16 August, 1986
Dear Editor,
In your Spring 1986 issue (p. 44), Kevin Schilling gave us his views on 18th-century cadenzas and provided two of his own cadenzas for the C.P.E. Bach Eb major oboe concerto. Please allow me a little space to comment. First, I am delighted that he chose to write cadenzas for that concerto; in my opinion it is one of the finest oboe concertos ever composed, and his choice of it suggests to me that it is beginning to receive the recognition it deserves.
Second, I heartily agree with what Mr. Schilling has to say, but I must point out that he writes of his own likes and dislikes without telling us that the likes reflect the views of those 18th-century theorists - including Quantz (1752) and Agricola (1757), two of C.P.E. Bach's colleagues at the Berlin court - who wrote about the cadenza. Let us give credit where credit is due. Mr. Schilling dislikes those long cadenzas found frequently in modern editions that reflect 19th-century etude style and he tells us: "I like to make a cadenza reflect the movement which it concludes. " This is the view of Quantz, Agricola, and Tromlitz (17 9 1), who insist that the cadenza should "stem from the principal sentiment of the piece" (Quantz; Reilly translation, p. 181). Moreover, Mr. Schilling tells us that "it is easy to create this kind of cadenza [by] simply manipulat[ing] the material of the movement." Again, this procedure is recommended by Quantz and Agricola, as well as Tromlitz, Lorenzoni (1779), and Turk (1789). According to Quantz, the best expedient for players who lack inventiveness is to use "one of the most pleasing of the preceding phrases and fashion the cadenza from it"; this has the advantage that it "can always confirm the prevailing passion of the piece as well" (p. 182). Agricola is more lenient in allowing one to use "several of the most beautiful individual places and phrases in one's cadenza" (p. 204). 1 should point out, however, that few of the written-down cadenzas from the 18th-century that I have found were based on material from the movement in question.
For my money, Mr. Schilling's first movement cadenza is still too long (three breaths, whereas Quantz, Agricola, and Tromlitz all suggest restricting the length to one) and it sticks too closely both to the material from the movement and to one kind of figuration (triplets). Quantz points out that by such means "the ear is wearied" and the cadenza loses its element of surprise (p. 182). Lorenzoni, Turk, Tromlitz, and Hiller (1780) concur. I feel that something shorter and more apposite could be made from the principal motive of the movement - the dd figure, of which Bach makes such inspired use - unless, of course, one felt that he could not improve on what Bach wrote.
Another problem with Mr. Schilling's cadenza is that, despite his instructions to "treat it freely, " it sounds too much like a normal melody. Quantz warns us that "regular meter... should not be observed in cadenzas. They should consist of detached ideas rather than a sustained melody" (p. 185), and Agricola conceives of the performer "so permeated with the passion [of the movement] that he could no longer think in terms of a restricted metrical motion" (p. 204). Furthermore, Mr. Schilling's cadenza goes higher than the movement in question (eb" ' as opposed to db" '). This might be appropriate if the highest note were on a prepared climax, but it is not. Incidentally, I like Mr. Schilling's secondmovement cadenza much more. For more details on 18th-century cadenza practice your readers may care to consult The Classical Woodwind Cadenza: A Workbook (New York: McGinnis & Marx, (1978) by myself and Betty Bang Mather; and my M.A. thesis, The EighteenthCentury Woodwind Cadenza (The University of Iowa, 1972).
Finally, having criticized Mr. Schilling for his personal opinions, I would like to applaud him for his bold use of the word "I" in discussing them. Some of your other writers, with their - now rather outdated - use of "this author" and "this reviewer," could take a leaf out of his book.
David Lasocki (Dr.)
