two fine gentlemen for their efforts on our behalf. (Rumor has it that Jacob did it all for a free lesson with Sol Schoenbach!) May you both be blessed with fair reeds in your succeeding years.
From the University of California, Los Angeles, comes word of a new option for audition for aspirant symphony musicians. The IVASI System, short for International Video Audition Service Inc., provides a permanent library of video and/or audio tapes of musicians from across the nation who wish to audition. This audition referral system can be used by professional orchestras and by auditionees as an initial screening for qualified applicants, many of whom cannot afford to travel to these auditions or are prevented from doing so by professional engagements. Once the auditioner's interest in an artist is awakened, subsequent live auditions become more meaningful.
Founded by Gunther Schuller and current chairman James Decker, the IVASI system hopes to provide a new option for both the performer and the orchestra. The repertoire for each instrument will be newly selected each year by an impartial and annually rotated panel of orchestra personnel. The tapes will be re-recorded each year at one of the 20 regional IVASI centers under the highest and most uniform possible standards of control and supervision by an IVASI expert. The tapes will be provided to the auditioning committees with complete anonymity. The names will only be released by formal request from the auditioning committee. The cost to each applicant will be a minimum of $200.00 (perhaps more for large instruments), and this will guarantee a maximum of 5 copies to be provided by the IVASI library to orchestras requesting the tape. IDRS applauds Mr. Schuller and Mr. Decker for their noble efforts and urges your support of the system. For further information, interested parties can contact the library directly:
IVASI (International Video Audition Service, Inc.)
University of Southern California
School of Music
Los Angeles, CA 90089-0851