Vol. 30 No. 3. Milde has a FACE! Page 71

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1 Vol. 30 No. 3 Milde has a FACE! Page 71

2 IDRS OFFICERS President Nancy Ambrose King 3019 School of Music University of Michigan Ann Arbor, MI Bus: (734) Fax: (603) st Vice President Martin Schuring School of Music 0405 Arizona State University Tempe, AZ Bus: (480) Fax: (480) nd Vice President Sandro Caldini Loc S Piero 14 Rigano S/Arno Florence ITALY coranglais58@hotmail.com Secretary Keith W. Sweger Ball State University Muncie, IN Bus: (765) Fax: (765) ksweger@bsu.edu Past President Terry Ewell Chair - Department of Music Towson University 8000 York Road Towson, MD Bus: (410) Fax: (410) tewell@towson.edu Executive Secretary/Treasurer Exhibit Coordinator Norma R. Hooks 2423 Lawndale Road Finksburg, MD Office: (410) Fax: (410) norma4idrs@verizon.net At Large Members Phillip A. M. Kolker 3505 Taney Rd Baltimore, MD Bus: (410) phillipkolker@yahoo.com Barbara Herr Orland 8034 Crescent Drive St. Louis, MO Bus: (314) broboe@yahoo.com Music Industry Liaison Larry Festa Fox Product Corporation PO Box 347 South Whitley, IN Bus: (219) Fax: (219) mail@foxproducts.com Advertising Coordinator Wayne Gaver 413 Fernwood Drive Severna Park, MD Home: (410) waynegaveridrs@msn.com Bassoon Editor Ronald James Klimko 657 Douglas Drive PO Box 986 McCall, ID Home: (208) klimko@frontiernet.net Oboe Editor Daniel J. Stolper 7 Hermosillo Lane Palm Desert, CA Bus: (760) stolper@dc.rr.com IDRS-On-Line Publications Editor Yoshiyuki (Yoshi) Ishikawa University of Colorado at Boulder Boulder, CO Bus: (303) Fax: (303) ishikawa@colorado.edu Legal Counsel Jacob Schlosser 4937 West Broad Street Columbus, OH Bus: (614) Fax: (614) Conference Coordinator Marc Fink School of Music University of Wisconsin-Madison 455 North Park Street Madison, WI Bus: (608) Fax: (608) mdfink@facstaff.wisc.edu Archivist Michael J. Burns School of Music P.O. Box University of NC at Greensboro Greensboro, NC Bus: (336) FAX: (336) mjburns@uncg.edu Gillet-Fox Competition Chair Nancy Ambrose King 3019 School of Music University of Michigan Ann Arbor, MI Bus: (734) Fax: (603) nak@umich.edu Gillet-Fox Competition Oboe Chair Rebecca Henderson University of Texas at Austin School of Music 1 University Station Austin, TX Bus: (512) Fax: (512) Gillet-Fox Competition Bassoon Chair Keith W. Sweger Ball State University Muncie, IN Bus: (765) Fax: (765) ksweger@bsu.edu Associate Members Australasian Double Reed Society (ADRS) British Double Reed Society(BDRS) Chinese Association of Bassoon (CAB) Finnish Double Reed Society(FDRS) IDRS-Deutschland Japan Bassoon Society Japan Oboe Association Mägyar Fàgottos tarsasag (MAFAT) of Hungary Viennese Oboe Society (Gesellschaft der Freunde der Wiener Oboe) L Association Francaise du Hautbois (French Oboe Society) L Association bassons (French Bassoon Society) FagotClub Nederland

3 THE DOUBLE REED 1 THE DOUBLE REED Quarterly Journal of the INTERNATIONAL DOUBLE REED SOCIETY VOL. 30 NO. 3 Ronald Klimko and Daniel Stolper, Editors 2007 International Double Reed Society ISSN Designed by Edward Craig Ecraig3 Graphic Design Baltimore, MD U.S.A. Printed by The J.W. Boarman Company Baltimore, MD U.S.A.

4 2 TABLE OF CONTENTS ON THE COVER: Carte-de-visite with a photograph of Ludwig Milde, c From the archives of the Prague Conservatory of Music. See David McGill s feature article about Milde on page 71 of this issue. (Ed. note: A carte-devisite was an ubiquitous calling card in the 19th Century, much like a business card today.) Table of Contents Vol 30 No.3 Honorary Members th Annual Double Reed Conference, Brigham Young University, Provo, Utah, July 22-26, Sponsor-a-Member Martin Schuring President s Message Nancy Ambrose King Report of the Executive Secretary/Treasurer Norma Hooks The 2008 Fernand Gillet Hugo Fox Bassoon Competition The First IDRS Young Artists Oboe Competition IDRS 2007 Officer Election Nominee Biographies Photographs from IDRS 2007, Ithaca, New York Albert Markel More Photographs from IDRS 2007, Ithaca, New York Bill Woodward More Photographs from IDRS 2007, Ithaca, New York David Weiss Lewis Hugh Cooper ( ) Tributes to Lewis Hugh Cooper Jeffrey Lyman and Mark Clague CURRENT EVENTS Obituaries John H. Minsker ( ), Jack Spratt ( ), Robert Guyn McBride ( ), Donald Lee Hefner ( ), Jenny Sengpiel ( ) IDRS 44 Charles Robert Reinert Elected to IDRS Honorary Membership Shortly Before his Death ( ) Alan Goodman Norman Herzberg Memorial Concert Benjamin and Jeannie Kamins A Tribute to Norman Herzberg Scott Walzel

5 THE DOUBLE REED Fernand Gillet Hugo Fox Oboe Competition Rebecca Henderson Oboists in the News Dan Stolper Bassoonists News of Interest Ronald Klimko 13th Annual Northwest Oboe Seminar Victoria Racz Masterclasses with Milan Turkovic: A Report John Steinmetz Boston Woodwind Society s Fifth Annual Double Reed Day Matthew Ruggiero Double Reeds and their Instruments Investigated at Edinburgh Conference James B. Kopp The Fulbright Experience: Life as an American Oboist Abroad Part III Merideth Hite Concert Review: Tiny Alligator Large Band Barrick Stees ARTICLES Milde Has a Face! David McGill Ask the Doctor William J. Dawson, M.D. Contemporary Oboe Music from the Moravian Region of the Czech Republic ( ) Marlen Vavříková Contributors Advertisers Index

6 4 HONORARY MEMBERS Günter Angerhöfer (1926) Lady Evelyn Barbirolli (1911) Gerald Corey (1934) Bernard Garfield (1924) Alfred Genovese James Laslie (1923) Honorary Members Humbert J. Lucarelli (1937) Ivan Poushechnikov (1918) Mordechai Rechtman (1926) Lowry Riggins (1930) Roland Rigoutat (1930) Louis Rosenblatt (1928) Matthew Ruggiero (1932) Ray Still (1920) Daniel Stolper (1937) Laila Storch (1921) K. David van Hoesen (1926) William Waterhouse (1931) President s Award: Peter Klatt (Industry Liason), Jim Prodan (Archivist), Noah Knepper (Founding Member) D eceased H onorary M embers Maurice Allard ( ) Bert Gassman ( ) Dr. Paul Henry Lang ( ) Wayne Rapier ( ) Philip Bate ( ) Fernand Gillet ( ) Lyndesay Langwill ( ) Charles Robert Reinert ( ) Robert Bloom ( ) Harold Goltzer ( ) Alfred Laubin ( ) Frank Ruggieri ( ) Gwydion Brooke ( ) Ralph Gomberg ( ) John Mack ( ) Sol Schoenbach ( ) Victor Bruns ( ) Leon Goossens, CBE ( ) Stephen Maxym ( ) Leonard Sharrow ( ) Donald Christlieb ( ) George F. Goslee ( ) Robert M. Mayer ( ) Jerry Sirucek ( ) Lewis Hugh Cooper ( ) E. Earnest Harrison ( ) John Minsker ( ) Louis Skinner ( ) John de Lancie ( ) Norman H. Herzberg ( ) W. Hans Moennig ( ) Robert Sprenkle ( ) Robert De Gourdon ( ) Cecil James ( ) Frederick Moritz ( ) Ferdinand Del Negro ( ) Benjamin Kohon ( ) Karl Öhlberger ( ) Willard S. Elliot ( ) Simon Kovar ( ) Fernand Oubradous ( )

7 THE DOUBLE REED 5

8 6 37TH ANNUAL DOUBLE REED CONFERENCE, BRIGHAM YOUNG UNIVERSITY PROVO, UTAH, JULY 22-26, 2008

9 THE DOUBLE REED 7 Call for Proposals July 22 26, 2008 Presentation Guidelines Call for Proposal forms may be completed online or downloaded at the IDRS 2008 Web site: Please refer to proposal guidelines on the Web site. The artistic committee of IDRS 2008 requests that any individual or group interested in appearing at the 37th Annual 2008 Conference of the International Double Reed Society submit a written proposal of participation. There are three presentation categories: Artist Recital, Lecture/Master Class/Panel Discussion, and Avocational Series. Artist Recital Recital proposals may be for a full program of minutes, a half program of minutes, or a single piece to be performed on a compilation program. Due to the high volume of proposals anticipated, performers are strongly encouraged to consider half programs or single-piece proposals. Accompanists will be available upon request. Please be concise and specific in proposals. Presenters must register for the conference and are not paid to appear by the IDRS, nor will expenses be reimbursed. If presenters are sponsored, they may not advertise their sponsors from the stage. Lecture/Master Class/Panel Discussion To propose a lecture or panel discussion, please submit a title and concise description of the topic. Lectures and panel discussions may be up to 50 minutes in length. To propose a master class, please submit a title and concise description of the master class topic. Please request either a 50 minute or 90 minute time allotment. Avocational Series We are excited to continue this series. The IDRS recognizes that there are many talented double reed players who have chosen careers in fields other than music. The committee requests proposals by such players for either a single piece to be performed on a compilation program, or for roundtable discussions on topics relevant to the nonprofessional. If requesting a performance, please submit a live CD of a recent performance, including program information and total performance time. If requesting a roundtable discussion idea, please submit a title, concise description, and requested time allotment. All completed proposals must be received by December 1, Proposals with incomplete information will not be considered. Proposals may be completed online or mailed, submitted via in Microsoft Word format as an attachment, or faxed. Please submit proposals or questions to: IDRS 2008 Phone: (801) HCEB Fax: (801) Provo, UT idrs2008@byu.edu Web:

10 8 37TH ANNUAL DOUBLE REED CONFERENCE, BRIGHAM YOUNG UNIVERSITY PROVO, UTAH, JULY 22-26, 2008 Call for Proposals July 22 26, 2008 Artist Recital, Avocational Series Performance Call for Proposal forms may be completed online or downloaded at the IDRS 2008 Web site: Please refer to proposal guidelines on the Web site. Name(s) of Individual(s) or Group Affiliation Street Address City State/Province Zip Code/Postal Country ( ) ( ) Phone Fax Type of Event: Artist Recital Avocational Series Performance Title of Event: For all works to be performed, please provide the following: title, composer, composer dates, instrumentation, exact duration, publisher, and any audio/visual equipment needed. I am requesting a pianist or other instrumentalist(s) for the performance. Instrumentation requested: I am requesting a piano tuned to: A = 440 A = 443 Please provide a brief biography of each individual and/or group to be included in the presentation. Limit the biographies to 100 words each. All completed proposals must be received by December 1, Proposals with incomplete information will not be considered. Proposals may be completed online or mailed, submitted via in Microsoft Word format as an attachment, or faxed. Please submit proposals or questions to: IDRS 2008 Phone: (801) HCEB Fax: (801) Provo, UT idrs2008@byu.edu Web:

11 THE DOUBLE REED 9 Call for Proposals July 22 26, 2008 Lecture, Master Class, or Avocational Panel Discussion Call for Proposal forms may be completed online or downloaded at the IDRS 2008 Web site: Please refer to proposal guidelines on the Web site. Name(s) of Individual(s) or Group Affiliation Street Address City State/Province Zip Code/Postal Country ( ) ( ) Phone Fax Type of Event: Lecture Master Class Avocational Panel Discussion Title of Event: Please submit a brief description of the proposed topic. Limit the description to 100 words. Please provide a brief biography of each individual and/or group to be included in the presentation. Limit the biographies to 100 words each. All completed proposals must be received by December 1, Proposals with incomplete information will not be considered. Proposals may be completed online or mailed, submitted via in Microsoft Word format as an attachment, or faxed. Please submit proposals or questions to: IDRS 2008 Phone: (801) HCEB Fax: (801) Provo, UT idrs2008@byu.edu Web:

12 10 IDRS SPONSOR-A-MEMBER PROGRAM IDRS Sponsor-a-Member Program Martin Schuring Tempe, Arizona The IDRS established a Sponsor-a-Member program in 1995 for the purpose of enabling double reed players from around the world to participate and enjoy the opportunities of membership in our organization through the sponsorship of current members. The primary purpose of the Sponsor-a-Member program is to attract to our society double reed players who because of economic circumstances would not otherwise be able to join the IDRS. This is an important outreach mission of our society. Since the program s inception, sponsored members from the Peoples Republic of China, Vietnam, Lithuania, Ecuador, El Salvador, Romania, Poland, the Czech Republic, Egypt, Ukraine, Tartartstan, Russia, and South Africa have become IDRS members through the generosity of sponsors. An additional aspect of the program has been the exchange of letters and communications between sponsors and new members. In coordination with Norma Hooks, Executive Secretary, I will be pairing sponsors with potential adopted members. IDRS will honor sponsors requests for specific adopted members as well. Anyone may become a sponsor by requesting an adopted member and paying one year s dues for that individual. Sponsors may elect to pay an additional fee for first-class postage so that publications arrive more promptly. IDRS is thankful to all sponsors who have participated in this worthwhile project in the past, and looks forward to new sponsors becoming active in the program. If you are interested in sponsoring a member, or know of a potential member who needs assistance, please contact me for more information at: Martin Schuring School of Music 0405 Arizona State University Tempe, AZ mschuring@asu.edu SPONSORS ARGENTINA David Sogg ARGENTINA Glenn Harman ARGENTINA Heidi Huseman Dewally ARGENTINA John Towle ARGENTINA Laurel Kuxhaus ARGENTINA Peter Zeimet ARGENTINA Rebecca Nagel ARGENTINA Shirley Robertson BRAZIL Barbara Orland BRAZIL Harold Emert CHINA (P.R.O.C.).... Donald Vogel CHINA (P.R.O.C.).... Jim Prodan CHINA (P.R.O.C.).... LaRae Croft CHINA (P.R.O.C.).... Norma Hooks CHINA (P.R.O.C.).... Patty Mitchell CHINA (P.R.O.C.).... Sherry Sylar COSTA RICA Gerald Corey CROATIA Nora Schankin CUBA Marsha Burkett CUBA Nigel Robbins CZECH REPUBLIC... Aaron Hilbun CZECH REPUBLIC... Loretta Thomas DENMARK Walter Deinzer ECUADOR Rebecca Henderson ENGLAND, UK Dan Stolper GUATEMALA Terry Ewell JAPAN Gerald Corey KAZAKHSTAN Bill Chinworth POLAND James & Kimberly Brody POLAND Margaret Marco POLAND Phil Feather RUSSIA Ellen Sudia-Coudron RUSSIA Marc Fink RUSSIA Richard & Isabelle Plaster RUSSIA Richard Killmer RUSSIA Stepháne Levesque SOUTH AFRICA..... Linda Strommen, IU Oboe Studio SOVENIA Christa Garvey SPAIN Craig Streett UKRAINE David Bell UKRAINE Fredrick Cohen VIETNAM Steve Welgoss VIETNAM Troy Davis

