Undoubtedly, many of the members of the I.D.R.S. own unusual double reed instruments. One such instrument, whose history shall be chronicled, is the Heckel bassoon, Nr. 11,113. constructed by Franz Groffy, made of maple, 14 carat gold, sterling silver, and platinum -plating, and owned by W. Roy Houser.[1] Although the instrument is only about two decades old, it has an unusual history which is worth recounting.
To create this bassoon, many letters of correspondence passed between Professor Houser (Professor of Bassoon, Indiana University, Bloomington, 1948-1968) and Franz Groffy of Heckel-Biebrich, in 1966 and 1967. In all, 45 separate additions were made to the basic Heckel model to create the instrument. Three rings were fashioned out of gold, on the headjoint, the butt and the wing-joint, while the keys were fashioned out of silver. Four bocals were made for the bassoon, two were platinum plated, and two from gold. Besides the rare metals, Professor Houser requested a number of accessories (only some of them are recounted here): E-flat trill key on butt, high D key on wing, A-flat/B-flat trill on butt, 16 rollers, sterling silver tube linings, high E key, G-sharp ring key-mechanism, B/C-sharp trill for right forefinger, E-flat trill key for right forefinger with displaced C-sharp, extra second D extension, extra second C-sharp (situated by low C key), etc.[2]
Although the price for the instrument increased in value while in production, the total price, in American dollars in 1967, was $2660.83!!!! A price completely unimaginable today. In 1967, Professor Houser wrote the following about his instrument:
While it is true that the precious metal involved in this instrument does not enhance the musical qualities as it might in the case of a flute, it does enhance the beauty of the instrument because the gold is a pale texture manufactured by "Degussa" in Frankfurt, Germany. The listing of the nomenclature regarding this gold is 585/15, which determines the alloy and color which resulted in a 14 carat pale gold texture against the mahogany red of the traditional German color. Two bocals were also of 14 carat gold of this above 585/15, with a new manufactured bore that resulted in a nomenclature of VCD, which denotes an extreme hard and thin metal with a bore that acts to regulate the pitch in the extreme high register to the flat side, and also gives a darker sound than normally expected from the typical CC Heckel bocal. In conclusion, the most unique aspect of this instrument is the fact that Franz Groffy stamped his signature upon it, which reveals a departure for the first time in the history of the manufacturing of the Heckel bassoons. [Author's note: the signature is stamped into the gold ring at the bottom of the butt joint.] So it was not without some reflection on Mr. Groffy's part to break with tradition and it is likely no other Heckel bassoon will receive his personal endorsement![3]
The creator of the instrument, Franz Groffy, had worked over 40 years for the Heckel company before creating bassoon Nr. 11, 113. Mr. Groffy died in 1973.
Ultimately, the one question that pops to mind. How does it play? Not surprisingly, the answer: "The Groffy is not easy to play! It is top heavy."[4] Putting aside the playability of the instrument, it surely must be one of the most aesthetically pleasing-to-look-at bassoons in existence. The instrument was displayed and demonstrated for the Galpin Society at the 1969 Edinburgh International Festival.
Hopefully, other members of the double reed community would like to share information about other unique instruments they either own or know about. If so, or if you have questions (or answers) about any double reed topic, please write: Ron Bukoff, Music Department, Cornell University, Ithaca, New York 14853.
ENDNOTES
1.
I am completely indebted to Mr. Houser for his willingness to
share all of his material on this unique instrument.
2. "Invoice,"
Heckel-Biebrich to Roy Houser (July 26, 1967.)
3.
Roy Houser, " Groffy Bassoon," Woodwind World VII,
5 (September 15, 1967): 8.
4.
Roy Houser, "Letter to the author" (November 26,
1985).
A final note from the historian...
The history of the I.D.R.S. is finally taking shape and
it will appear as an issue of The Double Reed in 1987.
If anyone would like to help (ideas, articles, photographs, drawings),
please contact me.