Music Library
The University of North Carolina
Chapel Hill, NC 27514
22 July, 1986
Dear Dan:
Considering the care taken to select the best oboe reed cane and the precision steps taken in gouging, folding, and shaping the cane to optimize reed making results, it follows the best possible care should also be taken in binding the cane to the staple to assure proper blade alignment and a tight side closure without uneven fiber stresses (twisting). It is my opinion the guide string method, which appears to be the method of choice for most, leaves much to be desired because the bind goes in the wrong direction. Starting the bind at, or near, the critical junction (tube end) must, by the very nature of the technique, promote uneven stresses in trying to achieve a tight closure at the cane sides. This might very well be the root of all evil when trying to finish. A better way, I believe, is to anchor the cane firmly as close to the open ends as possible and then proceed with the bind toward the critical junction. Here is a method I hope will be of interest to your readers.
The cane must be soaked just to the point of waterlogging - about an hour. The cane ends must then be feathered back about 9 to 10mm. This is important. Make a pencil mark 11mm from the open ends to reference the critical junction when binding on.
Slide the cane over the staple (47mm) and align the reference mark with the tube end. At this point I use a specially designed, small clamp to anchor the feathered ends firmly to the staple. This leaves you free to make final adjustments before starting the bind.
Omega Tools makes a pocket caliper/scale graduated in millimeters (model 303 - about $3.50) which is very handy for making all sorts of reed measurements. I use this tool to verify overall length (74mm), blade alignment (side to side), etc. Most importantly, adjust for equal openings on both sides of the cane. If done properly, the sides will close evenly and tightly when the bind is completed at the critical junction. Install the mandrel and make a final check for correct blade position. They must not be twisted.
Now the important part. Anchor the string at least 12 inches from the point where you will begin the bind. Make 4 or 5 loose turns over the cane adjacent to the clamp. It is important now to bring up the tension evenly by pulling equally on anchor and spool simultaneously. While maintaining anchor tension, continue to wind tightly until you are two turns from the critical junction. Now hold the blank upright, place left thumb over the bind so it won't loosen, maintain anchor tension, then make two loops over the blank so that the string passes inside the loop (double half hitch). Pull the hitch up tightly and snip string off. The bind is completed by removing the clamp and rolling the blank and mandrel toward the anchor until you are two turns from the cork. Remove the mandrel and make another double half hitch as before and then snip off excess string. I use a bit of clear nail polish at both hitches to assure a firm hold.
This method makes for a very neat appearance and, more importantly, if done properly, a very tight closure at the cane sides with the blades aligned precisely over each other. I have all but abandoned the use of fish skin on finished reeds - nuisance well rid of.
Sincerely,
Henry Bridgman
5 East Brownson Ave.
Brant Beach, NJ 08008
P.S. Dan: While I have never played the oboe professionally, I have been Interested in It from the early fifties. It was forced into the background while my family was growing up but since retirement about 4 years ago it has become a fascinating hobby with reed making the ever-present "problem". As you know, I'm also trying to do something about standardization of the staple. I will, of course, be pleased to share with the Society any interesting information that may come to light now and in the future.
H. B.
17 September, 1986
Dear Ron,
I have only last week returned from France where I too, met with Gilbert Audin. He uses similar reeds to myself, the cane I buy from Glotin, gouged shaped and scraped to M. Allard's specification (64mm in length and 9.5 or 9.2 tube). I then make them up mounting on a thin, long mandrel. Of course the final scrape produces whatever tone and response one wishes for, and this process takes much patience and many hours of experiment. Glotin's own reeds (50 francs a piece) are very variable. I like the heart of the reed to arch up to the tip but the tip itself is very thin.
If you require a bold sound (I hesitate to use the term "buzz") then leave the tip as it is cut. For a softer, less clear sound, but perhaps easier to control for the average player, burr the tip by filing across the ends of the blades - be careful! There is a special way of holding the reed to prevent damage. This is the style recommended by many young French players from the Conservatoire, but is it any better? I ask myself.
It is strange that the young French players consider that Paul Hongne's tone was "buzzy" for his expressive singing style which is so apparent on his latter-day discs cannot be matched by any I have heard as yet.
It is true that the smaller reeds made by Cecil James to the German pattern worked well on my old Buffet but there was always a tendency to "fly away" if the pressure was too great, in spite of fingering adjustments. The general tone was darker with his pattern.