13 THE DOUBLE REED 11 Message from the President Nancy Ambrose King Ann Arbor, Michigan The summer of 2007 was filled with a myriad of events for double-reed enthusiasts worldwide, starting with the conference held in Ithaca, New York on the campus of Ithaca College. This year s conference was one of the most successful on record, bringing together close to 1400 oboists, bassoonists, composers, retailers, and many accompanying family members at this beautiful location. As our Society continues to prosper, and the number of double-reed players grows worldwide, our conferences continue to expand in both size and scope. This year, we had double-reeders attend our conference from Kazakhstan, New Zealand, Australia, China, Japan, Brazil, Russia, and of course from throughout Europe. It is exhilarating to see an increasing representation of this diverse cross-section of the doublereed population attending our annual conferences. We currently have IDRS members in close to 70 different countries across the globe, representing six of the seven continents (we re still hoping to see a member from Antarctica)! It was remarkable to see us all converge on Ithaca, New York, and watch the small up-state New York town transform into a global metropolis of oboists and bassoonists! It is wonderful that our conferences attract members from across the world, but also it is immensely gratifying to see the diversity of disciplines represented in our Society. Of course we have a great many orchestral musicians among our ranks, and also many university oboe and bassoon professors, but the health of our organization is also evidenced by the wide variety of conference attendees who bring their unique perspectives and talents to the Society. It is this confluence of ideas, of our areas of expertise, and our mutual respect for our instruments, their music, and their importance in each of our lives that brings such energy and vitality to our Society and its conferences. This year s conference had a record number of students attending and participating in the musical offerings. We heard oboe and bassoon music in every style imaginable - jazz, baroque, avant-garde, and everything in between - and were honored by the presence of several composers who attended the premiere performances of their works. We learned new approaches to the pedagogy of young students and heard their instructors enlightening each other with their newfound ideas for teaching beginners. I was approached by members eager to help our less fortunate double reed colleagues, with ideas for reaching out to both student and international members who can t afford instruments and supplies. There was excitement at the new products being offered by our exhibitors, who never stop looking for ways to assist us in our reed-making pursuits, our quest for new compositions, our search for the perfect instrument or the perfect bag to carry it in, our battles with repetitive-use strain the list goes on and on. We all highly value the members of IDRS who are avocational double-reed players, who so willingly give of their time and experience as representatives of disciplines outside the musical arena. You are an invaluable resource to us all in so many ways. As an example, our own bassoonist/hand surgeon Bill Dawson was called on to diagnose and advise several injured IDRS performers during our Ithaca conference, generously giving of his time and medical knowledge as he frequently does in his articles for The Double Reed. Not only do our avocational members benefit from the performances they hear at our conferences, it is clear that we are all enriched by the broad spectrum of professions and disciplines where they excel in their non-double reed time. I am so proud to be the President of this cohesive, yet diverse and vibrant group of IDRS members and profusely thank our wonderful hosts of the Ithaca conference, Paige Morgan and Lee Goodhew Romm. I look forward to our next conference, in Provo, Utah in July and hope to see you all there!

14 12 REPORT OF THE EXECUTIVE SECRETARY/TREASURER Report of the Executive Secretary/Treasurer Norma R. Hooks Finksburg, Maryland IDRS ITHACA, NEW YORK If you missed our conference at Ithaca College this summer, you missed another outstanding event. BRAVA!!! to Paige Morgan and Lee Goodhew Romm. You did an outstanding job of putting together this conference. I m sure everyone found something to love in the wide variety of performances. You were even able to pull together the weather so that the rain fell while we were sitting in concert halls (mostly). I m sure everyone would tell you that the conference couldn t have happened without the Pink Shirts. Martha Weber and her team of volunteers went over and above the call of duty to make all of us feel at home. I would be remiss if I didn t add David Prunty to this list. Dave is the staff coordinator who helped us arrange all of our exhibit venues, as well as everything that happened in the Student Center. Thanks so much Dave! You were a pleasure to work with. LOST AND FOUND! I have a box of various items that were lost and left at the conference. Please contact me if you have left anything behind. I have several pairs of glasses, lots of CDs, a cell phone, an oboe method book, a ring and a gold name badge for someone named Tyree. If you lost a necklace at last year s conference, it s still hanging in my office. If you have lost anything at our conferences, please give me a call and check to see if it s here. ( ) LOSING MORE OF THE OLD GUARD With each passing day we seem to lose more of the older generation of fine oboe and bassoon players. Over the past couple months Honorary members, John Minsker and Robert Reinert, have died. John Minsker was for many years the English hornist of the Philadelphia Orchestra. Robert Reinert was selected at our conference in Ithaca to be one of this year s Honorary members. A few weeks later he was to celebrate his 94th birthday, but alas, that was not to be. Another well known figure in the double reed world was also taken from us this summer at age 91, Jack Spratt. Jack established the first exclusively woodwind mail order business and shop, which he ran for nearly 70 years, as well as a publishing company. His catalog, the Reed Player s Handbook, was a true treasure, not just a list of products. There were articles about prominent double reed players, tips on reed making and an incredible variety of cartoons and interesting facts. Until recently, Jack was an active participant in the Glickman-Popkin Bassoon Camp. He was a good friend and one of the most fascinating characters I have met. He will be missed. CHANGING ADDRESSES, R ING ISSUES If you move, please send me your change of address as soon as possible, especially if you live outside the United States. If your Double Reed is returned to me, I have to find your new address and send it back to you. The US post office has eliminated surface mail for international mailings. If you live in Canada or Mexico, now it costs us $9 US to r your issue. Other countries cost $11. Since our Double Reed costs approximately $10 per copy, you can see that having to r your issue will cost more than you pay in dues. We re trying very hard not to raise mailing costs to you, so please keep us in mind when you plan a move. This cost for mailing also hits us when you renew your membership late and I have to send back issues to you. The IDRS works on a calendar year for membership. No matter when you join (renew) your next year s dues is due at the first of the year. Please try to help us out by not procrastinating. We want you to be able to take advantage of all the Society has to offer. COMPETITIONS-FERNAND GILLET/HUGO FOX, IDRS YOUNG ARTISTS COMPETITION By now you have found the inserts of the competition brochures. You can download additional copies from our website:

15 THE DOUBLE REED 13 FERNAND GILLET-HUGO FOX 2008 BASSOON COMPETITION July 22-26, Provo, Utah, USA The International Double Reed Society is pleased to announce the 28th annual performance competition for oboists and bassoonists. The competition is dedicated to the memory of the late master oboist and Honorary member of the IDRS, Fernand Gillet, and to the memory of master bassoonist Hugo Fox, principal bassoonist of the Chicago Symphony Orchestra from First prize for the 2008 competition is an $8,000 US cash award. The second prize is a $3,000 US cash award. Other finalists will receive a $1000 US cash award. 1. ELIGIBILITY. Bassoonists who have not reached their 31st birthday before the date of the final audition (July 25, 2008) are eligible to enter, but no previous first prize winner of the Fernand Gillet-Hugo Fox Competition is eligible to participate. All entrants must be current members of the IDRS. For membership information, contact: Norma Hooks, Executive Secretary/Treasurer International Double Reed Society 2423 Lawndale Rd. Finksburg, MD USA Telephone: (410) Fax: (410) norma4idrs@verizon.net 2. LEVELS OF COMPETITION. There are two levels of competition. A. Preliminary Stage - All entrants must send a completed application form; an application fee of $75 US payable to IDRS by check drawn against a US bank or by credit card (VISA and Mastercard only); and a cassette tape, CD, or mini-disc containing the entire repertoire list, performed in the order listed, to the competition chair. The recording should include: 1. Carl Maria von Weber Concerto for Bassoon and Orchestra, op. 75 (recommended edition: Universal Edition UE 18131) 2. Pierre Max Dubois Sonatine Tango for Bassoon and Piano (Billaudot G 3826 B) 3. Johann Sebastian Bach Partita, BWV 1013 trans. for Bassoon Solo (Universal Edition UE 18135) with repeats 4. Jacobo Ficher Sonata para Fagot y Piano (TrevCo Music TCO 3107) To be considered, all application materials must be received on or before April 1, Entries should be mailed to: Keith Sweger, Chair IDRS Gillet-Fox Competition for Bassoon School of Music - MIB125 Ball State University Muncie, IN USA Telephone: (765) Fax: (765) ksweger@bsu.edu B. Final Stage - Up to five finalists will be selected by the competition committee, with the results announced by May 15, If selected for the finals, all applicants must agree to appear and perform in the finals. The final round will be heard by a distinguished panel of judges in an open concert at the International Double Reed Society meeting in Provo, Utah, USA, July 22-26, Repertoire for the final round will be the same as that for the preliminary round tape, with the judges selecting portions for use in the competition. A professional accompanist will be provided for the contestants, however, contestants may elect to use an accompanist of their own choosing at their own expense. The decision of the judges is final. The judges may elect to award fewer prizes than outlined above or no prizes. IDRS will provide meals and lodging for each of the finalists for the duration of the Conference. The winner of the competition will agree to perform the entire Weber Concerto on a concert during the 2008 IDRS Conference. Please complete and return with payment and recording to the above address: Credit Card Number: Expiration Date: / V code: Name on Card: Signature: 3 digits on signature area Fax: Date of Birth: Education: Bassoon Teachers: TYPE or PRINT THE FOLLOWING INFORMATION Name: Professional Experience: Address: I certify that the enclosed CD contains my own, unedited, performance. If selected, I agree to perform in the final round competition. I also certify that I am a current member of the IDRS. Telephone: Signed Find the complete Fernand Gillet-Hugo Fox Competition brochure and registration form in English, Deutsch, Français, Español, on the idrs website at:

16 14 THE DOUBLE REED YOUNG ARTIST OBOE COMPETITION 2008 July 22-26, Provo, Utah, USA The International Double Reed Society is pleased to announce the first annual performance competition for young artists. First prize for the 2008 competition is a $2000 US cash award. The second prize is a $1000 US cash award. The third prize is a $500 US cash award. 1. ELIGIBILITY. Oboists who have not reached their 22nd birthday by the date of the final round of the competition (July 24, 2008) are eligible to enter, but no previous first prize winner of the IDRS Young Artist Competition is eligible to participate. All entrants must be current members of the IDRS. For membership information, contact: Norma Hooks, Executive Secretary/Treasurer International Double Reed Society 2423 Lawndale Rd. Finksburg, MD USA Telephone: (410) Fax: (410) norma4idrs@verizon.net 2. LEVELS OF COMPETITION. There are two levels of competition. A. Preliminary Stage - All entrants must send a completed application form; an application fee of $35 US payable to IDRS by check drawn against a US bank or by credit card (VISA or Mastercard only); and a CD containing the entire repertoire list, performed in the order listed, to the competition chairman. The recording should include: 1. G. Ph. Telemann Sonata XI in e minor from Essercizii Musici (Schott OBB23) 2. W. A. Mozart Concerto, KV 314. Mvts. 2 & 3, with cadenzas (edition of the entrant s choice) 3. Émile Paladilhe Concertante (edition of the entrant s choice) 4. Hendrick Andriessen Ballade (Donemus 0013) To be considered, all application materials must be received on or before April 1, Entries should be mailed to: Timothy Clinch, Chair IDRS Young Artist Competition for Oboe School of Music MIB132 Ball State University Muncie, IN USA Telephone: (765) Fax: (765) tclinch@bsu.edu B. Final Stage - Three finalists will be selected by the competition committee, with the results announced by May 15, If selected for the finals, all applicants must agree to appear and perform in the finals. The final round will be heard by a distinguished panel of judges in an open concert at the International Double Reed Society meeting in Provo, Utah, USA, July 22-26, Repertoire for the final round will be the same as that for the preliminary round recording, with the judges selecting portions for use in the competition. A professional accompanist will be provided for the contestants; however, contestants may elect to use an accompanist of their own choosing at their own expense. The decision of the judges is final. The judges may elect to award fewer prizes than outlined above or no prizes. IDRS will pay the registration fee for the entire conference week for each finalist. The winner of the competition will agree to perform a half-hour program selected from the competition repertoire on a concert during the 2008 IDRS Conference. Please complete and return with payment and recording to the above address: Credit Card Number: Expiration Date: / V code: Name on Card: Signature: 3 digits on signature area Fax: Date of Birth: Education: Oboe Teachers: TYPE or PRINT THE FOLLOWING INFORMATION Name: Professional Experience: Address: I certify that the enclosed CD contains my own, unedited, performance. If selected, I agree to perform in the final round competition. I also certify that I am a current member of the IDRS. Telephone: Signed Find the complete Young Artist Competition brochure and registration form in English, Deutsch, Français, Español, on the idrs website at:

17 THE DOUBLE REED 15 IDRS 2007 OFFICER ELECTION Nominee Biographies PRESIDENT Nancy Ambrose King, oboe, is the first-prize winner of the Third New York International Competition for Solo Oboists, held in She has appeared as soloist throughout the United States and abroad, including appearances with the St. Petersburg, Russia, Philharmonic, the Janacek Philharmonic in the Czech Republic, the Festival Internacionale de Musica Orchestra in Buenos Aires, the New York String Orchestra, and the Sinfonia da Camera. She has recorded three solo CDs for Boston Records and two concerto releases on the British label Cala Records. She can also be heard in performances on the Athena, Arabesque, Naxos, and CBS Masterworks labels. She was a finalist in the Fernand Gillet Oboe Competition held in Graz, Austria, and has taught and performed in the Sarasota, Bowdoin, Idyllwild, Marrowstone and Hot Springs Music Festivals. She is currently Associate Professor of Oboe at the University of Michigan. FIRST VICE PRESIDENT Martin Schuring has held orchestral positions with the Hong Kong Philharmonic, The Florida Orchestra and the Phoenix Symphony Orchestra. He has been a member of the Grand Teton Music Festival Orchestra since Recordings can be heard on Philips, Koch International, MMC, and Summit Records, including Rustiques, a new CD of reed trio music. Martin Schuring is editor of the Barret Oboe Method published by Kalmus. He has performed at every conference of the International Double Reed Society since 1997, and serves on the IDRS Executive Board, holding the office of First Vice President. He co-hosted the 1998 Conference of the International Double Reed Society at Arizona State University where he is Associate Professor of Oboe. Mr. Schuring studied at the Curtis Institute of Music with John de Lancie. SECOND VICE PRESIDENT George Caird studied at the Royal Academy of Music and Cambridge University. He worked with many of London s major orchestras including the London Philharmonic, BBC Symphony and City of London Sinfonia and particularly as a member of The Academy of St. Martin in the Fields from 1984 to He has also been a member of a number of leading ensembles, notably as a foundermember of The Albion Ensemble. George has toured for the British Council in China, the Far East, India, Egypt, Tunisia and Canada as well as performing in concerts and broadcasts in most European countries. He was appointed Professor of Oboe at the Royal Academy of Music in 1984 where he became Head of Woodwinds in 1987 and Head of Orchestral Studies in Since September 1993, George has been Principal of UCE Birmingham Conservatoire. He will host the 2009 IDRS Conference in Birmingham, England.

