The first bassoon camp of the Korea Bassoon Association was held at Chong-Ju August 2-8, and I was invited by the International Cultural Society of Korea to participate as guest teacher and performer. The event was to commemorate the centennial year of cultural relations between Korea and the U.S. and included the invitation and visit of Richard Johnson, principal oboist of the Cincinnati Symphony, who spent his two weeks at the Seoul Summer Music School working with 30 Korean oboists.
My departure to Korea was delayed by fog, strike, and missed flights, so that my travel time extended to 48 hours, a grueling experience. On arrival at Seoul I was greeted with great hospitality and courtesy and transported to the Seoul Plaza Hotel, a first class hotel. Seoul, now a city of over 8 million has changed much since my last visit in 1966 with the Cincinnati Symphony, when only one downtown hotel was available, and that one was not as good as any of the first class hotels now present. My stay there, however, was short lived. The next morning, after opening ceremonies for the music school, I was whisked off to a waiting bus of 30 bassoonists, and embarked on a 150 mile drive to Chong-Ju, the location of the Bassoon Camp. During the 3 hour drive I was immediately impressed with the comradeship and joy of the group. There was an excitement with being with only bassoonists. Their ages ranged from 13 to 34, representing middle school - high school - college - and older. It was quite a sight to see 35 or so bassoons sitting in the overhead racks. We arrived at Chong-Ju at about 3:30, rested for a little while and began the first master class at 6:00 p.m. The camp was at a small old resort hotel (Cho Pyeong Hotel), and the Bassoon Association had rented the complete facility. Immediately bassoons were honking in every direction. The first master class consisted of a few of the more advanced students playing the Vivaldi E Minor Concerto. The third floor ballroom was the location of the classes, and a circle of tables enveloped student and teacher while all others sat around to observe. Two pianos had been brought to the hotel, and pianists were provided by the Seoul Music School.
The final night at the camp consisted of a camp fire party. We all sat in a circle with the bonfire in the center, and played games similar to our musical chairs, using Korean folk songs as the music. A "Miss Bassoon" contest capped the evening. Five boys dressed up by the female students who operated in teams were the contestants. The beauty queens were judged by Mr. Jo, Mr. Yoon and Mr. Otto (as I was called since "Eifert" was just too difficult for the Koreans). It was great fun as the usual contest format was used-talent, questions, etc.
Next day we returned to Seoul. Farewells were sad and difficult as the bonds of friendship and bassooning built in during the week were difficult to break.
The second week was spent in Seoul at the Summer Music School teaching 10 private lessons per day and also bassoon ensembles, duets-trios-quartets. On Friday, August 13th, the closing ceremonies were held at the Cultural Society Building, and diplomas were presented to those attending the session. Special recognition was shown for those students who assisted in the organization of the activities. Following this a gala concert was held, the first half displaying the oboe and bassoon students, and the second half the playing of the teachers and members of the two local orchestras. I performed a Handel Trio Sonata with Han Sung Lee, oboist of the KBS radio orchestra, and the Bergt Trio with principal players of the KBS and the Seoul Philharmonic orchestra, Choe Chung-Won, and Shin Hyon-gil. Richard Johnson performed Beethoven Trio for two oboes and English horn with Im Un-Hi and Park Chung-su, who were also members of the local orchestra. The concert provided a fitting close to my most exciting, rewarding and fascinating two weeks in Korea.
My interpreter was Giung-Hyun Jo, bassoonist and personnel manager of the Seoul Philharmonic Orchestra. Jo, as I was allowed to call him, studied French system bassoon in Paris with Maurice Allard for 4 years but resumed playing the German system bassoon upon his return to Korea. While working together very closely over the next 6 days we became very close friends. He displayed those characteristics I later learned to recognize as typical Korean warmth, sincerity and hospitality. The next 5 days consisted of master classes each morning from 8:30 to 12:30 and again in the afternoon from 4 to 6:30. Solos covered were the Weber Concerto, the Mozart Concerto, the Tansman Sonatine, the Telemann F Minor Sonata, the Hindemith Sonata, and the Weber Hungarian Fantasy. Technical prowess of the students was excellent. Much of my emphasis was on musicianship and improved finesse in performance. Other areas covered during classes were orchestral excerpts, concepts on embouchure, vibrato, breathing, and, of course, many hours spent on reed-making.
Off hours were spent fishing. The expert here was Youngsuck Yoon, former principal bassoonist with the National Symphony Orchestra and the consultant to the Bassoon Association of Korea. Covered floats were moored on the lake and fishing would continue through the night with people renting the floats and bringing their sleeping equipment. Lighted bobbins and bells were used to signal a strike. Many carp were caught by Mr. Yoon and they were cooked the next morning where we all delighted in the fish soup.
The make of instruments used by Koreans are mostly Schreibers, with a few Kohlerts, Foxes or Puchners also present. Almost all were in poor repair. There was only one Heckel --a 6000 series owned by Mr. Yoon. A 60% import duty, plus the present monetary and import regulations hamper the availability of good quality bassoons in Korea. In spite of this handicap the calibre of playing was very high, the students worked very hard with the equipment they had and managed to get excellent results. Reedmaking tools and music were also in short supply, but the attitude of the students overcame all. They were eager and willing to learn, worked very hard, and displayed a vitality and musical energy to be greatly admired.