I can only second President Clemens' positive comments on the Evanston meeting. Though I wasn't able to attend all the sessions, I was struck by the careful organization behind the whole convention - a tribute to Wilbur Simpson's dedicated work - the high quality of the lectures and performances, and the enthusiasm of the members in attendance. I also found Chris Weait's fluoroscopic studies of the inner workings of the bassoonist immensely impressive and thought-provoking; so many double reed players are reassessing their thinking concerning the vibrato and this video tape offers some visual evidence of what really happens physically. John Mack's thoughts on the guidance of young players were meaningful and helpful; I found myself in hearty agreement with his plea for a more thorough grounding in solfege and keyboard skills for the developing oboist. It was exciting to hear Grover Schiltz's beautiful English horn playing in the Roman Carnival and the Symphonie Fantastique at the Chicago Symphony's Ravinia Park concert and then to hear him discuss some practical ideas for the English horn player the next morning. I was most impressed by his great command of the baroque oboe; he played a beautiful reproduction recently made by Harry Vas Dias. Fernand Gillet is an illustrious addition to our roll of honorary members. During his long career as first oboist of the Boston Symphony Orchestra and at the New England Conservatory, he is certainly one of this century's most influential oboists and teachers. He is still busy teaching although he is now in his nineties!
Earlier in the summer I was again able to visit with Michel Piguet at the Oberlin Baroque Performance Institute and to hear his virtuosic performance of the 7th Concert Royaux of Couperin. Wayne Rapier came to Interlochen in July to perform the Eugene Goossens Concerto. It was a pleasure to hear his fluent performance of this colorful score with its beautiful woodwind, percussion and harp textures. One of the most distinguished alumni of the National Music Camp and now associate principal of the Boston Symphony Orchestra Mr. Rapier not only inspired the students with his playing, but he also spoke to some forty of them on such varied subjects as preparing for auditions, reed work, and the vibrato. He found the Interlochen students as stimulating as I do, and I am impressed each summer with their high level of performance and their eagerness to learn. So many of them study with first-class teachers all around the country and the majority have excellent instruments and reed-making equipment, advantages many of us didn't have! All this work goes on in a beautiful natural setting and the chance to do some swimming and sailing makes a welcome change in my usual routine.
I must apologize for some flaws in the 1975 IDRS Journal which you should have received by now. A sheet has been sent which corrects James Lakin's article, and I express regrets to our contributing members - Alan Fox of South Whitley, Indiana, Robert D. Gilbert of Los Angeles, and Fred Marrick of Royal Oak, Michigan - whose names were inadvertently omitted. Their continued support is appreciated.
A closing word - those of you who are affiliated with schools may want to suggest that your library subscribe to the IDRS publications, a fine way to bring them to a wider readership.
Until the next issue, I look forward to oboe news from your part of the world.
Daniel Stolper
Michigan State University
Department of Music
East Lansing, Michigan 48824 USA