18 16 IDRS 2007 OFFICER ELECTION: NOMINEE BIOGRAPHIES SECRETARY Keith Sweger, Professor of Bassoon at Ball State University, is Principal Bassoon with the Muncie Symphony Orchestra, contrabassoon with the Fort Wayne Philharmonic and bassoonist with the Musical Arts Quintet. He performs regularly with the Indianapolis Symphony and the Indianapolis Chamber Orchestras and has recorded for the Capstone, Northeastern, Alicia and New World labels. Dr. Sweger has presented at conferences of the International Double Reed Society, College Music Society, Music Educators National Conference, National Association of College Wind and Percussion Instructors, Music Teachers National Association and SCI Inc., and at colleges and universities throughout North America and Asia. Dr. Sweger co-hosted the 2006 Conference of the International Double Reed Society at Ball State University and is currently Chair of the Gillet-Fox International Bassoon Competition. MEMBER AT LARGE (OBOE) Barbara Herr Orland, Assistant Principal Oboist of the Saint Louis Symphony, is originally from Paxinos, Pennsylvania where she began her oboe studies with Randy and Ralph Wolfgang. She received her BM from Oberlin Conservatory where she was a member of James Caldwell s first class of students. She has also studied extensively with Louis Rosenblatt, and was attending graduate school at Temple University when she was appointed to her current position. Barbara performs regularly in the Saint Louis Symphony Community Partnership Program, and also serves as Principal Oboist of Opera Theatre St. Louis. She is a faculty member of Washington University and Saint Louis University. MEMBER AT LARGE (BASSOON) Phillip Kolker has been Principal Bassoon of the Baltimore Symphony since He has also been a member of the Minnesota Orchestra, the Milwaukee Symphony, the Sante Fe Opera Orchestra and the Rochester Philharmonic. Mr. Kolker is a faculty member of the Peabody Conservatory of Music where he also serves as Chair of the Department of Orchestral Instruments. He has been a visiting professor at the Eastman School of Music, and has presented master classes at the Curtis Institute, Eastman, the National Orchestral Institute, the Glickman-Popkin Bassoon Camp, in Korea and Taiwan. He has been a featured recitalist at several International Double Reed Conventions. Orchestral recordings with the Baltimore Symphony include the Vanguard, Telarc, London, Sony and Argo labels. AB: University of Rochester, MM and Performer s Certificate: Eastman School of Music.

19 THE DOUBLE REED 17 Photographs from IDRS 2007, Ithaca, New York Albert Markel, Photographer Hampton, Virginia THE PERFORMANCES... CURRENT EVENTS 17

20 18 THE DOUBLE REED CURRENT EVENTS 18

21 THE MASTER CLASSES AND CLINICS... THE DOUBLE REED 19 CURRENT EVENTS THE EXHIBITS... 19

22 20 THE DOUBLE REED CURRENT EVENTS 20

23 THE DOUBLE REED 21 AND OF COURSE THE ATTENDEES. CURRENT EVENTS (Editor s Note: Al Markel s wonderful pictures of not only the Ithaca Conference, but the previous Conferences at Muncie, Austin, Greensboro, Banff, and Morgantown as well, can be seen on the internet at: ) More Photographs from IDRS 2007, Ithaca, New York Bill Woodward, Photographer Tabernacle, New Jersey 21

24 22 THE DOUBLE REED CURRENT EVENTS 22

25 THE DOUBLE REED 23 More Photographs from IDRS 2007, Ithaca, New York David Weiss, Photographer Los Angeles, California CURRENT EVENTS 23

26 24 THE DOUBLE REED CURRENT EVENTS 24

27 THE DOUBLE REED 25 CURRENT EVENTS 25

28 26 THE DOUBLE REED CURRENT EVENTS 26

29 THE DOUBLE REED 27 CURRENT EVENTS (Editor s Note: David Weiss entire collection of pictures from Ithaca can be viewed online at: 27

30 28 TRIBUTES TO LEWIS HUGH COOPER Lewis Hugh Cooper ( )

31 THE DOUBLE REED 29 Tributes to Lewis Hugh Cooper Compiled by Jeffrey Lyman and Mark Clague Ann Arbor, Michigan From JOHN MOHLER Professor Emeritus of Music (Clarinet), University of Michigan School of Music I am fortunate to have known Hugh Cooper as a teacher, a faculty colleague, and, above all and most importantly, a friend for fifty years. We first met when he arrived early for his University of Michigan School of Music teaching schedule one day and joined a group of us who were brown-bagging lunch in a faculty office. In those days the triangular route from home in Pontiac, Michigan, to Detroit for Detroit Symphony Orchestra services, to Ann Arbor, and back to Pontiac was his routine. It was immediately clear that here was a man who knew a great deal about many things (including how to install cable for an outdoor lighting project then under discussion!). Over the intervening years this breadth of knowledge and his generous personality for sharing it became increasingly more evident and appreciated. Hugh is a teaching legend. It was thrilling to hear the many testimonials offered at the recent celebration of his life. As with everything else he did, his dedication was absolute. The stories of the threehour lessons are all true. Once asked when he scheduled lunch, he responded that there s a lot of time for lunch on the days I m not here! When Hugh left the DSO to join the School of Music faculty fulltime, this dedication never waned; he became fully invested in school functions which also included faculty woodwind quintet performance. His acoustics course, continued right up to retirement, was one of the most unique offerings available. His professional performance experience plus his personal scholarly efforts which included a close association with Hans Moennig (for many years the master woodwind technician in Philadelphia) provided a wonderful background for his becoming the master teacher we will always appreciate. During our retirement years, my wife and I were able to get to know both Nan and Hugh much better. There was always a story unheard before, many recollections shared, and a lot of good humor. Hugh was an inspiration in so many ways and a constant source of encouragement. He loved people and was loved in return. Hugh, you will live in our lives through our memories of you and the voice of your publications, yet all of us will greatly miss you. Thank you for allowing us to experience your artistry and generous personality. From JEFFREY LYMAN Associate Professor of Bassoon, University of Michigan School of Music, Theatre and Dance You can t take it with you, or so we re told. Knowing this, Hugh Cooper made some careful decisions about what he knew he would leave behind, and thanks to his typically thorough planning, bassoonists everywhere will continue to benefit from the generosity of spirit that characterized his meetings with students and colleagues throughout his life. No one who ever visited the Coopers at their home was able to leave their basement without seeing the cabinet, which housed Hugh s collection of Heckel and Püchner bassoons. Upon his passing, many bassoonists must surely have first thought about what would become of those instruments, and of course Hugh already had a strategy for getting the bassoons out into the musical world. However, far fewer people knew about his music library, as he was so much better known as a technician, reed maker and author. Just as he was often described as a treasure trove of information about the technical aspects of the bassoon, he had another treasure tucked away in yet another filing cabinet. About a year or two before he passed away, Professor Cooper donated this extensive library to the University of Michigan School of Music. In the summer of 2006, he called me in Arizona, just before I moved to Ann Arbor, to ask me to be sure that the library was being taken care of, and more importantly to make sure that students would be able to have access to what he had donated. Over the course of the past year, U of M Music Librarian Charles Reynolds and his staff helped sift through the donation and in-

32 30 TRIBUTES TO LEWIS HUGH COOPER Hugh Cooper and his wife (r.) and the late Leonard Sharrow and his spouse (l.) corporated much of the collection into the holdings of the U of M Library. Some of the items can now be found on-line by searching the catalog with a keyword search on the name Hugh Cooper. However, a great deal of the library was not incorporated, but was instead given directly to the bassoon studio, where it is my privilege to care for it now. While cataloging the contents I felt as if I was back in the same room with Hugh, but instead of having a lesson on reed theory or bassoon repair, we finally had the chance to talk exclusively about the music he loved, and not only his favorites but those of his great friend Charles Sirard, his colleague for many years from the Detroit Symphony. It became very clear upon opening the boxes and boxes of music that were delivered to my studio that Hugh Cooper was as much a collector of music as he was of bassoons, but for some reason he never made a big deal about the library. Some of the highlights of the Cooper Library include a late-19th century reprint of the original André edition of the Mozart Bassoon Concerto, first editions of the Milde Concert Studies and many of the Paris Conservatory contest pieces, and even the first printing of the Saint-Saëns Sonata, which proves once and for all that the end of the first movement MUST begin on low D and end on high b, without the optional 8va in the penultimate bar of the solo part. Besides first editions, there are also meticulously prepared collections of handwritten and printed orchestral excerpts, among them the first version of the Stadio book, which had far more excerpts than what you will find in the current edition. Many of the bassoon solo works are sprinkled with fingerings from Hugh Cooper lecturing to the IDRS about bassoon maintenence and repair

33 THE DOUBLE REED 31 I d been playing in the TS. After I told him he said something like: You don t want to teach at a school that will require you to have a DMA. You have the equivalent in professional experience. A good school will recognize that. I was deeply grateful for his judgment. His willingness to freely share his knowledge is a characteristic that I have tried to emulate. From GERALD COREY IDRS Honorary member and co-founder Hugh discussing bassoon acoustics following an IDRS lecture/demonstration. the famous Cooper Book, all in that familiar angular handwriting, and of course there are tons of pages torn from yellow legal pads. Besides all the standard serious repertoire, he also had well-worn copies of every single arrangement made by the Bubonic Bassoon Quartet, and many works composed for him, some by students at the U of M, others by friends from around the world. There are autographed copies of many classics, including the Kovar Daily Studies with a dedication by Simon Kovar, to cite only one. Everyone contributing tributes to this issue of The Double Reed has mentioned Hugh Cooper s dedication as a teacher, and that dedication continues after his death through his library. A listing of the contents of the library is published on-line at the University of Michigan Bassoon Studio web page. I hope that former students and bassoonists who never had the opportunity to work with Hugh Cooper will take advantage of the collection, and get to know this great man through this generous gift. Hugh Cooper was my bassoon teacher/mentor at a very young 18 years of age - as I began working with him on bassoon and music and acoustics in 1952 before graduating from Ann Arbor, Michigan High School. Hugh gave me the most valuable lesson one afternoon in that year, when I began playing one of the E. Bozza Etudes Journaliers in his studio at Harris Hall. After I played a few lines, Dr. Cooper said, I am taking my chair and moving out into the hall and down a piece. I want you then to play to me so I can hear you out there. I have used that method of improving the sense of projecting the bassoon tone over a large area, with umpteen students over the years I have taught bassoon. Every time I would speak to Dr. Cooper on the telephone, he would give me such brilliant and complete explanations of how to solve any problem I had encountered, all with his typical great enthusiasm and good humor. What a treasure of a superb teacher he always was for legions of fine artist professionals. I miss talking with him every day, but remember his effective words in every thing I do in music today. From CHRISTOPHER WEAIT Emeritus Professor of Music, Bassoon, The Ohio State University School of Music Before I met Hugh I know about him because my college teacher C. Robert Reinert, his friend of many years, spoke often about him. I got to know him through many IDRS meetings. At one, I had an unforgettable meeting with him at breakfast. At the time I had been in the Toronto Symphony about 15 years. I was thinking about the future. I asked him should I obtain a DMA degree in order to get a university teaching job. He asked me how long Hugh (l) and another distinguished IDRS Honorary Member, Don Christlieb, in Tallahassee, Florida, 1983.

34 32 TRIBUTES TO LEWIS HUGH COOPER Hugh and wife (l.) along with the Püchners and a few other bassoonists at the Püchner Anniversary reception in Frankfurt, Germany. A very distinguished bassoon quintet: (l to r) Hugh Cooper, Bill Waterhouse, Steve Paulson, Klaus Thuneman, and Sol Schoenbach. From DANIELLE MAYS Hollywood, California, Observatory Orchestra, Studio Musician, and Professor Cooper s last student at the University of Michigan How does one even begin to speak about a man like Lewis Hugh Cooper? He has touched so many of our lives in such beautiful ways. To say that he loved teaching is such an understatement. When I auditioned for him in early 1995 my audition lasted about twenty minutes. Professor Cooper then declared that I would be his next project and proceeded to sit and work with me for the next eight hours! He never even got up to get a glass of water or anything else for that matter! It was like a fire had been suddenly lit inside him. He had a mission. He saw something in me that I couldn t see in myself. He was determined to help me see it so that I could enjoy music and the art of bassoon playing the same way that he did. This is how I saw him treat everyone. He gave of his time

35 THE DOUBLE REED 33 and knowledge so freely and with so much joy that you found yourself becoming just as ecstatic over the simplest things. I could go on and on about his genius, his kindness, the way he could make you laugh and a hundred other wonderful things and it would never do him justice. If you ever had the pleasure of meeting him or the even greater pleasure of studying with him then you already know so I will keep this short and sweet. Goodbye old friend. You will be dearly missed. I m sure you are somewhere playing the bassoon with the greatest of ease no longer bound by the difficulties of this world. Someday I will sit next to you and play again and it will be an honor. May God bless you and everyone who has been touched by you. From JAMES A. WARING Violinist and former member of the Detroit Symphony Orchestra Hugh Cooper was a friend of mine. We first met in 1953 which was my first year in the Detroit Symphony. Our chairs on the stage were some distance apart since he was in the bassoon section and I was across the stage in the violin section. I really began to know Hugh when we both were elected by the musicians to be the first negotiating team to represent them at the bargaining table in the early 1960s. It was in that capacity that I discovered what a strong and brilliant leader Hugh was. Hugh was a great strategist who understood instinctively the many subtleties of the negotiation process when to stand firm and when to compromise, while at all times remaining calm with dignity and finesse. Hugh Cooper donated endless hours, days, night, and indeed years to the task of improving the quality of the Detroit Symphony Orchestra. He was a fearless and tenacious leader and a towering force for good for all the musicians and to this day his spirit appears throughout the pages of DSO history. I knew Hugh well as a friend and colleague. We were roommates on tour for many years. My memories of him are among my fondest treasures. Something is missing in my life now it must be Hugh Cooper. From ROBERT D. JORDAN DMA, Solo bassoon, USAF Band of Mid America, University of Michigan Class of 1988, Former Faculty Member: The University of Dayton, Denison University, Heidelberg College, Sinclair Community College, Tiffin University In 1986, as I neared the end of my senior year at Louisiana State University, I chose three schools to audition for graduate work. One school was on the East coast, another was a music conservatory, and the third was the University of Michigan. The auditions all took place during my spring break, and Michigan was the last one of the three. I met Mr. Cooper for the first time at 9:00am on a Friday morning. Like many young bassoonists of my generation, I considered Mr. Cooper a legend in the bassoon world, as were the other bassoon teachers that I had met and auditioned for earlier in the week. What happened on that Friday in Ann Arbor changed my life, no doubt for the better. I met a man who had a zest and love for teaching like no other individual that I could imagine, before or since. We began the morning with my prepared pieces and then moved on to the Mozart Concerto, excerpts, bassoon technique, articulation exercises, and many other bassoon and music related topics. Before I knew it, it was 5:00pm and I was walking out to the parking lot with Mr. Cooper. We had spent the entire day together, and I had just had the longest and best bassoon lesson of my life. I chose Michigan that day. I began my studies that fall and learned that Mr. Cooper scheduled his graduate students at the end of the day, so that he could have longer lessons with them. My lessons were at 3:30, and we seldom finished before 6:00. Mr. Cooper was without question one of the finest teachers in the bassoon world, but he was much more than that. He was a true mentor offering advice, perspective, and encouragement during my years of matriculation at Michigan. More importantly, that mentorship and loving relationship lasted during the decades that followed. Mr. Cooper once told me that he was not deeply religious, but that he hoped that part of his being would continue on through his students. That has most certainly been the case for me. I hope and believe that my teaching reflects the style and core of Mr. Cooper. He will be sorely missed, but his essence will remain with us for a long, long time.

