Hummel, Johan Nepomuka (1778-1837) Grand Concerto in F Major.
Weber, Karl Maria (1786-1826) Concerto in F Major.
Soloist ‹ John Miller. Chamber Orchestra of Copenhagen, conducted by Harold Farberman. (Cambridge Records Wellesley, Mass., U.S.A. No. CRS 2818.)
This is the second recording of 27-year old John Miller of Baltimore, Maryland. The first: Three Sonatas Bassoon. and Continuo by J. D. Zelenka, recorded in 1963, won the selection of "Best Baroque Recording of the Year".
A student of Louis Skinner, one of the US.' leading reed r lakers, and Sherman Walt, solo bassoon of the Boston Symphony‹Mr. Miller is currently free lancing in Boston. He is a founding member of a new small orchestra there, the Boston Philharmonia, organized and directed by the musicians and he also leads the Boston Baroque Ensemble.
Performance of both concerti is superb. Sensitive musicianship, pure intonation, and even facility plus an easy and charming style, make this recording a joy at repeated hearings. Accompaniment by the Danish small orchestra is also excellent. To the best of my knowledge, this is the first commercial recording of the Hummel work. If not published by now, I hope this concerto will soon be available. It is very interesting and should be performed often.
Vivaldi Antonio (ca. 1678-1743) Concerto in E Minor. P.137 (F.VIII/6)
Soloist - Maurice Allard. Chamber Orchestra of the Saar, conducted by Karl Ristenpart. (Nonesuch Records, New York, No. 11-1104 or H-71104 - Stereo. In Europe, Club Francais du Disque.)
For anyone not yet familiar with the playing of Maurice Allard, this recording is a fine introduction. Four other Vivaldi concerti for other instruments complete the disc. l have several Allard recordings in my collection and admire them very much. But even my students are extremely happy with this particular performance, and since many U.S. players are unfortunately opposed to the timbre of the French bassoon, this is indeed a good sign. I have not yet heard Mr. Allard in person, but from recordings of solos from two different centuries I detect an unusually clear variance of style, approach, and type of vibrato. This signifies to me not only a brilliant bassoonist, but also a musician dedicated to fitting his personality to the music at hand. Bravo! American bassoonists will be interested to know that Mr. Allard is the nephew of Raymond Allard, for many years solo bassoonist of the Boston Symphony, and the last noted player to use the Buffet in the U.S.
Schoenberg, Arnold. Quintet for Woodwinds, Op. 26.
Performers - Danzi-Quintet of the Netherlands.
Reicha, Anton Quintet.; Haydn, Michael Divertimento; Cambini, Giovanni Quintet.
Performers ‹ Danzi-Quintet. (Schoenberg: Philips "World Series'' Stereo No. PHC 9068. Reicha-Haydn-Cambini: Philips Stereo No. 802 791 LY.) Authentic Instruments.
These two recordings offer the best examples I know, of how a woodwind quintet can sound if all five players really enjoy performing in this medium. And the performance on five museum instruments (Christiani Flute. De Luigi Oboe. lung Clarinet, Gremsen Bassoon, and Haltenhof Horn) is not only equal to a great many played on modern woodwinds, but also sounds "right" for this music. The players are: Frans Vester, Flute; Koen van Slogteren, Oboe; Piet Honingh. Clarinet; Brian Pollard, Bassoon; and Adriaan van Woudenberg, Horn. Bassoonist Pollard is from England. The rest are Dutch.
The Danzi-Quintet has played together for over ten years and established an early international reputation for excellence with crystalline performances of many fiendishly difficult contemporary works - especially the Schoenberg, Opus 26. This work had been performed by the Danzi-Quintet more than 80 times by 1968. According to the Dutch music magazine "sonorum speculum" (whose issue No.34 - Spring 1968, gives a history of the quintet), the Danzi s debut performance of the Schoenberg at the 1958 Holland Festival was played "in virtually ideal manner". l believe that just the same can be stated for this recording. A rare achievement.
Stravinsky, Igor. "L'Histoire du Soldat"
Performed by an ensemble conducted by Igor Markevitch, with Jean Cocteau, Peter Ustinov, and Jean-Marie Fertey. Original version. (Philips No. PHS 900-046 or PHM 500-046).
Everyone does an admirable job on this fine recording, but as this is a bassoonists' newsletter, I wish to mention the very beautiful playing of Henri Helaerts, solo bassoonist of the Suisse Romande Orchestra. I also recommend you to an older recording of the Suisse Romande - the "Firebird Suite" of Stravinsky, in which Mr. Helaerts sings the "Berceuse" very beautifully.