Don Christlieb, of reed-making fame (and an excellent bassoonist from the recordings I have), having many years' experience with Schoenberg's Wind Quintet, also admires the Danzi Quintet's recording. He mentions his former teacher, Achille Heynan, who knew Vincent Pezzi and also favored the little finger whisper key on Heckels. Heynan was a graduate of the Brussels Conservatory with the same honors as the noted oboist, Henri Debuscher.
Mr. Christlieb sent me a reed made on a Heckelphone staple which, with a little altering, fits snugly on a Heckel CC bassoon crook. The normal cane "tube" of the reed is formed over this staple and Christlieb says he likes the result - "It seems to stabilize it to the good (with) more solidity and uniformity." I have played several hours on the reed sent me and have found it very comfortable and responsive, with even intonation and no fuzziness or unusual characteristics.
Christlieb also admires the musicianship of French bassoonist Maurice Allard and mentions the fine recorded performance of Michel Corette's Concerto in D for Four Bassoons and Harpsichord, with Paul Hongne, Raymond Droulez, Andre Sennedat, and Ange Maugendre (Westminister XWN 18694), now out of print. [I have this recording and would be happy to make tapes for those interested. -Ed.]
Prof. Wendal S. Jones. Division of Creative Arts, Dept. of Music, Eastern Washington State College, Cheney, Washington 99004, writes that he makes reeds on brass staples (seamed ,015"). "The success - astounding." He mentions some leakage problems due to inconsistent bocal tips. [perhaps Yuri Nekliudov's method of wrapping crook tip with thread will alleviate this difficulty somewhat. -Ed.] Prof. Jones also mentions that he uses several motorized reed tools, and has offered to send me some samples of the work. By all means let's exchange ideas and examples of reed construction. A general moving ahead is needed in this area.