36 34 TRIBUTES TO LEWIS HUGH COOPER An early picture of Hugh demonstrating the air-tightness test for a bassoon long joint. From MICHAEL DIPIETRO, MD John F. Holt Collegiate Professor of Radiology, School of Medicine, University of Michigan, and bassoonist with the University of Michigan Campus Symphony Orchestra and U of M Life Sciences Orchestra Memories and impressions of my experiences with Lewis Hugh Cooper: 1962: As a high school student in upstate New York I read about the Püchner bassoon and Hugh Cooper in The Instrumentalist magazine. 1965: February 4-8 I attended the MENC/NYS- SMA Conference in Buffalo, New York where I tried a Cooper Model Püchner bassoon at the Custom Music booth. I liked how responsive and open the bassoon seemed. I took some literature that I have copied and sent to Jeff Lyman for the Hugh Cooper Memorial site. It explained the Püchner bassoon, contained photos from Hugh and Nan s first visit to the factory, and had photos of Stephen Maxym, Sherman Walt and Arthur Kubey, as well as Hugh and the Püchners. I also included Cooper s Teacher s Guide to the Bassoon from : having been in Ann Arbor since 1982, I finally phoned Hugh who invited me to the studio in the music building. He is receptive, warm, open and cordial as though we had been life long friends. Within five minutes of my arrival at his studio he told me about IDRS, gave me a few extra back issues of The Double Reed that he had on hand along with an IDRS application. I joined IDRS that week and still consider IDRS among the most important organizations to which I belong. A short visit: My wife learned quickly that a drive over to see Coop for a few minutes would last until quite late. Hugh was a fountain of knowledge about many things, and he was always willing to share and help. It is well known that bassoonists from visiting symphonies would stop by to see Coop and have him look over their bassoon. The wee hours of the morning would come around, the bassoonist would be asleep in a chair, and Coop would be working away, trying to make the bassoon perfect. Perfectionist and Hans Moennig: Paul Nordby, noted bassoon repair person and long time colleague of Jim Laslie, another legendary bassoon repairman, once asked me at Glickman-Popkin Bassoon Camp if I ever have Coop look at my bassoon. When I replied yes, Paul stated that I was very fortunate to have Hugh s expertise so near. Coop always spoke with such reverence about Hans Moennig. Hugh said that one of his proudest days was when Moennig looked at a bassoon that he (Hugh) had repaired or voiced and said that this was great work. I heard this story from

37 THE DOUBLE REED 35 Hugh a few years ago. Even though over 50 years had passed, Hugh had a lump in his throat as he told the story and was so proud of Moennig s blessing. Torch and splinters: One time Coop was sealing the boot joint around the U tube with paraffin. I was amazed to see how he used a spatula and a propane torch to heat up the bottom of the boot so the paraffin would seep in. Coop chuckled when he saw my face as he ignited the torch and applied it to the bassoon. Obviously, he knew when to pull away before burning my bassoon. I discussed reeds with Hugh but never had the opportunity to study his hand profiling techniques with him. Once he worked on one of my reeds by cutting into it and pulling off cane, not scraping it. I couldn t believe what I saw! He explained the importance of finding the proper plane and keeping the fibers intact along the length of the blade by not compressing them. The reed played very well. The pocketknife: Although Coop owned all sorts of tools in multiples, he delighted in showing how the yellow jack knife in his pocket (also used to clean fish as he would say) and his knowledge of reed physiology were his most valuable tools. The phone calls: It was also a pleasure to speak with Hugh on the phone several times over the years. We are so grateful that Terry Ewell recorded his phone interview with Hugh a month before Hugh got sick, and that we can all hear it on the IDRS website. It is as though we are on the phone with Hugh. In later years when Hugh was no longer attending IDRS, I d phone him (as did many others) to give him a briefing on the conference. No matter how Hugh felt, he always seemed to enjoy an opportunity to talk music and bassoon. We will miss those conversations. The drive to Madison: A great memory was when I drove Hugh from Ann Arbor to Madison, Wisconsin for IDRS a few years back. Alvin Swiney, another noted double reed repair person and great admirer of Hugh Cooper, told me to bring a tape recorder, turn it on and just let Coop talk for the entire trip. I didn t have a recorder to bring, but it was the fastest long road trip I had ever taken even though I never exceeded the speed limit and we experienced a traffic jam outside Chicago. Coop was a fountain of knowledge, and I just soaked up everything he said on that road trip. When it got quiet (Coop did have to take a breath once in a while), I asked another question and he was off again. Later, I wrote down as much as I could recall. I had dubbed a cassette with the first movement of Mozart K.191 played by eight different artists. We listened to it while we were driving, and he enjoyed listening and critiquing the renditions while being unaware of who was performing. He could sometimes figure out a nationality or an era based on the sound of the bassoon and the style. Hugh talked about how much he enjoyed this little game for several years. I loved hearing his analysis of the various recordings, both before and after I revealed the names of the performing artists. Bores and Bridges: There are many technical aspects of bassoons and reeds that Hugh has written about, some of it in his Bassoon Seminar Series in The Double Reed. These are being updated by some of Hugh s illustrious former students in conjunction with him, and we hope they will be published soon. Acoustics course: I had the good fortune of being on sabbatical when Hugh last offered his music acoustics course at U of M. I attended the course and even took and handed in the final take home exam for the full experience. The material was weighed a bit toward the bassoon and woodwinds, which was much to my liking. Always a student: Hugh was always curious and questioning, never taking anything for granted. He wanted to learn more about so much. Much of his leisure reading was about science, which he liked to discuss with me and with other scientist/physician musicians. As you will hear in the interview with Terry Ewell, he expected his bassoon students to question and to understand the music, the bassoon, and the reed and to know why things are done. His full time students can address this more completely, but he wanted students to learn how to identify and isolate problems and to find solutions in a thoughtful way. Weissenborn and lessons: Hugh would sometimes direct a new student, even one with some accomplishment, to the beginning of the Weissenborn book so that he could isolate any deficiencies and work on them. He would ask you to play something simple which when you realized what he was doing, really wasn t so simple. He would just increase the tempo or vary the articulation until a deficiency was revealed before it became hidden by other aspects of performance in a more advanced lesson. Hugh would sit to my right (I assume this was his standard position) with his yellow legal pad and listen and watch. He would help me to identify a problem and talk me through it since he was no longer actively playing. He might have played more during lessons years ago, but this method seemed to work fine at this stage of his career.

38 36 TRIBUTES TO LEWIS HUGH COOPER An early picture of Hugh Cooper and his bassoon from his Detroit Symphony days. his guidance there would ve been many more years of struggle and frustration. He always gave me the gift of his time with lessons lasting well past the 1 or 2 hour marks. And somehow he managed to foster that relationship with each and every one of his students. As I sat at his funeral in May I expected to feel devastated. Instead I found myself listening to one student or friend after another each give their heartfelt eulogy, and I thought, Wow, we should all be so lucky to have such incredible celebration at the end of our life. He has touched so many bassoonists lives. His legacy will be passed down from student to student for many generations. I am honored to say he was my teacher, mentor, and dear friend. He will be greatly missed. So hats off to you, Hugh!! I will keep your little red book close by and know that all the reeds in heaven will soon be crowing an Ef! Love ya! He could play: Hugh once played a recording for me of the U of M Woodwind Quintet. It was from many years ago and he had a technical lick which he nailed perfectly. Coop just gave me a little wink as if to say, see, I could play. A legend: Hugh will be missed, but we hope not forgotten for a long time. From BETH GIACOBASSI Milwaukee Symphony Orchestra, University of Wisconsin-Milwaukee Every aspiring young bassoonist should be so lucky as to have a teacher like Hugh Cooper. The four years I spent studying with Hugh at Michigan led me from being a mediocre bassoonist to winning a job in a major orchestra. How do you begin to thank someone who has given you that gift? I truly feel if I hadn t had From MARK AVERY Bassoonist and author When I applied to the University of Michigan School of Music in 1982 I was aware of Mr. Cooper s reputation, but until I arrived I had no idea the depth of his understanding of the bassoon discipline. Every bassoonist is familiar with Mr. Cooper, primarily through his Essentials of Bassoon Technique book, his 1974 How is Your Bassoon? article in the IDRS Journal, and his relationship with Püchner bassoons. Studying with Mr. Cooper changed my notion of what it meant to be a student of the bassoon, significantly broadening that definition. As a teacher, he offered his students expertise in performance, pedagogy, instrument repair and design, literature, and research. He excelled because of his intellectual curiosity and personal drive. If he didn t know something, he was

39 THE DOUBLE REED 37 determined to find out. He read, sought out authorities in the field, and always went beyond what most anyone else would to find the answer. Mr. Cooper kept a small collection of books on the top of the upright piano in his studio. He recommended many to read, but the most influential for me was Theobald Boehm s Flute and Flute Playing. I felt as if I were reading Mr. Cooper s approach to overcoming barriers - identifying the problem and outlining a path to gaining the information needed to solve the problem. Mr. Cooper wanted his students to understand both how and why things worked. Performance practice was a very important issue for him as well. He wanted his students to think for themselves, rather than rely on someone else to give them the answer. He wanted his students to be intellectual musicians, not merely rote performers. I m sure many a Cooper student remembers the commentary: I want you to be able to survive if dropped in the middle of the Sahara Desert. Mr. Cooper taught acoustics in the School of Music and recommended (in actuality required!) his students take this class. Again, he wanted his students to understand how the bassoon worked as a resonating body and that fingerings were derived acoustically, not simply read from a fingering chart. Mr. Cooper taught at Michigan from , probably averaging 20 students per year! When you meet one of his students, they will always talk about his encyclopedic knowledge of the bassoon, the extended lessons he gave them, and how they felt he was genuinely interested in their development as an individual. Hugh loved teaching and observing the learning process. His students now occupy major symphony orchestra positions, teach in universities and public schools, and work in occupations not related to music. The skills he taught about life were transferable. I spent two years in residence at Michigan, returning in summers to complete my degree. I m thankful my association with Mr. Cooper has extended beyond our teacher/student relationship. I am fortunate to have collaborated with him off and on over the last 20 years; this has resulted in a number of publications in the The Double Reed. This collaboration has been a privilege that has allowed me to develop a personal relationship with a very caring and loving man. It also included the bonus of getting to know his extraordinary wife, Nan. I believe I was given an opportunity to experience true greatness, with one of the masters of the bassoon discipline in all its forms. He will always be with me and I miss him dearly. From MARYBETH MINNIS Assistant Director and Assistant Professor of Bassoon, Central Michigan University, Principal Bassoon of the Saginaw Bay Orchestra The world has been blessed with a handful of bassoon gods, men and women that have made a profound impact in the bassoon world. Mr. Cooper was a bassoon god. I was fortunate enough to know Mr. Cooper since 1979 when I went to study with him. Each lesson was filled with an abundance of information, reed making, fingerings, ornamentation, acoustics of the bassoon, orchestral excerpts, history of the bassoon. One usually left the lesson hours later than scheduled with a handful of pages torn of a legal pad lovingly called yellow pages. How could one person know so much? After graduation visits to his office or house yielded the same. Time generously given, a handful of yellow pages, marveling how could one person know so much. Each conversation with Mr. Cooper inspired me to learn more about the bassoon, about reeds and about the world around me. Mr. Cooper was generous with his time and his knowledge. He was also a warm, kind human being. I loved his laugh. While we have lost this wonderful person and this amazing wealth of information, his legacy lives on in his students and his student s students. From BERNARD NAYLOR, M.D. Professor Emeritus of Pathology, The University of Michigan THE THREE-HOUR MUSIC LESSON I took up the bassoon when I was a teenager and played it through medical school but gave it up for 40 years because of demands of my profession and a large family. I never had a lesson. Hugh Cooper was my first teacher and I was his last pupil. Shortly after I retired, I began to have lessons with Hugh. The typical lesson started with about 20 minutes of conversation about general matters, then 20 minutes of my playing which was followed by more than 2 hours of Hugh s wonderful anecdotes. He always had something interesting to say about bassoons (especially their acoustics), bassoon makers, orchestral musicians, and orchestras and their conductors. He was a wonderful storyteller. I never tired of listening to him. He also doctored any new

40 38 TRIBUTES TO LEWIS HUGH COOPER reeds of mine and he taught me how to make reeds. At the end of my very first lesson, I asked him what his fee was. He replied, Nothing. We are colleagues. From GWENDOLYN ROSE It was with sadness and disbelief that I received word of Mr. Cooper s passing. From the moment I met Mr. Cooper as a student auditioning for graduate study at the University of Michigan, I was struck with his boundless energy, his enthusiasm for teaching and his wealth of knowledge about the bassoon. Mr. Cooper was such a generous teacher and tirelessly and patiently imparted information to me (and all his other students) while recording it on the yellow pages. In addition to his great knowledge and experience, however, there was a kindness and humor and warmth about Mr. Cooper that endeared him to me. I am so grateful to have been able to study with him, and he will be missed. From HOWARD TOPLANSKY Lewis Hugh Cooper was a peerless mentor, an iconic figure in the music and bassoon world and a legend at the University of Michigan. Mr. Cooper was one of the greatest teachers of his century and certainly one of the smartest men his students would ever meet. All of those who knew or studied with Hugh Cooper must have a great sense of personal loss, as well as the realization of how fortunate we are to have had the gift of his wisdom and talent. Recently, during the last phone conversation he and I had, Mr. Cooper said that Essentials of Bassoon Technique was the closest he would ever get to have done something that was perfect. I can say very humbly, that it was an honor and privilege to have been a part of this special undertaking. Lewis Hugh Cooper will always be uniquely irreplaceable and unimprovable. He will be missed by all. From ROBERT BARRIS Professor Emeritus of Bassoon (Northwestern University) and former member of the Dallas and Detroit symphonies: In addition to being teacher, mentor, friend and colleague, Hugh was very much a father to me. He and Nan pretty much adopted me when my family suffered a terrible crisis during my undergraduate years. He took me on as a repair apprentice when I needed a summer job, patiently tolerating my clumsy fumblings with the Püchner bassoons that he would have to spend hours correcting, while Nan made us lunch and chided him for pushing me too hard. Hugh introduced me to martinis (when I was playing extra on tour with the Detroit Symphony while still an undergrad at Michigan), gave away my wife at our wedding (the relationship with martinis lasted longer than that particular marriage), and hired me as a subcontractor when the work on the Püchner s grew beyond what he could handle on his own. Our relationship spanned nearly five decades and never ceased to grow. And throughout all those years, the quality that made him a great teacher and a great musician was always evident: a consuming curiosity that he enthusiastically shared with everyone who would listen. Whether the topic was music, bassoons, acoustics, ornamentation, reeds, physiology, labor law, unions, university administration, pedagogy, conductors, history - whatever grabbed his attention, he wanted to know as much as he could in as much depth as possible. No matter what he did, he was never a dilettante - if he did it, it was done professionally, no matter how many hours it took to master. The two adages that come to mind to best describe his work are: If it ain t broke, don t fix it; and if it s worth doing at all, it s worth doing right. Nothing was ever simply good enough. Many students and colleagues spoke at his funeral service. The telescope effect brings into sharp clarity the wonderful teaching, the research, the acoustics lectures, the labor negotiations for the Detroit Symphony, the theoretical writings on reeds, fingerings, embouchure, etc. But the telescope effect also pushes back what only a few of us can still clearly remember - he was a terrific bassoonist! He had a great, huge, rich sound and wonderful command of the bassoon. And, like his dear friend Charles Sirard, his playing was always fluid with a clear and strong sense of direction. Growing up in Detroit I heard him playing with Charlie on countless Detroit Symphony concerts. He can be heard playing in all of those wonderful DSO recordings conducted by Paray, including that wonderful two-bassoon cadenza in Ravel s Rapsodie espagnol. I also had the good fortune of hearing him regularly with the University Quintet as well as in many faculty chamber concerts at Rackham Auditorium. He was a self-taught bassoonist, but he always credited his high school band director,

