From Mark Eubanks, whose article on the revised Weber Andante and Hungarian Rondo also appears in this issue, comes word of the donation of the reed-blade profiling machine, diaries, and notebooks of the late Frank Schwartz of New York to Lewis and Clark College in Portland, Oregon, by his widow, Sylvia Schwartz, according to an article from the LC College School of Music newsletter, "Happenings":
Schwartz developed the experimental research machine to cut templates of hypothetical reed scrapes or profiles, which then can be used to cut a reed blade. During more than 30 years of searching for the "perfect" reed, Schwartz produced 212 templates for bassoon and contrabassoon reeds.
Schwartz was an active freelance musician, doubling on all woodwinds, in New York City. He was associated with the NBC Symphony, New York Philharmonic, Metropolitan Opera, Radio City Music Hall, Symphony of the Air, and other groups. Also a studio musician, he recorded Vivaldi's Concerto for Bassoon and Strings with the New York Sinfonietta (Odyssey Records #3216 0012) and numerous commercials and jingles.
Mark Eubanks, adjunct professor of woodwinds and principal bassoonist with the Oregon Symphony, acquired the gift for the School of Music. He studied reed making in New York with Frank Schwartz and has met and corresponded with Mrs. Schwartz about the gift for two years.
Eubanks's own research on the bassoon reed shape has focused on the use of a fixed profile. He has also done spectrum analysis of seven basic reed shapes to learn how the shape effects the "recipe" of overtones. "The Schwartz machine will greatly enhance this research, " Eubanks says, "by allowing us to combine these two major variables of the double reed and sort out the data on a computer. "
"Frank Schwartz was a pioneer in bassoon reed research. He built the research machine in 1947, and it remains to this day the only one of its type," Eubanks explains. "I feel very fortunate to be able to continue his work and share the findings with our students and professional colleagues. "
Eubanks, who is also founder of Arundo Research Co., has also begun to grow his own cane in Oregon. Now in his second year, he already has new shoots 10 to 12 feet tall. He is having trouble getting information on cane cultivation and processing, however, so if any of our readers can assist him, please write him directly:
Mark Eubanks
Arundo Research Co.
Box 4952
Portland, Oregon 97208
(503) 241-4886
Speaking of information needed, from Massachusetts bassoonist, John Ruze, comes the question: "Where is the printed error in Strauss' Til Eulenspiegel"? Is there a printed error, presumably in a bassoon part, in Til? Can any reader answer his query?
It seems like I'm full of questions this issue:
Does any reader have information about a bassoonist named Georges Gallandre-Lebhar? According to David Debolt of Kent State, Gallandre-Lebhar played principal bassoon in the Birmingham (Alabama) Symphony from the 1950's until 1962 on a French-system instrument. This would have made him the last surviving "old guard" player of the French bassoon in America. Nothing else is known of him. If any reader knows about his past, or where he presently is, please contact me.
It looks like Graz, Austria, for sure for the 13th Annual IDRS Conference 1984. You can reserve the dates of August 11-15, 1984, for an exciting time. If you have ever seen pictures of Graz then you know that we will be in for a beautiful, story-book-like time. Conference coordinator is Dr. Werner Schulze. (Karlsplatz 3/Ib, A 1010 Wien. Tel. 0222-65.02.705). According to IDRS President, Noah Knepper, artists from North America who want to perform there will have to be screened by a special committee, because their time will be quite limited. Please contact Noah directly for complete details.
Two recordings by bassoonists have been recently brought to my attention, and I pass the information on to you. These are Don Christlieb playing works by Halsey Stevens, Ernest Kanitz, Alan Blank, J.S. Bach, Michael Corrette and William Sloan (Rahmp series #3A-$8.98 from Christlieb Products); and Kim Laskowski, bassoonist, playing in Alan Blank's Bicinium II for clarinet and bassoon (Advance Records FGR-25S--European-American Music, 195 Alwood Road, Clifton, N.J. 07012).
The following picture taken last April shows the bassoon students at the U. S. Military School of Music. According to Musician First Class (and sarrusophone specialist) William Fetcher. The photo was taken . . . "following the 'Great SOM Bassoon Bash which featured various selections including Corette's Le Phenix performed by the whole group. The photo shows Bassoon Instructor Michael Sciarini (pron. Sharini) and eight of his students. As the only non-student I helped out with the 16' register on sarrusophone. Clockwise from the left are Chief Musician Michael Sciarini (Polisi, USN), Private First Class Thomas Bulgrin (Polisi), Musician Seaman David Hanner (Heckel), Musician First Class William Fetcher (Cone, USN), PFC Clifford Blum (Moennig, USN, also has his own Moennig bassoon), PFC Paul Mount (Lesher), PFC Richard Barnes (Lesher, USN), MUSN Michael Milham (Lesher, USN), PFC Karl Balandovich (Kohler), and Gunnery Sergeant Philip Covington (Fox, USN). Those instruments designated USN belong to the School, the rest are personal instruments. "
It's nice to know that the bassoon is still alive and well in the U.S. military today.
Even though I have set up residence in Paris this year (so that I can realize a life-long dream and spend the year studying "la basson français" with Maurice Allard), I will still be using my University of Idaho mailing address, at least until the next issue of the Double Reed.
Please write me with your problems, solutions, questions, answers, etc. I promise to answer every letter. Au Revoir from Paris. A tout à l'heure.