I visited the makers Buffet Crampon recently where they are in the final stages of production of a Contra-Basson for me which is very exciting. Their chief instrument maker is M. Rene Lesieur who previously had put the finishing touches to my newest R.C. Model only last year. The standard of workmanship and production control is very high and I have tried several of the R.C. models all of which blow freely and are quite stable in the low register.
Lewis Dann
"Silwood"
6 Bath Road
Felixstowe 1P11 7JW England
Dear Ron,
The last two issues certainly have been a fingering experimenter's delight. I tried the Moritz fingerings - corrected - on six bassoons I had handy: 3 Heckels - customers; a Fox - student; my Fox - plastic; and my MacGibbon - which seems to play no matter what the fingering. The Heckels were erratic as far as acceptability of sound was concerned and as to which notes were the bad ones. I felt, however, that I was working too hard. So I have decided to submit a few of my own "gems".
I realize that Moritz' fingering #8(A) is used to prepare for #9(D) but I have played D with just L.H.3 & 4 for years. That certainly simplifies "Pines", Pulcinella, and that sleeper by Virgil Thomson "The Plow That Broke The Plains". (I have destroyed more than one Student when, confident that I have a really good reed, I grab the bell and play D without any fingers.)
The other deviation from the "norm" that I use and teach is a pattern which allows running A-B-C without moving the thumb from the "A keys". I had been using it for some 13 years before it appeared in your 1974 "Study". (Regarding the letter from Patricia Murphy Snyder, is it time to re-issue or "re-do" that survey?). In the early 60's, with "L'Histoire" and The Nutcracker coming up, I decided that there had to be a better way to get from A to B in a hurry than the standard charts showed. Armed with determination and a six-pack I sat down one night to find it. Two hours later I had it. Shortly thereafter, Sam Jordan, a longtime friend and excellent player - he switched from French to German in less than a year to keep his job - came to me at a rehearsal and showed me hi's new A-B trill which was, essentially, a modification of the old chart fingering. 11 supremely smug with my new-found knowledge, said "Why work so hard? Why not do it this way, with just one finger?" And he said "Lemme see that!" So here it is.
Some notes on these fingerings; From G, the addition of the two thumbs gives A; closing R.H. 2 gives A-B trill; lifting L.H. 2 & 3 give C; (L.H. 3 may be lifted when R.H. 2 closes for a better B in a scale passage. So there, Mr. von Weber!) These worked with 99 of the first 100 bassoons I tried them on - the 100th was a brand rarely found in the pit: the A may be flat on some bassoons but will come up to pitch nicely with the removal of R.H. 1; the B may require a "push" but it will simplify parts of the 6/8 movt. of St. Saens "Sonata"; a "turn" can be achieved by relaxing at the end of the trill for one closing of R.H. 2 which will, in most cases, produce G# which, in all likelihood, will happen the first time these are tried; opening L.H. 3 while closing R.H. 2 produces an attack-able B for a super-smooth B to A as in the end of the slow movt. of "Pathetique"; this A allows for a fluency and ease of execution of passages such as in "Lincoln Portrait"; most Foxes, and Heckels with bocals which favor high notes will produce these notes with ease. These are not used "instead of" but in addition to the standard fingerings.
And, as serendipity would have it, the "Mignon" example mentioned by Don Christlieb came at an opportune time. I had just finished working a student through it for his end of the year concert. His assignment was to master the passage using two fingering patterns which were worked out with him. The alternates - A# is, after all, A# - are as follows: (The only real change is C#.)
There are, of course, variations to be made on these: how good is the C# in your B-C# trill, and how sharp is your 1/2,2,3,4, F#? But it is the symmetry of the patterns that makes them work. At no time, however, was there a need to use the snip-flick-flip keys which cuts down mightily on the finger wiggling.