41 THE DOUBLE REED 39 Dale Harris, and the Michigan band director, Bill Revelli, as being the two strongest influences on his musical development. Also the year he spent playing second to Leonard Sharrow in Detroit as well as all those years sitting next to Sirard greatly influenced his attitudes about sound, projection, reeds, etc. And, of course, Sirard and Sharrow were both students of Simon Kovar. I know that others will fill in the things I m forgetting. Hugh, I love you. Thank you for everything. From MARK CLAGUE, PH.D. Musicologist, University of Michigan School of Music, Theatre & Dance Admitted as a pre-medical student at the University of Michigan College of Literature, Science and Art, I took a lesson with Hugh Cooper just prior to my freshman year - just hoping to study with him periodically. I left his office about five hours later, a double major in bassoon performance. Now a couple of decades later, I work in the same building he did at the University of Michigan but as a professor of musicology rather than bassoon. Following his lead, I too have fallen in love with teaching. Yet to say that Mr. Cooper changed my life would just scratch the surface. Sure I learned a lot about playing the bassoon from Mr. Cooper and enjoyed taking my instrument apart down to the posts each year to seal, align, and oil it into the best working condition possible. I made countless reeds trying to imitate the tiniest stokes of Mr. Cooper s magic yellow-handled jackknife. I too read the treatises by Quantz and Leopold Mozart to learn about baroque ornamentation from the primary sources. One of my proudest musical moments was seeing Cooper s smile of affirmation after performing the bassoon part to Mozart s piano quintet - I knew both Cooper and Leopold were proud. At its deepest level, Mr. Cooper s teaching was about releasing the humanity of his students, allowing them to express emotions they didn t know they had, inspiring them to accomplish what they didn t know they could do. He loved every student and believed in every student as a person. Somehow, he made every student bassoonist better. He was proud of each success and was genuinely happy to see his students realize their potential, whether that be in a major symphony, as a high school band director, or as a doctor, lawyer, or engineer. (The only job off limits was probably conductor - he would have had trouble respecting a musician who had turned to the dark side.) Now as a teacher and scholar myself, I think the most important things I learned from Mr. Cooper were things typically left unsaid. These were the things you picked up unconsciously by watching Cooper work and by listening for the ideas behind his teachings. These things are two: an unflinchable belief in the possibility of people - an undying confidence in my students ability to surprise me with their insights, growth, and performance - and a healthy skepticism of all received wisdom (especially from the University administration) as well as the attendant belief in my own ability to figure things out for myself. I can think of no better training for a musician, musicologist, or father. Thank you Mr. Cooper for everything. From WILLIAM WATERHOUSE Some forty years ago there were two Americans to whom many of us in the UK who were players of the Heckel, rather than the Buffet, had reason to be indebted. The first of these was Don Christlieb who, on his own initiative, had circulated duplicated copies of his Measuring the Conical Bore of the Bassoon of October The other was Hugh Cooper. Hugh had taken sabbatical leave from his teaching post at Ann Arbor in order to inspect Heckel bassoons in use over here; he was later to extrapolate the specifications of the best of these in order to arrive at an ideal bore. I was one of the players he contacted I think it was in May What I remember most from this first meeting was his shock at finding such a large leak factor on all of our instruments. He astonished me with the incredible standards he could obtain on his own bassoon, checking the degree of hermetic sealing on each joint against his watch. Although Arthur Benade reassuringly showed how a modest leak factor can offer superior pitch flexibility without loss of intensity, this didn t stop me from commissioning Hugh to Cooperize the odd bassoon for me later on.

42 40 CURRENT EVENTS Current Events

43 THE DOUBLE REED 41 Obituaries John H. Minsker ( ) Jack Spratt ( ) Robert Guyn McBride ( ) Donald Lee Hefner ( ) Jenny Sengpiel ( ) JOHN H. MINSKER ( ), likely the last surviving solo player engaged by Leopold Stokowski for his legendary Philadelphia Orchestra, died at the age of 95 in his home near Philadelphia, Sunday, August 5th, At his request, no memorial service of any kind was held. Condolences may be sent to his son, John S. Minsker, 416 Roberts Road, Rosemont, Pennsylvania Born in West Virginia in 1912, John Minsker came to Philadelphia in December of 1930 to study with Marcel Tabuteau, initially as a private student, and shortly thereafter at the Curtis Institute of Music. He left Curtis early in his fourth year of study to join the Detroit Symphony Orchestra as English hornist. Upon Robert Bloom s resignation two years later, Minsker joined the Philadelphia Orchestra as solo English horn, a position he occupied with great distinction for more than twenty-three seasons. In this capacity, he gave a host of fine performances at home and on tour, including almost seventy of The Swan of Tuonela alone. His last work with the Orchestra occurred at the time of Stokowski s return to Philadelphia (after a nineteen-year absence) early in Mr. Minsker was an esteemed Honorary Member of the IDRS. Further tributes will appear in the next issue of The Double Reed. JACK SPRATT: Former owner of Jack Spratt s Double Reed Shop, in Greenwich, Connecticut. Jack passed away on July 15th, 2007, in Greenwich. Up until two years ago, Jack was a fixture at the Popkin-Glickman Bassoon Camp where he presided over a mini balloon supply store. He was also responsible for the early publication of many works for double reed instruments, as well as providing three generations of double reed players with cane, instruments, and supplies. Jack is survived by his beloved wife, Georgia; their son and daughter-in-law Steve and Christine Spratt of Virginia Beach, Virginia, and son John. Jack was a wonderful, colorful lover of life and a dear friend to many people over the years. He will be dearly missed by both the IDRS and the double reed community at large. Fortunately, according to Cathy McGuire, Texas Tech bassoon professor Richard Meek did an in-depth video interview of Jack at the Popkin-Glickman Camp, as part of his on-going sabbatical project to interview senior members of the double reed community while they are still with us. Hopefully we will have more anecdotal and biographical material on Jack Spratt and his wonderful life in the future. From GAIL WARNAAR Jack Spratt died peacefully early in the morning of Thursday, July 12, At 91 and a half years, his mind was still sharp, but his body worn out. He left many of us with unique and special memories. For all double-reed players of my generation, Jack s passing marks the end of an era. Many of us reminisced in Ithaca of buying reeds, our first reed making knife, oboe tubes and mandrels, or cane in any state of preparation from the Jack Spratt Woodwind Shop. Spratt s was the first such shop in the U.S., to be followed within ten years by Edmund Nielsen, R.D. Gilbert, and so on until today, when we have myriad options to purchase reeds, cane and tools. Jack, as he was called from the time he headed a band in high school, was christened Edward N. Spratt. He remembered the auspicious day he had to tell his father that his band was advertised as the Jack Spratt Orchestra. Son John is also known as Jack, as is son Steven, who upon entering the Maritime Academy was told that with four Stevens in this class, he would be called Jack. The Spratt Woodwind Shop began as the Spratt Music Publishing Company. With a copy of the Mozart Second Bassoon Concerto in hand, Jack visited an engraver/printer and asked how much it would cost to print up a few copies, how much to print up a dozen copies, 30 copies, 100 copies? In those days of painstaking typesetting, it really cost only pennies more to print the next hundred copies, so as an astute young businessman, he determined to make a large, CURRENT EVENTS

44 42 OBITUARIES CURRENT EVENTS economical purchase. Traveling at the time with a Marine Band, he visited the music store of every town they visited, and sold a few copies of the Mozart and a box of his handmade bassoon reeds. This helped to feed a young family at home as well as seed a business that for nearly 70 years sold Mozart and reeds and a great deal more. The business became a full-line music store in Stamford, Connecticut. The publishing catalogue grew to encompass several hundred titles, most of which were written to make young players sound good as they developed their skills in the early years of school music programs of the U.S. There had not previously been published solos or appropriate study literature readily available for students to purchase. As his friends wrote music for the new market of school string, wind and choral ensembles, Jack published and sold it. The Spratt Woodwind Shop and the Publishing Company eventually moved to Old Greenwich, Connecticut, and from this location, we ordered our reeds, cane, and tools for many years. If a bassoonist wanted a gadget in B-flat and Jack did not have it, he would find it or make it. If the instrument did not play properly, he would fix it for you. If you wanted to play a certain piece, he would publish it for you. Thus were the standards for today s double reed business market established. Jack was also a sailor, a good one! His yacht, The Hope, participated in many of the East Coast s Tall Ship Regattas. She was a 54-foot oyster sloop, the last sailing ship of its kind on the Atlantic coast. It had a gaff-rigged main sail of over 1,000 square feet, a keel and hull combined weight of 26 tons, as well as a stylish cap n complete with pipe, cap and dress whites. I will never forget sailing into Newport, Rhode Island in gale-force winds with everything flying and the Hope looking proud. We were headed for the Classic Yacht Regatta, and every other boat was coming in with mainsails furled and storm jibs up. What a day! Jack lived modestly while pretending to be a rich man. To him, it was not how much money one had to spend: it was the quality of one s experiences and relationships that counted in life. He enjoyed life, and people. He loved to see new places and experience new things. He could tell a great story, and an equally good joke. If Jack Spratt had not been where he was at the time he began the first woodwind shop the country, I m sure someone else would have filled this need. But it would have lacked the panache, the creativity, and the business sense that drove his work for seventy years. The publishing company will continue to furnish music to young students who will sound good with his publications. This will be the Spratt legacy for the generations yet to come. The memories of Jack I will forever cherish are of the reeds and tools that came from Old Greenwich, the bassoonists and musical colleagues he gathered around him, both in person and in photos on the walls of his shop, the years at Wildacres with the Popkin/Glickman Camp, his late wife Georgia s artistic skills so graciously shared, his generosity of spirit and character, a mind that could remember anybody from anyplace, the good stories, and of course the Cap n of the good ship Hope bringing that regal vessel into Newport under full sail, to the envy of everyone on the water. I will miss him as much as I do my own father. In loving memory, Gail Warnaar ROBERT GUYN MCBRIDE (February 20, 1911-July 1, 2007) Music Professor Emeritus from the University of Arizona. He was skilled as an oboist, English hornist, clarinetist, and saxophonist. He is known primarily, however, for his musical compositions, which were performed by orchestras and chamber ensembles throughout the world. He is survived by Carol, his wife of 66 years, a son and daughter, and four grandchildren. A UA graduate, he returned to his alma mater to teach in 1957 until his retirement. The IDRS joins his family and friends in mourning his loss. DONALD LEE HEFNER, Ph.D., renowned international oboist and recording artist, and retired associate professor of oboe and chamber music at the Catholic University of America s School of Music, peacefully died of cancer on June 29, 2007 at age 75, at his home in Washington, D.C. Dr. Hefner was born on March 15, 1932 in Chicago. He was the son of Robert Hefner and Rosalie Fritz Hefner. He attended University of Illinois and the Curtis Institute of Music in Philadelphia. While at Curtis he studied with renowned Philadelphia Orchestra oboist Marcel Tabuteau and flutist William Kincaid. He completed his Bachelor of Music degree, magna cum laude, his Master of Music degree in Musicology, and his Ph.D. in Music History at the Catholic University of America, where he was inducted into Phi Beta Kappa. Dr. Hefner served five years in the U.S. Marine Band, as solo oboist. He formed the Ars Nova Trio,

45 THE DOUBLE REED 43 which toured the U.S. twice yearly. He was solo oboist for 10 seasons with the Washington Chamber Orchestra, performing regularly at the Kennedy Center and other venues, including appearances with oboist John de Lancie in double concertos. His career included performances at a long list of important recital and concert halls, under the batons of numerous famous conductors. He played two summer seasons with the Grant Park Symphony. His recital at the Carnegie Recital Hall in New York was widely acclaimed. For three years, he was solo oboist with the Washington Opera Society. He played solo oboe in performances with Renata Tebaldi, Joan Sutherland, Marilyn Horne, Montserrat Caballe, Anna Moffo, and others. He played solo oboe in concerts with the Paul Hill and Roger Wagner Chorales, National Gallery Orchestra and numerous other ensembles. He has recorded under a number of record labels. Dr. Hefner is survived by his beloved son, John Curtis Hefner, of Bethesda, Maryland. CURRENT EVENTS Nita Vorisek JENNY SENGPIEL, originally from Milwaukee, Wisconsin, was killed in a plane crash on May 12 in northwestern Montana. She was principal oboist of the Great Falls Symphony in Great Falls, Montana. She received her Master of Music degree from the University of Michigan in 2004 and her Bachelor of Music from University of Minnesota. She was planning to begin the DMA program at the University of Illinois in the fall. She participated in the Sarasota Music Festival and performed with Ohio Light Opera. Jenny was engaged to Kyle Mills, principal hornist of the Calgary Symphony, who was also killed in the crash. The IDRS mourns this tragic loss.

46 44 IDRS WWW IDRS WWW CURRENT EVENTS 2007 Fernand Gillet-Hugo Fox International Competition - Video Stream

47 THE DOUBLE REED 45 Charles Robert Reinert Elected to IDRS Honorary Membership Shortly Before his Death ( ) Alan Goodman Bedford, Wyoming IDRS President Nancy Ambrose King and Charles Robert Reinert. Photograph by Fernando Traba. Charles Robert Reinert, an early and enthusiastic supporter of To the World s Bassoonists and IDRS, passed away this summer, months short of his 94th birthday, only weeks after learning that he had been made an IDRS honorary member. Reinert was born on August 25, 1913 in Reading, Pennsylvania. His life was inspired by a pursuit of tonal beauty and the means by which it could be realized as both a bassoonist and singer. His formative years were spent in Detroit where his family moved when he was a year old. A graduate of the music powerhouse, Cass Tech High School, Reinert began bassoon studies with Bert Carlson, an oboist who Bob remembered as having one of the most wonderful oboe tones I ve ever heard, and bassoonist Vincent Pezzi, whose reeds formed his earliest ideas about reed making. In 1931 Reinert attended the Interlochen Summer Camp, where Sid Cunnington, then principal bassoonist in the Minneapolis Orchestra, and Vincent Pezzi were his instructors. In the midst of the Great Depression, the young Reinert dated the daughter of an executive of the Chrysler Auto Plant in Detroit who managed to get him a coveted job. One week on the 1933 assembly line was enough to convince Reinert that he should accept an offer to attend the University of Miami from Walter Schaefer, the famous solo clarinetist of the Arthur Pryor Band. Earlier that year Reinert had attended a band camp at Wainright, Indiana conducted by Schaefer who was looking for talent to start a band at the University. It was in Miami that Reinert developed his considerable talents as a both a bassoonist and vocal soloist. Possessing an exceptionally fine bass/baritone voice, Reinert sang solo baritone parts for local opera productions as well as for the University s operatic endeavors. In addition he began, and conducted for many years, the famed University of Miami Chorus. Reinert was in demand playing principal bassoon with the University Band, the Miami Symphony, the Fleischer Movie Studios (where his bassoon can still be heard on many Popeye cartoons), and numerous orchestra and chamber groups around the area, freelancing as both a bassoonist and singer. The building of a career in Miami ended in 1943 when Reinert was drafted for WWII and shipped to New Guinea, the Philippines, and ultimately, Japan as part of the 4th Engineer Special Brigade. After the war I drifted to Los Angeles where I met and befriended Don Christlieb. Before he could establish himself in California, an offer from Miami brought him back to that University from Los Angeles. Returning to Miami felt the right thing to do, but I found all my old jobs were filled, he recalled. After a period of trying to adjust, he decided to head off to New York to seek work and attend Columbia University. While in New York Reinert studied voice with CURRENT EVENTS

