(Here is a fine abstract of a dissertation by Robert Olson, well known to IDRS conference-goers for his interesting performances at Columbus, Ohio and at Edinburgh, Scotland. I have included three examples of the beautifully clear music writing which characterizes all the excerpts in this most welcome study. [examples not included in WWW edition. WWW Ed.]
Mr. Olson mentions that he hopes to have his dissertation published, and we hope sincerely that this will occur soon. For further information about the study or the excerpts, IDRS readers may write to the author:
Robert Olson
Department of Music
University of Colorado
Boulder, CO 80309, U.S.A. Ed.)
Until recently, our primary concern as bassoonists (or wind players) in preparing our students for ensemble playing was exclusively with orchestral excerpts. The traditional band literature in the university rarely affords passages worthy of an advanced look, and for chamber music the most expedient approach is to go directly to the full score and parts. But now with the emergence of the wind ensemble as a viable musical medium, it is becoming necessary that bassoonists have access to advance preparation in this area as well. Just what is the wind ensemble and its literature?
The wind ensemble does not relate historically to the traditional band history. Instead, the basic concept of the wind ensemble is a 20th century idea, but for its historical identity, it draws upon various historical genres which were called variously chamber music, Harmonie-Musik, and occasionally even orchestral chamber music.
The period closing the 18th century and the first third of the 19th century saw the single most influential thrust of serious wind music, known as Harmonie-Musik, flourishing until the 1830's in and around Vienna. [1] The latter provide two extraordinary characteristics unique in wind history and forms a basis for the contemporary wind ensemble philosophy:
"The first is that these ensembles existed primarily to perform concerts and served no functional, military, or entertainment purpose. This is rare in any period of wind music, but especially so in the eighteenth century. The second extraordinary characteristic is that these octets and their concerts were an important part of the musical life of the culturally elite." [2]
The wind octet, consisting first of two oboes, two English horns, two bassoons (with a third part for contrabassoon ad lib.) and two horns, later substituting two clarinets for the English horns, became the focal point of aristocratic musical pleasure. Court octets and court composers were regularly employed to produce and perform a constant flow of original and transcribed music, especially the ever-popular genre of the opera transcription. [3]
The period from 1830 to the end of the 19th century witnessed little wind band writing except in the ever expanding orchestras of Wagner and the late Romantics. It was the wind music of Richard Strauss and Igor Stravinsky that brought a focus to the timbral possibilities of the wind band and established once again, a legitimacy for this medium. Currently, the efforts of professional wind ensembles such as the Netherlands Wind Ensemble, countless university organizations, and the C. F. Peters publishing company are drawing the attention of first-rate composers to the new timbral possibilities.
For a contemporary definition of the wind ensemble and its respective literature I turn to the collected opinions of nineteen of the nation's more eminent wind ensemble conductors. The wind ensemble
(1) will normally contain a minimum of seven or eight performers with the maximum number limited solely by the intent or designation of the composer.
(2) will usually require a conductor, but this is not mandatory.
(3) allows strings in combination with winds, but winds should outnumber strings and the latter should not be doubled.
(4) will use only one player per part with only occasional exceptions, usually designated by the composer.
(5) will only perform transcriptions if they retain a style true to the original composer's compositional technique.
(6) will, in all cases, faithfully observe the intent of the composer.
Thus, some very distinct differences arise between the wind ensemble and the popular title of band. The former is, in essence, the expanded wind section of a Wagnerian orchestra, and performs only literature originally written for that medium. And because only one player per part is allowed, the bassoonist's overall contribution is equivalent to that of a woodwind quintet.
Much of the literature for the wind ensemble has been performed for years under another title, chamber music. The Mozart and Strauss Serenades or the Beethoven and Stravinsky Octets have long been staples of the wind repertoire.
Two problems exist for the performer of music now under the heading of wind ensemble music. The first is the lack of awareness of the compositions which constitute the nucleus of this ensemble's quality programming, for in the field of wind band music, there is a plethora of music to be avoided (as far as the bassoonist is concerned, at least). Secondly, there is not a single anthology or excerpt book where the bassoonist can find and study the difficult excerpts from these works. It was with these two problems in mind that I undertook my dissertation project, "Difficult and Solo Passages for the Bassoon from an Established Core Repertoire for Wind Ensemble."
The first half of the study surveys and collates the opinions of nineteen of the nation's eminent wind ensemble conductors. Through two surveys, a core repertoire of 52 compositions was determined as being (1) historically representative, (2) of serious artistic merit, and (3) of a relatively restricted number so as not to be overwhelming to the user of this study.
The second half of the study dealt with creating an excerpt book of the difficult and solo passages for the bassoon(s). Three types of passages were considered for use. First, any musical material marked "solo" (or soli), or prominent passages containing the basic or important thematic material were included, unless the solo consisted of only a few notes (such as with pointillistic music). Second, musical passages of prominence which are doubled with other instruments and are of significant important in the composition were included. Finally, tutti passages of a highly technical manner were extracted. Examples utilizing the extremes of register, particularly difficult fingerings, rapid tonguing, or very fast passages were included. The study contains 140 pages of excerpts for bassoon(s).
