B. Garfield, ed; The Bassoon Player's Orchestral Repertoire: Vol. 1: Tchaikovsky, Symphonies 4-6.
A relatively new series of bassoon orchestral studies is available which may not be well known yet. Entitled The Bassoon Player's Orchestral Repertoire, the new series is by the eminent principal bassoonist of the Philadelphia Orchestra, Bernard Garfield. The first volume of the series includes the complete bassoon parts, both I and II, for symphonies number 4-6 of Tchaikovsky.
Several features add considerably to the usefulness of this volume. It is a ninety page set that is published with good print on substantial paper, and the parts have been prepared with the full intent of duplicating the same, exact look of the typical orchestral edition part. They do indeed look the same.
Of special interest to many will be the annotations, a series of commentaries in which Mr. Garfield has carefully and meticulously analyzed the more important passages for the player, providing insight into interpretation, technical or mechanical problems, reed considerations, intonation questions, fingering choices, and so on. In this manner the extensive experience and expertise of the author is brought into focus on these solo passages which are initially presented as excerpts accompanying the commentaries at the beginning of the volume.
This is a thoroughly professional publication and it is especially recommended for those players who wish to include in their library a set of parts for such prominent works in the major orchestral repertoire. Likewise, teachers who wish to play through the actual bassoon parts with their pupils will welcome this series as a useful resource.
Ronald Tyree, Iowa City, Iowa
J. B. Boismortier: Two Sonatas, Op. 50 Nos. 1-2, MR 2132.
J. B. Wanhal: Concerto in F for Two Bassoons and Orchestra, MR 2133.
N. Paganini: Concert Piece for Bassoon, Horn and Orchestra, MR 2126.
Musica Rara, whose bassoon editions are the envy of any other publisher, continues to add to its corporate glory with these three new releases marked by scholarly markings and faithfulness to the urtext.
Boismortier's two sonatas in E minor from Op. 50 have been edited here by the Swissbased American Kim Walker and are available on her record VDE-GALLO 30-367 (1411
Donneloye, Switzerland). In her foreword, Walker explains that the ubiquitous " + " embellishment is treated in any of several ways, depending on harmonic and melodic function, and also that the ornamentational possibilities left up to the discretion of the performer are virtually limitless (cf. jean Saint-Arroman, Dictionnaire d'Interpretation, Geneva-Paris, 1983). Walker has added suggested dynamics in this scholarly performing edition, which comes with a basso continuo part.
Wanhal's Double Concerto has been enjoying a revival of late with performances here and there and a Swedish recording (BIS LP 288) which was reviewed in the Winter, 1985, Double Reed. Himie Voxman's recent edition will come as a welcome addition to anyone's library. The composer's markings and editorial suggestions are always clearly delineated and the piano reduction is playable. This is a cheerful piece which is sure to have a wider audience.
Paganini's Concert-Piece ("Concertino", according to the New Grove) is a typical Paganini curiosity: long on technical display but short on real musical statement. The piece was probably written in 1831 or 1832 and dedicated to the Parisian bassoonist Antoine Nicholas Henry. The horn part was, according to editor John P. Newhill, doubtless intended for Louis Francois Dauprat, the last hand-horn virtuoso in France. The work was written with the horn's limitations in mind: the use of the mellow E horn forced the entire piece into E major.
The piano reduction is serviceable and the edition comes with horn parts in E and F. The piece has been recorded on Dynamic DS 4027 St. Both the Wanhal and Paganini have orchestral parts available on rental.
Philip Göttling, Honolulu, Hawaii
Bassoon junior: Solo by jean-Michel Damase. (Henri Lemoine)
J.B. Boismortier, Concerto in D Major (ed. by Maurice Allard), (Editions Billaudot, Paris).
L. Cherubini; Morceau pour le Basson, (Giovanni Carli Ballola).
I recently received from Theodore Presser two solos which may
be of interest to teachers and one curio.
Under the heading of Bassoon junior, a series published by Henri
Lemoine, is a short solo by Jean-Michel Damase. It is an excellent
solo for the beginner, with a modest range and technique. The
tessitura lies, for the most part, between c (small c) and E-flat',
with occasional movement up to a1, an optional c2 , and a final
contra c.