48 46 CHARLES ROBERT REINERT ELECTED TO IDRS HONORARY MEMBERSHIP SHORTLY BEFORE HIS DEATH ( ) CURRENT EVENTS the noted vocal pedagogue of the time, Douglas Stanley, as well as freelancing as a bassoonist with several orchestras including the Firestone Orchestra, conducted by Alfred Wallenstein. I recall studying the vocal technique of the great singers from the vantage point of the bassoon chair whenever the opportunity arose in any of the orchestras I played in. One time Giovanni Martinelli, Caruso s successor at the Met, came off the stage to the pit in Miami while I was playing the bassoon solo from L Elisir d Amore. He got on his knees in front of me and hands clasped together said, You musta makka me wanta to sing, Fagott. As he was one of my idols, I ll never forget that moment. While working on his doctorate at Columbia, Reinert accepted an offer to teach bassoon and voice at the University of New York, Potsdam State Teachers College. A long and distinguished career as a teacher followed with students, both vocal and instrumental, trying to emulate the style, technique and tremendous sound of their teacher for their individually successful careers. Bassoon students include Christopher Weait (Philadelphia Chamber Symphony, Toronto Symphony, Ohio State University professor), Alan Goodman (Milwaukee, Pittsburgh, and Los Angeles Symphony Orchestras), Marvin Roth (Chorus Line fifteen years and many other Broadway shows), Fernando Traba (Florida West Coast Symphony), Susan Stysh Woods (Rhode Island Symphony), Bob Danzinger (University of California at Stanislaus), Tia Worthham (US Navy Band), David Green (Boston freelance, Portland and Wichita Symphony Orchestras). After retirement Reinert stayed active teaching at the New England Music Camp, where he had taught each summer for many years, playing in the Florida West Coast and Venice Symphony Orchestras, attending IDRS Conferences, and advocating a unique vocal/instrumental philosophy for a sound production free of all unnecessary and unwanted or interfering tensions. His ideas are offered in the article, Breathe, Don t Blow, published in the IDRS Double Reed, and acknowledged to be one of the best descriptions of how one actually plays with a singing voice. Bob Reinert is survived by Margaret (Peg) Reinert, his soulmate and wife of over sixty years, by admiring colleagues, and devoted vocal and bassoon students. He was a uniquely talented artist, a patient, giving teacher, an awe-inspiring presence. His rambling gait, unruly shock of white hair, ready laugh and deeply rich bass-baritone voice will be missed by all who knew him. A Celebration of Charles Robert Reinert s Life will take place on Friday, September 21, 2007 at 1 p.m. on the stage of Hosmer Hall at SUNY Potsdam. The photograph of Bob Reinert and IDRS President Nancy Ambrose King was taken on June 19, 2007 at the Beatrice Friedman Symphony Center in Sarasota, Florida, during the 2007 Sarasota Music Festival. The IDRS joins the family, the former students and his many friends in mourning the loss of Bob Reinert. (Editor s Note: Fernando Traba will be collecting tributes to Bob Reinert for a future article in The Double Reed. Fernando can be reached by at: ftraba@msn.com)

49 THE DOUBLE REED 47 Norman Herzberg Memorial Concert Benjamin and Jeannie Kamins Los Angeles, California Through the work and devotion of his many bassoon students, a Memorial for the late distinguished bassoonist/teacher and IDRS Honorary Member Norman Herzberg was held on May 27, 2007 on the campus of UCLA. Many of Norman s students participated. The Concert program was: Drei Stücke für Fagott Quintet Peter Jansen 1. Scherzo (Vivace) 2. Nocturno (Andante Espressivo) 3. Burlesca (Allegro) Hugh Michie Duncan Massey William Wood Andy Klein James Rogers (contra) CURRENT EVENTS Modinha from the duo for two bassoons Francisco Mignone Charles Coker Duncan Massey The Swan Camille Saint-Säens David Sogg Concert Study Op. 26 # Ludwig Milde 2 Inventions Sestak Scott Walzel Concert Study Op. 26 # Ludwig Milde James Rodgers Af Major Etude Paul Pierne William Buchman Air from Orchestral Suite # J.S. Bach Jenny Herzberg Benjamin Kamins Serenade op Julius Weissenborn Praeludium-Figuriter Choral-Finale Benjamin Kamins Kristen Sonneborn James Rodgers

50 48 NORMAN HERZBERG MEMORIAL CONCERT Prelude and Scherzo Paul Jean-Jean Kristen Sonneborn Concert Study Op. 26 # Ludwig Milde Seth Krimsky CURRENT EVENTS Romanze opus 10 number Julius Weissenborn Robert Williams Melodic Study # Eugene Jancourt Glenn Einschlag Hitchcock Hour Theme (Transcribed by Bernard Herrmann from Funeral March of a Marionette by Charles Gounod, from the television series The Alfred Hitchcock Hour ) Hugh Michie Duncan Massey William Wood Andy Klein Scott Walzel Benjamin Kamins James Rodgers (contra 1) Charles Coker (contra 2) Speakers Chuck Ullery Michael Dicker A reception followed the concert. Attending the concert was Benjamin Kamins sister, Jeannie Kamins, who is a Realtor in Burnaby, BC, Canada. In a dramatic and dynamic letter to this Editor, she provided a beautiful review of the concert: MR. HERZBERG S OPUS When a great teacher dies he leaves behind students who have moved into the most important positions of his field. So it was for Norman Herzberg who died February 4th, And when a call went out to the whole bassoon community that a memorial in his honor would happen May 27th, 2007 at UCLA and all who wanted to pay their respects could play, they came. From all over North America his students came to a once-in-a-lifetime gathering of distinguished bassoon players and they played and they spoke. William Buchman, Charles Coker, Michael Dicker, Glenn Einschlag, Benjamin Kamins, Andy Klein, Seth Krimsky, Hugh Michie, Duncan Massey, Jim Rodgers, David Sogg, Kristen (Marks) Sonneborn, Charles Ullery, Scott Walzel, Robert Williams and William Wood. They represent the top bassoonists in the country and are employed by the most prestigious orchestras and universities. They now have students of their own and are continuing the legacy of the teachings of Norman Herzberg. And so it began. Before they played, each student rose to tell how he had been introduced to Mr. Herzberg and how his abilities as a musician had been developed through Mr. Herzberg s directions. As each told his story the image of a man of extraordinary talent and generosity was formed. Tales that fleshed out his complexity, not as saccharine sweet, but of a man who demanded perfection of himself and of his students. His interest in the bassoon was not just for the music, but he was fascinated with the actual structure of what made the sounds he wanted. He realized that the clincher was in the reeds and to this end and

51 THE DOUBLE REED 49 with the expertise of Gary Carnan, he developed the Herzberg Shaper-Profiler a remarkable tool for reed making. He had a clear sense of ethics and did not tolerate fools gladly or otherwise. Stories of his repetitive quitting of his job at University of Southern California were referred to often. But mostly the stories were of his abilities as a teacher who would always take the time to give thoughtful analysis of problems a student was encountering with his playing or in his personal life. And all felt welcomed into his personal life too as one story after another included tales of going to his house for lessons and of then being invited to dinner by his wife Leah. And then they played. I am not a musician so any critique I make will be trite oooh, wow, swoon! They played thirteen pieces from Saint-Saens to Milde to Sestak. Never have I been to an all bassoon concert One might say, never have I been in the room with so many Heckels! The music was sensational. They played and played and the room filled with the mellow sounds of bassoons. Some played light pieces, some melodic, but all rich with the texture of fresh cream that allowed our memories of the man to mix with the flow of his sounds. For three hours they played and remembered. Then before breaking for a reception of too many sweets, they ended the concert with the humour that Norman Herzberg had throughout his life as all of them got on stage for a short rendition of the Hitchcock Hour Theme. This was the passing of a great man and the world will be the lesser for our loss. Jeannie Kamins, Burnaby, BC, Canada A TRIBUTE TO NORMAN HERZBERG Scott Walzel, Dallas, Texas I met Norman Herzberg in January 1986 when I began graduate studies at the University of Southern California. After my first lesson I asked him if he thought I would be good enough to get a job playing in an orchestra someday. He immediately laughed and gave the answer he had obviously given so many times before. It went something like: If I knew the formula for winning orchestra auditions I would tell you, but unfortunately nobody has figured that out yet. Well, judging from the track record of his students, he had obviously figured something out. In the course of my career I have come across many people (soloists, colleagues, teachers, students, administrators, and even a few conductors) who have amazed and inspired me for the moment. I have come across only a few who have made the type of impact that lasts a lifetime. Mr. Herzberg is at the top of that short list for me and for many others as well. His teaching methods and passion for everything he did gives us all the tools and inspiration we need to continue to improve. I have never known anyone who was as passionate about everything he did as Mr. Herzberg. Whether it was practicing, making reeds, conductors, his profiling machine, the d-flat in the Berceuse solo, or administrators, politicians, other teachers, students,..or home repair, cars, gardening, dieting, etc., Mr. Herzberg always gave 110%. For all who studied with him on a regular basis, that passion and dedication was infectious. Mr. Herzberg was also one of the most selfless people I ve ever known. He was always willing to share his knowledge and experience with anyone who sought his assistance. It didn t matter if you were his student or not. There were no secrets. You didn t have to be a member of a club to get direct and honest answers from him. He was and is a true friend to all who study the bassoon. His hard work and dedication to the bassoon world continued even long after he retired as a player. The work on his profiling machine, his never- ending study of reeds and dedication to his teaching techniques continued until the very end. For those of us who studied with him on a regular basis, we were the direct recipients of his brutal honesty and direct approach. Whether it was an Atta boy! for a job well done, or ok, let s try that again slower this time!, you could always count on Mr. Herzberg to give it to you straight. In my lessons he was completely focused on me and my needs. After I left USC his dedication never stopped. The tools he gave me as a student his knowledge of reeds; understanding the benefits of his scale, long tone and interval exercises; his method of trying out bocals; his insistence of a daily regimented practice routine; the list goes on and on will enable me to continue to improve for as long as I play the bassoon. I constantly ask myself why he continued to work so hard after he retired as a player. He was not the direct benefactor of his labors. He wasn t playing on CURRENT EVENTS

52 50 NORMAN HERZBERG MEMORIAL CONCERT CURRENT EVENTS the reeds coming off his profiling machine. He didn t have to make a reed to play The Rite of Spring one week and Peter and the Wolf the next. The answer is obvious. He truly cared about those of us who did. He worked and labored for us, not for himself. As much as he meant to all of his students, it is important to note that we also meant a great deal to him. What an example! When I came to USC I had just finished 4 years of study with another student of Mr. Herzberg s, Benjamin Kamins. As a result, I was already familiar with many of his teaching techniques. My students are subjected to Mr. Herzberg s teaching techniques. Their students will be subjected to Mr. Herzberg s teaching techniques. And the cycle will continue. This is the legacy and impact he leaves on the entire bassoon world for generations to come. I feel very fortunate to have been a student of Mr. Herzberg. He is one of the best friends I ll ever have. I am truly grateful he was a part of my life and extremely proud and honored that I was a part of his. Scott Walzel is a member of the Dallas Symphony Orchestra, and the USC Class of Ed.

53 THE DOUBLE REED Fernand Gillet Hugo Fox Oboe Competition Rebecca Henderson Austin, Texas CURRENT EVENTS The 2007 Fernand Gillet - Hugo Fox finalists from left: IDRS President Nancy Ambrose King, Jeffrey Stephenson, Andrea Overturf, Bethany Slater, Petar Hristov, and Pierre-Antoine Escoffier. Photo by David Weiss. This year, IDRS proudly sponsored the 27th Fernand Gillet Hugo Fox Competition, the finals of which were held on Friday, June 15th during the conference in Ithaca, New York. The competition, dedicated to the late master oboist and honorary IDRS member Fernand Gillet, and to Hugo Fox, principal bassoonist of the Chicago Symphony from , alternates each year between oboists and bassoonists. This year s competition for oboists proved to be one of the most exciting and closely matched competitions in memory. Planning for the competition began more than a year ago, with the selection of repertoire and preliminary judges. My heart-felt thanks go to Barbara Orland and Dan Stolper, whose service on the advisory committee for the competition was invaluable. The competition not only features the brightest new stars in the double reed world, it offers an opportunity to feature new and newly discovered works for the instrument. The repertoire for this year s competition included selected movements from Marin Marais Les Folies des Espagne, Jindřich Feld s Sonate for Oboe and Piano, Paul Patterson s Duologue for oboe and piano, and Ignaz Lachner s Concertino for Oboe and Orchestra (which was introduced to me by Bernhard Forster, publisher of the work, during the 2004 conference in Melbourne.) Eighteen oboists (aged 30 and younger) from around the world entered the competition. The entrants CDs were adjudicated anonymously by a distinguished panel of judges that included George Caird (UK), Sandro Caldini (Italy), Marc Fink (USA), Richard Killmer (USA), and Dwight Manning (USA). These judges listened to all of the contestants CDs, and chose five to advance to the final round of competition in Ithaca. The five finalists chosen were Pierre-Antoine Escoffier (Valencia, Spain), Petar Hristov (Karlsruhe,

54 FERNAND GILLET HUGO FOX OBOE COMPETITION CURRENT EVENTS Jeffrey Stephenson, winner of the 2007 Fernand Gillet - Hugo Fox Competition for oboe in the final concert at the Ithaca Conference. Photo by Albert Markel. Germany), Andrea Overturf (New York, New York, USA), Bethany Slater (Freehold, New York, USA) and Jeffrey Stephenson (Houston, Texas, USA). These tremendously talented young oboists performed in the final round for an equally distinguished panel of judges, which included Nicholas Daniel (UK), Jan Eberle (USA), Carolyn Hove (USA), Robert Morgan (USA), and Christian Schmitt (France). I offer my sincere gratitude to all of these judges, both for the preliminary and final rounds of competition, for their time and expertise. I also want to thank Nancy Ambrose King, who has been an enormous help to me in my first year of coordinating the competition, and offered to coordinate the final round of the competition as I was unable to attend this year s conference due to a previous commitment with the Round Top Music Festival. In the final round, each of the contestants performed with pianist Diane Birr, associate professor of piano at Ithaca College. The level of performance was extremely high, and the competition as close as it has ever been. Jeffrey Stephenson was named the winner and awarded USD $8000; Andrea Overturf was awarded second prize with a cash prize of USD $3000. USD $1000 each was awarded to Pierre-Antoine Escoffier, Petar Hristov, and Bethany Slater. As the winner of the 2007 competition, Mr. Stephenson performed Lachner s Concertino for Oboe and Orchestra on the final program of the 2007 conference in Ithaca. Next year s competition will be for bassoonists. The finals will be held during the 2008 conference of the IDRS in Salt Lake City, Utah. Information about the 2008 Fernand Gillet Hugo Fox Competition may be found in this issue of the journal, or on the IDRS website. Oboists can look forward to the 2009 Fernand Gillet Hugo Fox Competition, the finals of which will be held in Birmingham, England.