Below is the list of the 52 compositions judged to be of the highest artistic merit for wind ensemble. A short annotation is included for most excerpts.
- Haydn, F. J. Divertimento # 1, and Octet in F Major.
- The first is relatively easy for 2-3 bassoons, the second contains several excellent solo variations of moderate difficulty.
- Mozart, W. A. Divertimento # 3, K 166, Serenades #10, 11, 12, K. 361, K 375, and K 388.
- Marvelous compositions for wind band, they are well, . . . Mozart!
- Beethoven, L. v. Octet, Op. 103, and Rondino in E-flat Major.
- Passages are not very difficult.
- Dvorak, A. Serenade, Op. 44
- Excellent 3 bassoon sections, plus a very technically difficult section.
- Gounod, C. Petite Symphony.
- Moderately easy for 2 bassoons.
- Strauss. R. Serenade in E-flat Major, Op. 7, and Suite in B-flat Major, Op. 4
- Moderate difficulty. Many of the problems deal with intonation. Considerably more excerpts from the less frequently performed Opus 4 than Opus 7.
- Strauss, R. Sonatine for Winds, and Symphony for Winds.
- Pages and pages of excerpts, many for 3 bassoons. The Sonatine is the most difficult of the four Strauss works, and especially these two need advance study.
- Stravinsky, I. L'Histoire du Soldat.
- Extremely difficult in every aspect, for solo bassoon. Meter changes range, technique, style, intonation. One of the best!
- Stravinsky, I. Octet
- The same can be said for the Octet as for L'Histoire, except the former is for two bassoons.
- Stravinsky, I. Concerto for Piano and Wind Instruments, Symphonies of Wind Instruments, and Circus Polka.
- All have enough problems that the student should have advance preparation, particularly regarding the extreme register and meter problems.
- Varèse, E. Octandre.
- Difficult because the style is usually unfamiliar to most students.
- Milhaud, D. La Creation du Monde, and Suite Française.
- Several very nice pianissimo passages for solo bassoon, particularly in the in the latter.
- Poulenc, F. Suite Française.
- Relatively easy excerpts.
- Berg, A. Kammerkonzert.
- Tricky notation and an unfamiliar style make this work very difficult.
- Schoenberg, A. Theme and Variations, Op. 43a.
- Most passages are difficult but not solo.
- Hovhaness, A. Symphony #4, Op. 165.
- A delightful solo of very limited range, hence playable by very young bassoonists.
Holst, G. Hammersmith.
- Hindemith, P. Symphony in E-flat, and Septet for Wind Instruments.
- The Symphony is such a staple of the repertoire that it should be familiar to bassoonists. The Septet contains some very difficult notational problems, and is a good study for trill development.
- Grainger, P. Lincolnshire Posy, and Hill Song #2.
- The former has a great low register solo demanding excellent control of that register.
Amram, D. King Lear Variations.
Toch, E. Spiel for Wind Orchestra, Op. 39.
- Kurka, R. The Good Soldier Schweik Suite.
- Excellent passages for development of large leaps.
- Jacob, G. Old Wine in New Bottles.
- Another work containing solos manageable by young bassoonists.
Weill, K. Little Threepenny Music.
- Dahl, I. Sinfonietta.
- Excellent duet passages, plus demanding technically.
Copland, A. Emblems.
- Messiaen, O. Et Expecto Resurrectionem Mortuorum
- Extremely difficult because of the notational style. With so many meter changes of 2/16 to 2-3/32 to 3-3-2/32 and a very unfamiliar style, this work demands advanced study.
Husa, K. Music for Prague 1968 and Apotheosis of This Earth.
Krenek, E. Dream Sequence, Op. 224.
Reynolds, V. Scenes.
- Schwantner, J. And the Mountains Rising Nowhere.
- Rhythmics and notation make this piece very difficult to read and play.
- Penderecki, K. Pittsburgh Overture.
- Mostly cadenza passages played tutti but they are difficult.
The following works were also included in the core repertoire, but for various reasons were not excerpted.
- Handel, G. F. Music for the Royal Fireworks.
- Nothing that demanding.
- Hartley, W. Concerto for 23 Winds.
- The score was not available at the time of the study.
- Hindemith, P. Konzertmusik for Wind Orchestra, Op. 41.
- A band orchestration.
- Hindemith, P. Konzertmusik, Op. 49.
- No bassoon.
- Mozart, W. A. Divertimento #4 in B-flat, K 186.
- Nothing that demanding.
- Varèse, E. Déserts.
- No bassoon.
With the musical validity of the wind ensemble being increasingly established, a new era of advanced preparation is becoming necessary to the bassoonist. The bassoon indeed the wind performer, has long needed an excerpt book containing the most significant wind works in the repertory. Current tutorial methods contain excerpts from the opera and orchestral fields, but the great wind works have been inaccessible to the aspiring wind student in the anthology form. This collection is intended to answer this need.
[1] David Whitwell, "The Incredible Vienna Octet School - Part I - The Work of Johann Wendt," The Instrumentalist, XXIV (October 1969), p. 31. [return]