Since The First Issue Response to the first bassoon newsletter has been truly remarkable! Of 300 bassoonists and bassoon enthusiasts to whom copies have been sent, some within the past week, almost one-half have subscribed. And my first mailing was aimed primarily at busy professionals who have little time from the pressures of the moment to even visit their families. The first list of names was compiled by myself, Sol Schoenbach, and William Waterhouse of London. Thanks to word of mouth and a kind mention in The Galpin Society's recent bulletin, I am receiving almost daily fresh enquiries from all parts of the world. In this issue, I am pleased to bring you contributions from Canada, Russia, Austria, Holland, and the U.S.A.
The third and final issue of Volume I will be printed in April, 1970. Volume 2 will start with the July issue. This present newsletter was scheduled for late January, but the sad passing of Simon Kovar necessitated a delay.
There are no more copies of issue No. 1, so future requests for this number will be filled by Xerox copies at $1.00 U.S. each (these are very clear, and even the photographs are fair). I am ordering a considerably larger printing from now on to cover the demand.
Will Jansen has suggested an enlarging of the format to perhaps a small magazine. I would someday like to take this step. But the first year's operation will have to remain modest until I see how subscriptions balance the costs.
Except for the problem of photographs, I could use a mimeograph method at less cost for more pages and material. But I am also concerned with quality and appearance. I hope eventually to include charts, sketches, line drawings, and technical data for a wider exchange of new thinking about acoustics, key placement, bocal design, reed construction, etc.
I have received a few requests for translation into German from overseas correspondents and am working on a plan to have the text of articles reproduced separately in German or French for inclusion with the newsletters.
I will mention, not having done so before, that I am principal bassoonist of the Baltimore Symphony Orchestra and teacher at the Peabody Conservatory here. I play a 7000 series Heckel and also own and play a Buffet (circa 1930) and a U.S. Civil War period bassoon (1857) of Rudall-Rose-Carte- 19 keys and made in France for the British firm.
In addition to receiving excellent articles for coming issues, I have had a small but promising start on tape recording exchange: Don MacCourt of New York was able to send at my S.O.S. both a tape of Leonard Sharrow's Mozart Concerto recording and music to Toscanini's Mozart cadenzas to Milan Turkovic of the Vienna Symphony, who was preparing for a London performance of K 191. I hope the materials arrived in time to be useful. Stephen Paulson, first bassoon of the Rochester (N.Y.) Philharmonic, sent me a tape of his recent concerto for bassoon and small orchestra, the composer as soloist (mentioned in New Music section). And William Waterhouse has received a radio interview tape of myself comparing German and French bassoon styles and discussing aspects of bassoon performance in American symphonies.
Thank you again for your keen interest in this new publication. I will try to keep you informed and occasionally amused in commenting on today's world of bassoonists. I ask that you send names and addresses of any bassoonists you think would appreciate having the newsletter, because I wish to reach the maximum number of enthusiasts possible, and because a large subscription will obviously allow me to broaden the scope of the publication. Please note the subscription information on the last page.