55 THE DOUBLE REED 53 Oboists in the News Compiled by Dan Stolper Palm Desert, California HIGH SCHOOL OBOIST WINS MILWAUKEE HONOR MATT LENGAS of Peshtigo, Wisconsin, was a winner of the Stars of Tomorrow young artist competition held annually by the Milwaukee Symphony Orchestra. The Milwaukee Symphony Orchestra League sponsors the competition, now in its 39th year, for high school students of Wisconsin playing orchestral instruments. Students participate in preliminary and finalist auditions, and three are selected to each play a concerto movement with the MSO in a special concert, held this year on May 10 at Milwaukee s Pabst Theatre. Maestro Andrew Grams led the MSO in Richard Wagner s prelude to Die Meistersinger von Nurnberg to open the event. Lengas was the first soloist to perform, playing the opening movement of W.A. Mozart s Concerto in C major for Oboe and Orchestra. Next was John Shawger of Glendale, who performed the first movement of the Concerto for Horn and String Orchestra by Gordon Jacob. Finally, Paul Hauer of Fond du Lac took the stage to play the finale from Max Bruch s Scottish Fantasy for Violin and Orchestra. Each of the soloists played wonderfully, befitting their selection as musical stars of the future. After intermission, 32 other competition finalists and honorable mention winners joined the MSO to give a wonderful performance of Modest Mussorgsky s Pictures at an Exhibition to wrap up the concert. In addition to the honor of soloing with this major orchestra, the three finalists each received a $1,000 Laura Dresselhuys Scholarship Award given to further their musical education. Lengas was also judged as having performed exceptionally well with the orchestra and received an additional $500 Harry John Brown Scholarship Award. Matt Lengas has just finished his junior year at Peshtigo High School and plays principal oboe and English horn in the high school band and Green Bay Youth Symphony Orchestra. He is also a member of the Green Bay Civic Symphony and the professional Green Bay Symphony Orchestra. His private teacher is Andrea Gross Hixon, of Appleton, Wisconsin. Lengas plans to study oboe performance after high school. He spent the past two summers at the Interlochen Arts Camp. KYLE MUSTAIN has been appointed assistant principal oboe and English horn with the Indianapolis Symphony for the 2007/2008 season. He previously held the position of 2nd oboe and English horn with the Richmond Symphony since 2006, as well as serving as assistant principal oboe and English horn with the Houston Symphony for the 2003/2004 season. Kyle has been a member of the Santa Fe Opera since He received his Bachelor of Music from the Curtis Institute of Music, and a Master s degree from Yale University. Kyle is also a graduate of Interlochen Arts Academy. His principal teachers include Richard Woodhams, Richard Killmer, and Daniel Stolper. Ohio s Bowling Green State University s College of Musical Arts announces its new oboe and bassoon professors: JACQUELINE LECLAIR is assistant professor of oboe and NATHANIEL ZEISLER is assistant professor of bassoon. Dr. Leclair has been a freelance performer and teacher in New York City for the past thirteen years, and she will continue to perform regularly in New York City and teach on the faculty of Manhattan School of Music s Graduate Contemporary Performance Program in addition to her new duties at BGSU. She received BM, MM and DMA degrees from the Eastman School of Music and SUNY Stony Brook where her teachers were Richard Killmer and Ronald Roseman. CURRENT EVENTS

56 54 OBOISTS IN THE NEWS CURRENT EVENTS Dr. Zeisler recently completed his DMA degree from the University of Michigan. In 2004, he founded the Envision Chamber Consort, an organization dedicated to making contemporary communication through the arts. He continues to serve as the executive director and bassoonist in the ensemble. Dr. Zeisler received a BM from Old Dominion Universtity and a MM from the University of Michigan. His past teachers include Daniel Matsukawa, Katherine Oliver, Steven Wilson, Richard Beene and Jeffrey Lyman. JEFFREY STEPHENSON, oboist, is the 1st Prize Winner of the 2007 Fernand Gillet-Hugo Fox International Oboe Competition. He has quickly established himself as an orchestral performer, chamber musician and soloist, with performances across North America and Europe in exciting venues such as Carnegie Hall, The Banff Centre for the Arts and Stefaniensaal in Graz, Austria. For the season, he has been named principal oboe of the Houston Grand Opera and Ballet, and during the season he served as guest principal oboe of the Rochester Philharmonic Orchestra and as substitute principal oboe of the Symphony Orchestra of Southeast Texas. In his hometown of Columbia, South Carolina, he has performed with the South Carolina Philharmonic Orchestra and was the first prize recipient of the 2000 Southeastern Young Artist Competition. He has participated in the Norfolk and Sarasota Chamber Music Festivals, the National Orchestral Institute, the BRAVO! Vail Valley Music Festival and the American Institute of Musical Studies in Graz. In the summer of 2005 he attended the Banff Music and Sound Program and performed as a soloist with the Banff Centre Chamber Orchestra in the Concerto in c minor for Oboe and Violin by J.S. Bach. During the summer of 2007, he served as the oboe faculty for the American Festival for the Arts, a high school orchestral and chamber music program for gifted Houstonarea high school students. Mr. Stephenson is currently pursuing a Masters degree at Rice University s Shepherd School of Music, and in 2006 he graduated from the Eastman School of Music with a Bachelors degree and Performer s Certificate. During his undergraduate studies at Eastman, he joined the oboe section of the Rochester Philharmonic Orchestra, and also performed with the Rochester Chamber Orchestra and the Rochester Bach Festival Orchestra. In April of 2007, Mr. Stephenson returned to Rochester to perform as a soloist in the 30th Anniversary Season Finale of Chamber Music Rochester, and in May was featured in The Conservatory Project, a nationally-broadcast recital at The Kennedy Center in Washington, DC. A lover of outreach and education, he has performed in the Shepherd School of Music s JUMP! Concerts for Young Audiences, has participated in three week-long residencies in the school systems of Lake Placid, New York and teaches oboe privately to high school and junior high oboists in the greater Houston area. His principal teachers include Richard Killmer, Robert Atherholt and Rebecca Nagel. EMANUEL ABBUHL was appointed senior principal oboist of the London Symphony Orchestra in He decided at an early age to become a musician, and studied with Andre Lardrot in Basel, as well as Heinz Holliger in Freiburg. He also attended masterclasses with Maurice Bourgue in Paris. He has received many major awards, including prize winner at the ARD Competition 1981, at the Geneva Competition 1982 and at the Prague Competition He has been principal oboe of various orchestras including the Basel Symphony Orchestra and the Rotterdam Philharmonic Orchestra, and is guest principal oboe for the Chamber Orchestra of Europe. He was invited to join as principal and soloist by the City of Birmingham Symphony Orchestra, Boston Symphony, Amsterdam Concertgebouw, Sinfonieorchester des Bayrischen Rundfunks, Budapest Festival Orchestra, Solisti Italiani, I Musici, Northern Sinfonia, Osaka Symphony, Singapore Symphony Orchestra, Amsterdam Sinfonietta, Bucharest Symphony and Queensland Philharmonic. He has worked with many illustrious musicians including Valery Gergiev, Seiji Ozawa, Sir Colin Davis, Witold Lutoslawski, Bernard Haitink, Nikolaus Harnoncourt, Ivan Fischer, Heinz Holliger, Andras Schiff, Klaus Thunemann, Mitsuko Uchido and many others. He has recorded several oboe concertos as well as works for ensemble with Pan Classics and Sony, including the Vivaldi concertos with the Amsterdam Sinfonietta. His recording of works by Robert Schu-

57 THE DOUBLE REED 55 mann for oboe and piano will be released shortly. He has been teaching at the Academy of Music at Rotterdam since 1989 and since 2005 at the Musikhochschule Mannheim. He was appointed professor of oboe at the Royal Academy of Music in He has given masterclassses at the Conservatoire Superieur de Paris and Lyon, the National Academy in Melbourne, the Art Centre in Seoul, the UNAM in Mexico, the Royal Academy of Music and the RNCM, and in many other countries. ERIK BEHR was appointed principal oboist of the Rochester Philharmonic Orchestra as of September 1, Prior to joining the RPO, he was principal oboe of the Houston Grand Opera and Houston Ballet. Mr. Behr performed as a guest principal with the Atlanta Symphony, as a guest with the Seattle Symphony and since 2004 as substitute oboe and English horn with the Houston Symphony. He also performed at the Spoleto Festival, with the Chamber Orchestra of Philadelphia, as principal oboe with the Haddonfield (New Jersey) Symphony, with the New York Opera Festival, at the Casals Festival and with the Jeunesses Musicales World Orchestra under Kurt Masur. In addition, Mr. Behr was the solo English horn in the recording of Honegger s Concerto da Camera with the RTV Slovenia Orchestra, performed as solo oboe in Mozart s Sinfonia Concertante on tour with the Irish National Youth Orchestra, and as a member of the World Wind Quintet performing at the Edinburgh International Festival, Kilkenny Festival and Maribor Festival. A native of Cape Town, South Africa, he began his oboe studies at the age of 13 and at 18 came to this country for his undergraduate college education, having gotten a taste of the U.S. as a 16-year-old participant in oboe master classes by John Mack in Carmel, California. Mr. Behr received his bachelor s degree at Arizona State University in 2001, his master s from Temple University in 2003 and currently is a doctoral candidate at Rice University. His principal teachers have been Robert Atherholt, Richard Woodhams and Martin Schuring. NICHOLAS STOVALL presented an alumni recital at the Interlochen Center for the Arts Advanced Oboe Institute on June 18, He was assisted by Byron Hanson, piano in a program that included music of Telemann, Poulenc, Schumann, and Malcolm Arnold. In February 2007 Mr. Stovall performed the Strauss Oboe Concerto with the Juilliard Orchestra under the direction of James DePriest in Alice Tully Hall. He has performed at the Tanglewood Music Center, Spoleto Festival USA, National Repertory Orchestra, Round Top Festival- Institute, and the New York String Orchestra Seminar. Born in Austin, Texas, Stovall spent two summers at the Interlochen Nicholas Stovall Arts Camp and graduated from the Interlochen Arts Academy where he studied with Daniel Stolper. He subsequently completed a Bachelor of Music degree at the Cleveland Institute of Music as a pupil of John Mack. Mr. Stovall is currently pursuing a Master of Music degree at The Juilliard School where his teachers are Elaine Douvas and Nathan Hughes. Oboist and English hornist Pedro Díaz and oboist Nathan Hughes join the faculty at Juilliard effective with the academic year. Both are members of the Metropolitan Opera Orchestra. PEDRO DIAZ grew up in Madrid, Spain and San Juan, Puerto Rico. He attended the Escuela Libre de Musica in Hato Rey, Puerto Rico, a public school for the performing arts. He studied with James Gorton of the Pittsburgh Symphony, and John Mack of the Cleveland Orchestra. He is a graduate of the Juilliard School where he studied with Elaine Douvas. Mr. Díaz studied English horn with Louis Rosenblatt, Harold Smoliar and Felix Kraus. Pedro Díaz teaches and performs at the Aspen Music Festival, Le Domaine Forget in Quebec and at the FOSJA festival in San Juan, Puerto Rico. He is on the faculty at the Juilliard School, where he teaches oboe. Díaz was appointed solo English horn of the Metropolitan Opera in Prior to that he was principal oboe of the Filarmonica Jalisco in Guadalajara, Mexico. Mr. Díaz also played English horn in the Orchestra of Galicia, Spain, the Pittsburgh Opera and the Natal Philharmonic in South Africa. NATHAN HUGHES is principal oboist of the Metropolitan Opera Orchestra. He previously served as principal oboe of the Seattle Symphony and as acting associate principal oboe of the San Francisco Symphony Orchestra. In addition, Hughes has performed as guest principal oboe of the New York and Los Angeles Philharmonics, as well as the symphony orchestras CURRENT EVENTS

58 56 OBOISTS IN THE NEWS CURRENT EVENTS of Chicago, Dallas, Atlanta, and Baltimore. Hughes has been a featured soloist with the Met Chamber Ensemble, Seattle Symphony, Savannah Symphony, National Repertory Orchestra, Verbier Festival Orchestra, and the Sinfonietta Polonia in Poland. Active at many festivals worldwide, he has performed chamber music at the Marlboro, Santa Fe, and Seattle chamber music festivals; served as principal oboe of the Aspen Chamber Symphony and Santa Fe Opera Orchestra; and appeared at the Lucerne, Sarasota, Salzburg, Spoleto, and Tanglewood festivals. Hughes has been on the faculty of The Juilliard School and has given master classes at the San Francisco Conservatory, as well as the Poznan Academy in Poland. He holds degrees from the Cleveland Institute of Music and The Juilliard School. His teachers have included John Mack, Elaine Douvas, and John de Lancie. During the last week of August, THOMAS STACY, long time solo English hornist of the New York Philharmonic, recorded four concerti for oboe d amore - two by JS Bach and two by Telemann - with the Toronto Chamber Orchestra. The CD is scheduled for release on the Naxos label next summer. People frequently say to me that they don t know what an oboe d amore is supposed to sound like. By recording these beautiful pieces, I have tried to answer that question. Tom with continuo players, Katie Rietman, cello and Lucas Harris, lute. A portative organ doubling harpsichord was also used for the continuo. Photo by Emily Lockhart. Tom in control room with award winning producers, Norbert and Bonnie Kraft. Photo by Emily Lockhart. Tom recording with the TCO, Kevin Mallon conducting, in Toronto s historic St. Anne s Church, where many well known recordings have been produced. Photo by Emily Lockhart. S. BLAKE DUNCAN served as artist oboe instructor for the 25th annual Lutheran Summer Music (LSM) Academy and Festival at Gustavus Adolphus College in St. Peter, Minnesota this summer. LSM is the pinnacle program for the organization known as Lutheran Music Program, and is a premier summer music training program for young people. As a member of the artist faculty, Mr. Duncan maintained a private studio, coached a small ensemble, led band and orchestra sectionals, and performed with a faculty ensemble, the Movere Woodwind Quintet. He also served as the Victor H. Mattfield Endowed Collegium Musicum Director and performed in solo recitals and played in worship services throughout the summer. S. Blake Duncan is currently an adjunct faculty member in the Music Department at Bradley University (in Peoria, Illinois) teaching double reeds, music

59 THE DOUBLE REED 57 appreciation and music technology. Additionally he is the director of the Bradley Collegium Musicum. He holds the solo English horn chair with the Peoria Symphony Orchestras, is the solo oboist with the Peoria BachFest and performs with the Prairie Ensemble Chamber Orchestra as principal oboe. In addition, he performs with the professional double reed quartet WiZARDS! which has just completed its fourth CD. Mr. Duncan has appeared as a soloist with both the Peoria Symphony Orchestra and the Illinois Symphony Orchestra. His extensive orchestral experience includes English horn positions with the Caracas (Venezuela) Philharmonic, the Illinois Symphony, the Cedar Rapids Symphony, the Mansfield and Akron (OH) Symphonies and principal oboe with the Binghamton Symphony, Tri-Cities Opera and the Cayuga Chamber Orchestra. He has studied with some of the nation s leading oboists, including Lawrence Thorstenberg, Bert Lucarelli, John Mack, Nancy Ambrose King and Felix Kraus. He has served on the faculties of Binghamton University, the Cape Cod Conservatory and continues to teach privately. An ordained ELCA pastor, he is currently the director of music, organist and choirmaster at St. Matthew s Episcopal Church in Bloomington, and he also serves as chorus master for both Sugar Creek Festival in Watseka, IL and Opera Illinois. Originally from Buffalo, New York, ELIZABETH KOCH has recently been appointed principal oboist of the Atlanta Symphony Orchestra. At the age of 21, she is one of the youngest musicians ever to be appointed to such a prestigious position. (Elaine Douvas, long-time principal oboist of the Metropolitan Opera Orchestra, also moved to the ASO s first oboe position at the age of 21.) The ASO s principal flutist, Christina Smith remarked: I was incredibly impressed with Liz s playing. She sits there with her oboe and what comes out is pure expression. Ms. Koch has been playing the oboe since the age of 9. She studied at the Interlochen Arts Academy with Daniel Stolper and at the Curtis Institute in Philadelphia with Richard Woodhams. During the season, she has performed as guest principal oboe with the Atlanta Symphony, the Orpheus Chamber Orchestra, the Rochester Philharmonic, and the St. Paul Chamber Orchestra. She has been soloist with the Great Lakes Chamber Orchestra, the Colorado College Summer Music Festival Or- chestra, and the World Youth Symphony Orchestra (at Interlochen) with violinist Sarah Chang in Bach s Double Concerto. She has participated in the New York State Summer School for Orchestral Studies, the Eastern Music Festival, the New York String Orchestra Seminar, and the prestigious Tannery Pond Chamber Music Festival. Writing in the Atlanta Journal-Constitution, in June, under the headline Young oboist lands coveted position with ASO; new principal has nerves of steel, Pierre Ruhe comments that in any orchestra, the principal oboist holds one of the marquee jobs. It demands the highest levels of musical expression, technical perfection, and solid leadership among the 95 musicians onstage. Late last week, just after Elizabeth Koch signed a contract as the ASO s new principal oboist, she was asked her feelings about taking on such a glamorous and high-stress new gig. It s awesome! I can finally get my own car. Her only regret is that she had to leave school without graduating! Oboist KEVE WILSON performed the world premiere of Peter Schickele s new oboe quartet, After Hearing Bach in April 2007 in Los Angeles. The piece is made up of five movements and is an interesting work because it has the personality of both a serious Schickele work and his PDQ Bach alter ego. The piece was given two performances in April as part of the 17th annual collaboration with the Los Angeles Armadillo string quartet. In typical Schickele fashion, the story he tells is that he wrote the piece while taking the steroid Prednisone, and one of the effects of taking the drug was creating an oboe quartet in the style of J.S. Bach. Keve graduated from the Eastman School of Music in 1991 as a student of Richard Killmer, and currently lives in Breckenridge, Colorado where her husband Kerry Farrell is the executive director of the National Repertory Orchestra music festival. Peter Schickele and Keve Wilson. CURRENT EVENTS

