The Faculty of the 1985 Miller/Skinner Basoon Symposium, from left to right: Symposium Director Gene Griswold, Louis Skinner, and John Miller.
John Miller and Louis Skinner came together once again this past June 23rd-29th at Towson State University in Baltimore, Maryland to present their Second Annual Bassoon Symposium, an intense and stimulating week-long event consisting of master classes every morning with John Miller, reed making classes every afternoon with Lou Skinner, and varied evening activities. John Miller is Principal Bassoon of the Minnesota Orchestra, and also a renowned soloist, chamber musician, and former member of the Bubonic Bassoon Quartet. Mr. Skinner makes reeds for many bassoonists around the world, and has taught countless others his unique method at his home in Jonesport, Maine. Dr. Gene Griswold, bassoonist and Professor at Towson State University coordinated the symposium, creating a well balanced and productive week of activities.
A major highlight of this year's symposium was a lecture by Frederick Neumann about ornamentation in the bassoon music of Vivaldi and Mozart. Dr. Neumann, one of the world's foremost scholars of musical ornamentation and performance practice, delivered an authoritative and informative lecture which was admirably well directed at addressing our most pertinent needs as bassoonists. He was very patient and kind in answering our questions and clarifying problem spots, and he was a charming and delightful person to have in our midst.
As a matter of fact, one of the outstanding qualities of the symposium was the friendly, down to earth natures of the three men presenting it. Messrs. Skinner and Miller made themselves generally available for discussion at meals and even at later evening gatherings, and Lou was often to be found helping someone with their gouger or some other problem before morning class. Gene Griswold ran a very well organized operation, was great at taking care of all of our personal needs (practice rooms, etc.), and was a personable and delightful host.
The week opened with a lecture-performance of the Weber Bassoon Concerto by Mr. Miller, and during the course of the week, he gave two more full recitals, the first of which consisted of an outstanding performance of three (and a third) Vivaldi concerti. That concert tied in not only with Dr. Neumann's lecture, but also with a master class devoted to performance problems of several Vivaldi concerti. Other master classes dealt with tone production, several specified orchestral excerpts, Milde Studies (of both types), and a few pieces. The last recital, given by Mr. Miller with two fine musicians from the Towson State University faculty, Reynaldo Reyes, piano, and Cecylia Bacczyk, cello, began with the Mozart Sonata K. 292. Next was a premier of Reverie for bassoon and piano by Conal D. Boyce, a composer living in Minneapolis. This is an interesting and beautiful piece which shows Eastern influence in melody as well as rhythm. Its performance displayed very fine ensemble playing from both musicians and great intonation from Mr. Miller. They also played Tcherepnine's Sonatine Sportive, the Hindemith Sonata, and finally, the Premier Solo by Eugene Bourdeau, a great showpiece for John Miller's impressive technique and bravura style.
This year's participants were a very friendly, interested, and supportive group of people, which was apparent not only from discussions and suggestions exchanged, but in the quantity of bassoon ensemble playing going on every night. Many of us spent time hanging out together until the wee hours drinking beer and eating pretzels or pizza, sometimes listening to one of Lou Skinner's great stories. On Wednesday night there was a recital by the participants, with a wide representation of bassoon literature presented. The star of the evening was Christopher Palmer (a Canadian now playing in the Symphony of Nova Scotia) who performed his own arrangement of a Romanian folk tune for bassoon and piano. The next night nearly everyone got in on the act in a concert of bassoon ensemble music, presenting the fruits of all of the pre-dinner and late night activities. The music ranged from duet to quartet, from serious to silly, and included a great arrangement of the Bugler's Holiday and of course several of the Bubonic Bassoon Quartet's pieces.
Meanwhile a much more serious air prevailed at the afternoon gatherings around the reed table of Lou Skinner. Mr. Skinner, during the course of the week, carefully went through his theory and process of reedmaking, details of trimming the reed, problem solving, an explanation of his sometimes personally specialized tools, and last but perhaps best from my standpoint, a description of several different shapes and trims that he has used over the years and each one's respective characteristics. Several of the participants could be seen taking copious notes every afternoon, and there was much to be learned by all of us, regardless of our own approach to this crucial process.
A few things might be of interest to the prospective participant at next year's symposium. One may register as a regular or performing participant, or one may register for certain days only. Several of the thirty-six attending bassoonists this year took advantage of this and attended specific classes and concerts that most interested them. Every morning and afternoon several exhibitors were present with their wares for sale or perusal, including bassoons, accessories and paraphernalia, vast quantities of bassoon music, some records, and all of the Bubonic Publishing Company's inventory of music and tapes, so be prepared!
The Third Annual Miller/Skinner Bassoon Symposium will take place June 22-28, 1986. The guest artist will be David Carroll, Assistant Principal Bassoon of the New York Philharmonic and another former member of the Bubonic Bassoon Quartet. In case you haven't gathered from my description of this year's symposium, I had an enlightening, inspiring, great week. I highly recommend it to any bassoonist, particularly anyone who might want to learn more about reeds, or playing the instrument, or auditions, or interesting repertoire, or just wants to hear some great bassoon playing, or to meet, talk, and play with some other interested and interesting musicians. It is a rare opportunity to work with two of the finest in our field, who are equally fine teachers.
About the writer...
Carolyn Beck is currently free-lancing
in New York City and finishing a Doctor of Musical Arts at Manhattan
School of Music. She has studied with Stephen Maxym, Arthur Weisberg,
Don Christlieb, and Alan Goodman, and received a Master of Music
from Yale School of Music.