I would like to end this with a suggestion from Chip Owen at Fox. It has to do with altering the placement of the high E spatula and it works like a dream. I was telling him that I had to put an E on my newly acquired Fox but did not like either of the "standard" alternatives. I wanted it at L.H. 2, but didn't want the trill moved. He described an installation he had made recently which placed the E over the back half of the E-F# trill. It nests in much like the third octave key on an oboe. It does not interfere with an E-F# trill but it is right there when you want it. He says that they will have a casting for it soon. Yea, progress.
Dick Rusch
P.S. Where is that wonderful fingering stamp available?
P.P.S. Either the cover photo negative got turned around or Bert has found a left-handed oboe.
May 26, 1986
Dear Mr. Klimko:
I am writing in response to Jane Eschrich's article, "The solo compositions of Henri Tomasi for double reed instruments", published in the Spring 1985 Double Reed. Ms. Eschrich's article is informative and wellresearched. However, she indicates that the Tomasi Concerto for Bassoon and Chamber Orchestra is "too arduous to be played by student level musicians". She reports that this concerto is not a particularly programmable piece, and that it is probably best left to the French.
It was my pleasure to perform the Tomasi Bassoon Concerto on April 3, 1981 with the University of Wisconsin Orchestra as part of the annual student concerto competition. I was 20 years old. The only traumatic aspect of the performance was in obtaining the orchestra parts. In spite of the best efforts of my French conductor, Catherine Comet (including several phone calls to Paris in attempts to locate the parts), the music arrived only three days before the concert!
I will certainly agree that the concerto is extremely challenging and contains all of the demands mentioned in the article. But I think we should be cautious of arguing our limitations before making an attempt. I have worked as hard on the Tomasi Concerto as I have worked on anything, but it is a marvelous work and I found it rewarding. I encourage all my bassoon colleagues to explore this work, be they young or old, student or professional, French or German. Remember, argue your limitations and they're yours.
Sincerely,
Cindy Cameron
2354 Allied Dr. #2
Madison, WI 53711
August 2, 1986
Dear Ron,
I've been a member since 1979 and I'm writing you to express my appreciation for the very interesting magazine you are making. I appreciate particularly the articles about early double reed instruments, since I do occasionally work with a copy by Cottet of a 1710 Eichentopf bassoon. At the present time there are in Italy only four baroque bassoonists and about six dulcian players that I know of. I think that the situation is similar for oboes and renaissance reeds, but there are frequent interchanges with the Netherlands, France and Germany where many performers and makers devote themselves exclusively to historical instruments.
I hope that the magazine will continue to print articles on these subjects. I think that also interviews with performers and makers, reviews about reprints of historical methods and news on performances and courses would be of much help.
I'm just back from the International Early Music course in Urbino organized by the Societa Italiana del Flauto Dolce (Italian Recorder Society) which featured courses in all kinds of historical instruments. I attended the class held by Lorenzo Alpert (dulcian and baroque bassoon) but we had frequent contacts with the class held by Alfredo Bernardini (baroque oboe). Both are well known soloists active in all Europe, and we could hear them performing the duets that Alessandro Besozzi wrote for himself and his brother Paolo Girolamo around 1750.
1 advised the managers of the Societa to advertise the course in next winter's issue, because I think that some of your readers could be interested in spending ten days in a beautiful Italian town studying with such excellent teachers.
In order to solve the great intonation problems of my baroque instrument, I've developed a computer program that runs on a Commodore 64 and can play scales and arpeggios in any key. I find it very useful for individual practice, because when playing alone these old instruments it's very easy to drift upwards in tuning. It is possible to set the tuning (from A 415 to 445), the temperament (modern equal, baroque meantone, renaissance pure zarlinean), the range and the speed. If you think it could be interesting for publication I can make an English version and send it to you. The listing shouldn't take more than two pages and two pages would be needed to explain the functions of the program.
I excuse myself for this long letter and my imperfect English writing, and thank you again for making such a good magazine.
Yours, Andrea Toschi via Treviso 15 00161 Roma (Italy) tel. (06)861345