The rhythm used is simple, but nonetheless instructional. In a short three-part form, the outer two sections are basically waltz-like. The middle section, while retaining the 3/4 meter signature, suggests a 2/4 pattern in both the solo and the accompaniment. It is a good introduction to the concept of hemiola.
Harmonically too the piece has instructional merit. In C throughout, the clever use of sequential patterns requires the young student to be aware of pitch so that the accidentals involved fit accurately into the harmony.
It should be noted too that the accompaniment is of comparable difficulty, i.e., quite easy. All in all, this is a very useful elementary selection.
The second selection, the Concerto in D Major by Joseph Bodin de Boismortier, has been available before. This edition is one of the many works published by Gerald Billaudot in the collection of music revised by Maurice Allard.
As with all of the music in this collection, the presentation is first quality. Professor Allard presents a very carefully edited solo and piano reduction, and the publisher has printed the edition in an extremely legible format. The Concerto is in the typical three-movement baroque form, and would fit well into a recital. Pedagogically, the key, D major, makes the concerto useful for working towards technical excellence. The emphasis on c-sharp and f-sharp requires the student to be careful of pitch and finger motion.
The piano reduction is excellent.
The curio is Morceau pour le Basson by Luigi Cherubini
in a first edition done by Giovanni Carli Ballola. This is not
a great piece of music. It is short (47 measures); florid in the
style of Rossini; and comes in two versions: the original, which
has the solo and a bass line; and a second, which has a keyboard
accompaniment done by Mr. Ballola. The first version can be played
as a duet; the second might be useful for high school festivals,
assuming a student sufficiently naive could be found.
N. Paganini: Concert Piece for Bassoon, Horn and Orchestra (Musica Rara, MR 2126).
Some years ago, a violinist happened to mention to me that he thought Paganini had written a concerto for bassoon. A cursory check at the time revealed nothing, and I thought no more about it until Musica Rara sent for review Concert Piece for Bassoon, Horn and Orchestra by N. Paganini, arranged and edited by John Newhill of Sale, Cheshire.
According to Mr. Newhill, the Concerto was probably written for Antoine Nicholas Henry,
1777-1842, professor of bassoon at the Concervatory and his colleague, Louis Francois Dauprat, 1781-1868, professor of horn. Mr. Newhill surmises that the key, E major, was chosen because Mr. Dauprat played the open horn, and the horn in E was preferred for its more mellow sound.
The Concerto is another one of these pieces that this reviewer characterizes as being good, clean fun. It is not profound, probably was not intended to be, but unsophisticated audiences would find it a charmer. It starts with a long introduction marked larghetto. The melody is straight out of Rossini, and so is the accompaniment. This is not a criticism, but should give the reader an idea of the style.
The Allegro moderato continues in the same vein. It is in three parts, ABA, with a coda marked, what else, piu mosso. Aside from the key, the technical demands are not much. It is written throughout in the mid-range of the bassoon going no lower than great g-sharp and only up to g-sharp1.
The original key of E major is fine for either the piano or orchestra, but this is another piece that has possibilities for band. A lightly scored accompaniment for wind ensemble, transposed to F major, may have a lot of appeal at either the high school or college level. Some I.D.R.S. member might consider this as a project.
Zoe Erisman: Quintet for Bassoon and String Quartet.
An interesting new composition
was received recently. It is Quintet for Bassoon and String
Quartet, written by Zoe Erisman of the University of Colorado
at Denver. The score and parts may be purchased from Ms. Erisman
by writing her at 26 S. Sherman, Denver, CO 80209.
This is a decidedly worthwhile addition to the repertoire. It has four movements, Andante, Adagio Lamentoso, Allegretto and Allegro fiero. The composer herself acknowledges an indebtedness to the music of Shostakovich, but the work is still quite original. It is, throughout, somber, but Ms. Erisman knows the craft of composition, and her imaginative use of the strings does much to relieve the somberness.
The bassoon part is not "flashy", but is rather an integral part of the texture. There are difficult moments, but they are few and quite manageable. I recommend this piece most highly, and I hope that Ms. Erisman will explore further the use of the bassoon as a solo instrument. We need composers of her stature writing for us.
Edgar Kirk, East Lansing, Michigan