Since 1875, the manufacturing date of their first bassoons, the instrument-makers Buffet-Crampon (France) have not ceased to work for the improvement of these instruments. At the present time, Mr. Robert Carr&e, the technical director, has re-examined and corrected the bore, and the bocal has been changed: brass has been adopted instead of silver. These modifications have contributed to an even richer color of sound, to a broader more sonorous scale, to a greater range, to as much flexibility as agility, and especially to a perfect homogeneity.
Although our bassoon has certainly not been adopted worldwide, it is currently played in more countries than France alone. They are: Switzerland, Belgium, Luxembourg, Italy, England, Spain, Brazil, Nicaragua, Korea, Lebanon, Israel, N. Africa, and now Japan. (I currently have two Japanese students in my class at the Paris National Conservatory.)
What do conductors think about these bassoons? F. Fricsay praised me highly after Beethoven's 9th Symphony; Leopold Stokowsky, after a rehearsal of Tschaikowsky's 4th Symphony, asked to see my bassoon and reeds, "so much did the color of the sound and the possibilities of the nuances astonish him." And Pierre Boulez, after a performance of the "Sacre," wrote: "A special mention to Maurice Allard for "making sacred" "le Sacre." "
There are three conductors, each from a different school, all of whom liked our bassoon. And I must mention Charles Munch, Pierre Monteux, and Andre Cluytens who favored only our French Buffet-Crampon bassoon.
Let's analyze its qualities in reference to great works of the repertoire. Take Berlioz' "Symphony Fantastique"; Dukas' "The Sorcerer's Apprentice"; Ravel's "l'Alborada", "Bolero" and "Rapsodie Espagnol"; and Stravinsky's "Berceuse" from the "Firebird" - how to imagine another sound than ours, with its quality, with its amplitude? And virtuosity? From the orchestra part in Ravel's Concerto in G for Piano, passing on to all the bassoon concerti from the easiest to the most difficult: from Vivaldi, Mozart, Weber to Jolivet or Tomasi, our instrument is always king.
Who does not remember the succession of concerts of the Boston Symphony (1953. Ed.) where one evening C. Munch directed "Sheherazade," the day after P. Monteux conducted "le Sacre" and then repeated for many weeks? The solo bassoonist was my uncle, Raymond Allard; it was the last year of his prestigious career. He was irreproachable and received many compliments . . . he also played the Buffet-Crampon.
Some weeks ago at the Th&€tre National de l'Op&ra de Paris we gave a series of performances of Stravinsky -- "Les Noces," "Firebird," "le Sacre" -- 13 performances in 15 days. My Buffet-Crampon bassoon always understood me, gave entire satisfaction. Not a single hindrance and a great many compliments.
The manufacture of our instrument is most carefully done. The current price in France is 3,475 francs.
Very Sincerely yours,
Maurice Allard
Professor at the Conservatoire National
Superieur de musique de Paris.
Bassoon soloist of the Orchestre du Th&€tre National de l'Op&ra
de Paris.
Tester of Buffet-Crampon Bassoons.