60 58 BASSOONISTS NEWS OF INTEREST Bassoonists News of Interest Ronald Klimko McCall, Idaho CURRENT EVENTS BASSOONISTS ACTIVITIES Thom Priest, bassoon professor and Director of Music Education at Weber State University, Ogden, Utah, has embarked on a collaborative endeavor involving his participation as a bassoonist, pianist, composer, improviser and actor. The work is called Demolition Derby: When a mind loses its license to drive. The dance-theater production takes the audience into the mind of a son as he copes with the scrapes, near misses and collisions of dementia and Alzheimer s disease. It is an artistic collaboration involving the Repertory Dance Theatre, the National Alzheimer s Association, Brolly Arts, the University of Utah Center for Alzheimer s Care and Myriad Pharmaceuticals, Inc. The performers, besides Thom, include Nathan Barnes, Aaron Chavez, Elizabeth Cranney, Sara Christensen, Sarah Donohue, and Erik Stern. The premiere took place in Ogden in January, and on September 7th and 8th, 2007, was performed in Salt Lake City. Finally on November 2nd, the work will be performed in New York City at the Gerald W. Lynch Theatre at John Jay College, 288 Tenth Avenue (between 58th and 59th Streets). New Yorkers and East Coast members might want to catch the New York premiere. Heiland, BWV 659, and the Little Fugue in g minor, BWV 578) arranged for 23 winds and one double bass in Montreal, Quebec, Canada. The ensemble was almost entirely made up of members of the Montreal Symphony Orchestra. Mordechai also conducted this same arrangement in Hamburg, Germany in September, 2005, and then in a special concert with the Israel Philharmonic Orchestra celebrating his 80th birthday in Tel Aviv, Israel, on November 24th, The Bach is scheduled for recording and release by Marquis Classics in the future. Mordechai is also staying active as a bassoonist, as the following photograph shows. It was taken on March 8th, 2007, in Mordechai s home in Ramat- Aviv. The bassoon quartet, reading all Mordechai arrangements, consists of (L to R) Richard Paley, principal with the Jerusalem Symphony Orchestra; guest Sergio Azzolini, soloist from Germany; Mordechai himself, retired from the Israel Philharmonic; and Gad Lederman, 2nd bassoon of the Israel Philharmonic. On July 27th, 2007, contemporary music bassoon specialist Pascal Gallois of Paris, France, gave the world premiere of a new concerto for bassoon and orchestra by German composer Wolfgang Rihm entitled Psalmus für Fagott with the Bayerischer Staatsorchester conducted by Kent Nagano in Munich, Germany. Pascal worked very closely with the composer in the creation of this new composition, and the work has been dedicated to him. On May 30th, 2007, IDRS Honorary Member Mordechai Rechtman conducted his arrangement of six J S Bach organ works (Preludium and Fugue in d minor, BWV 539; Adagio from Toccata, Adagio and Fugue in C Major, BWV 564; chorale preludes Christ lag in Todesbanden, BWV 625, Ein feste Burg ist unser Gott, BWV 720, and Nun, komm der Heiden From March 23-25, 2007, Austrian bassoon soloist Milan Turkovic performed as a resident member of the Chamber Music Society of Lincoln Center, in Tully Hall, New York. The works performed were the Mozart K 452 Piano/Wind Quintet; the Paul Hindemith Kleine Kammermusik für Bläser, and the Ludwig Spohr Nonette. Following these performances, a touring ensemble, which consisted of Milan, David Shifrin, clarinet; and Shai Wosner, piano, went on a short American tour from March 27-30, where they

61 THE DOUBLE REED 59 performed for the Philadelphia Chamber Music Society; in St. Paul, Minnesota; in Bend, Oregon; and in Portland, Oregon for Chamber Music Northwest. Works performed included the Beethoven Opus 11 and Opus 38, and the Glinka and Poulenc Trios. See elsewhere in this issue a report of Milan s master class in Los Angeles. Composer, pianist and bassoonist Bill Douglas of Boulder, Colorado, joined the bassoon class of Texas Tech University bassoon professor Richard Meek and his students Drew West, Sean Pace, and Rene Encina, along with clarinetist David Shea, and percussionist Alan Shinn for An Evening with Bill Douglas recital at Lubbock, Texas on April 15, The program consisted entirely of Bill Douglas compositions, including the Partita for Bassoon and Piano, performed by Richard Meek; Fourth Prayer from the Lyric Suite for Contrabassoon, performed by Drew West; and the ever popular Suite Cantando for Clarinet, Bassoon and Piano, performed by Richard Meek and clarinetist David Shea, with Bill Douglas at the piano. The combined bassoon studio also played a number of Douglas Etudes and Studies. On March 9, 2007, Texas Tech University, Lubbock, was also the venue for the graduate recital of Drew West, bassoon, assisted by Susan Wass, piano, Sean Pace, bassoon; Rene Encina, contrabassoon; and Rahni Kennedy, clarinet. Drew performed a program of French music, including the Boismortier Sonata in C Major, Op. 14, No. 6 for two bassoons, assisted by Pace and Encina; Pièce en forme de Habanera by Ravel; Sarabande et Cortège by Henri Dutilleux; Pièce by Gabriel Fauré; Sonate, Op. 71 ( ) by Charles Koechlin; and Jancourt s Fantasie sur la Norma. Bassoonist Rene Encina, a senior at Texas Tech University, Lubbock, performed her senior bassoon recital there on April 14, 2007, assisted by Eliza Tsai- Lin, piano. Works performed were: the Vivaldi Concerto in g minor, FVIII, No. 23; the Mozart Concerto K. 191; Romance, Op. 62 by Elgar; Récit, Sicilienne et Rondo by Bozza; and the Tarantella, Op. 20 by Ludwig Milde. Congratulations to Drew and Rene on the completion of their degree work! On June 18, 2007, The Metropolitan Soloists (Wind Ensemble) Concerts in Isham Park in New York City featured a concert for Bassoon Quartet and Percussion. The musical director of the Metropolitan Soloists is Gilbert Dejean, bassoonist and contra bassoonist, who holds the position of contra bassoonist with American Symphony Orchestra in New York City. Joining him on bassoons were: Andrea Herr, Don McGeen and Gili Sharett and guest percussionist Frank Cassara. The program included music by Verdi - Excerpts from Rigoletto, Fucik - The Grouchy Old Bear, Shaw - Four Fripperies (originally for four French horns), Three Costa Rican Dances arr. by Gerardo Duarte, and Lussier - Bassango featuring the contra bassoon. The program ended with two tunes by the Beatles. Front L to R: Andrea Herr, Don McGeen; Back: Gili Sharett, Gilbert Dejean; Percussionist: Frank Cassara. CORRECTION: In the Volume 30, No. 1 (p. 82) issue of The Double Reed, the Editor published a short article introducing Dutch bassoonist Maarten Vonk s new book on the bassoon A Bundle of Joy, and printed IDRS Honorary Member Gerald Corey s Introduction to the book. It seems that Gerry had sent me an abbreviated version of the Introduction. The following is the final version (without an illustration that appears in the book): How lucky we are that Maarten Vonk is a REAL enthusiast for everything relating to the BAS- SOON! And, how exciting it has been for me to have helped a little in the preparing of the English translation, now at hand. It has been many years since I visited the home of another enthusiast bassoonist in the Netherlands, Mr. Will Jansen. Jansen had me photographed with him, during my visit to his home in Although the book by Will Jansen is voluminous and all about the bassoon and players, I am happy to testify that Maarten Vonk s new bassoon book, A Bundle of Joy is the most enjoyable book that I ever have studied on this topic! I am particularly impressed with Maarten s CURRENT EVENTS

62 60 BASSOONISTS NEWS OF INTEREST CURRENT EVENTS natural way of expressing the principles and ideas he presents - in the history, acoustics, beginning bassoon study, reed making, jazz bassoon avenues (using a fine jazz specialist to add his expert opinions), recording in a studio, small bassoons, the German and French system bassoons compared, and fingerings, as well as troubleshooting (a real help to younger players). Congratulations, Maarten, on the inclusion of so many practical, useful facts, ideas and photographs - a true cornucopia of easyto-understand and useful lore - all about the BASSOON. It is a great pleasure now to add to my list of Netherlands bassoonist warm friends, Maarten Vonk, along with Thom de Klerk (1953), Will Jansen (1980), Joop Bremer (2007), Hein van Dijk (2006) and Brian Pollard (1971)! FOR YOUR INFORMATION Charles Double Reed Company has announced the printing of the New Third Edition of Bassoon Reed Making by Mark Popkin and Loren Glickman. The new version is in a deluxe spiral binding which allows the book to lie open flat, making it much easier to use. The sale price is $32.95, and this proverbial Bible of Bassoon Reed Making should be in every bassoonists library. The British Double Reed Society (BDRS) held their Annual Convention at Leeds College of Music, Leeds, UK on Sunday, May 6th, Guest artists were oboist Kalev Kuljus, solo oboist with the North German Radio Symphony Orchestra (NDR), and Knut Sønstevold, former principal bassoon of the Swedish Radio Symphony Orchestra and since 1999, professor of bassoon at the Royal Swedish Academy of Music, Stockholm. Besides workshops and master classes, the participants were treated to a concert by students of Leeds College of Music and Leeds University, as well as a special illustrated talk by IDRS Honorary William Waterhouse on The James Dynasty: A Century of French Bassoon Playing in London. The Australasian Double Reed Society (ADRS) is celebrating their 10th Anniversary in Having already sponsored an annual IDRS Conference and continuing to print an excellent double reed publication, Reeding Matter, the IDRS is happy to congratulate the ADRS, and most especially their hard working Editor Belinda Strodder on their continued success. Be sure to check out their nifty website at AND FINALLY For your information as a bassoonist, the following is a report from the French Society entitled Associations Basson ( advertising a Concours de Bassoon pour l Orchestre Philharmonic de Radio France, which was scheduled for September 24th and 25th in Paris. The position available was Un poste de 1er Basson Solo jouant le 2ème bassoon solo (système français) Catégorie Super Soloiste. The auditions consisted of three stages: 1er Tour André Jolivet : 1 ere partie du concerto Traits d orchestre (extraits des oeuvres suivantes): Ravel: Alborada del Gracioso Chostakovitch: 9ème symphonie Mozart: Les Noces de Figaro, ouverture 2ème Tour Carl Maria von Weber: Concerto (2ème et 3ème mouvements) Traits d orchestre (extraits des oeuvres suivantes): Verdi: Requiem Mendelssohn: 3ème symphonie Mozart: Cosi fan tutte, ouverture 3ème Tour Devienne: Deuxième quatour en Ut Majeur op. 73 no 1, 1er movement (avec accompagnement de cordes) Traits d orchestre (extrait des oeuvres suivantes): Bartok: Suite de danses no.3 Beethoven: 4ème symphonie Chostakovitch: 8ème symphonie Mozart: 41ème symphonie Jupiter Ravel: Le Boléro Ravel: Concerto en sol Rimsky-Korsakov: Scheherazade Stravinsky: Le Sacre du Printemps Stravinsky: L Oiseau de feu Stravinsky: Puncinella Tchaikovsky: 4ème symphonie Tchaikovsky: 5ème symphonie NB: Les traits d orchestre inscrits aux épreuves éliminatoires pourront être redemandés aux candidates en finale. And you thought it was tough to get an orchestral job in the United States!!!

63 THE DOUBLE REED 61 The 13th Annual Northwest Oboe Seminar Victoria Racz Portland, Oregon Humbert Lucarelli coaching Seminar participants marked the 13th anniversary of the Northwest Oboe Seminar, and it was truly a special year. Our return guest (by popular demand) was oboist extraordinaire Humbert Lucarelli with his focus session Bert on Bach! Mr. Lucarelli is professor of oboe at the Hartt School in West Hartford, Connecticut and the Conservatory of Music at SU- NY-Purchase. The New York Times stated that Mr. Lucarelli is a true virtuoso on the oboe and also hailed him as America s leading oboe recitalist. His first visit to Portland with the Northwest Oboe Seminar (in conjunction with Classical Millennium) was in March 2004 for a master class and CD release recital (Bach by Bert, Crystal Records), and it was such an enjoyable and inspiring experience that we pledged to bring him back for future Seminar events whenever possible. Our Seminar day on August 19, 2006 began with our traditional emergency reed clinic hosted by seminar assistant Kathy Riemann, with guest clinician Fred Korman. Fred is a two-time Seminar guest artist and retired principal oboist of the Oregon Symphony who has just started a reed company. He was gracious enough to stop by and offer his reed expertise to our lucky participants. After the brief reed clinic we moved on to the solo master class and all of our participants played their prepared solos. Then Seminar instrument technician Pablo Izquierdo presented his session on instrument maintenance and repair, and afterwards we re-located to the main hall for Bert s focus session. Bert Lucarelli has a uniquely warm and inspiring way of communicating musicality and musical concepts to others. His focus was Bert on Bach and a few participants had prepared selections by Bach to play for Bert and the class. Baroque style characteristics were covered as well as other necessities of that time period such as ornamentation, but the session transcended all of that as Bert took each player to a whole new level of playing in the short amount of time he had with each oboist. It was fascinating to watch him work with each performer and witness their transformation as he explained his techniques to everyone observing truly an experience that we will never forget. After that uplifting class everyone went to rehearse with their small ensembles. Music had been sent in advance, and now it was time for that thrilling process of hearing how each piece actually sounded with all of the parts put together! The groups were coached by seminar director Victoria Racz (that s me!), Bert, and another special guest, Norman Leyden. Mr. Leyden is a renowned clarinetist, composer/ arranger and conductor who retired from the Oregon Symphony in May of 2004 after more than 30 years with the symphony. In 1970 he initiated the Symphony s Pop series, one of the most successful of its kind in the nation. To date he has conducted more than 40 leading American symphonies including the Boston Pops and the Saint Louis Symphony. He was at the Northwest Oboe Seminar to conduct a piece on A happy trio! L to R: Kathy Reimann, Bert Lucarelli and Victoria Racz. CURRENT EVENTS

64 62 THE 13TH ANNUAL NORTHWEST OBOE SEMINAR CURRENT EVENTS that evening s concert, but we ll get to that a little bit later When the time for small ensemble rehearsal had finished, we all moved to the sanctuary for large ensemble rehearsal. Our participants were joined by seminar assistants Kathy Riemann, English horn, and Margaret McShea, bassoon. Bert rehearsed us Norman Leyden coaching Seminar participants. all in preparation of a Bach Fugue, and I rehearsed a familiar tune by Grainger. Now it was time to rehearse our special premiere of a piece by Norman Leyden, also conducted by him. It is an untitled composition that he wrote while he was working on Mitch Miller s TV Show as music director. The piece was premiered on that show by Mitch and Norman (who also plays oboe), and then Norman filed the piece away. The music hadn t been played since, and he gave the piece to me after he conducted a Newport Symphony performance (where I have played principal oboe for 14 years). Now was our first rehearsal with Bert, myself, and Seminar participants as our back-up band in an arrangement of the piece Norman did especially for the Seminar, conducted by Norman! After our fun rehearsal we all had dinner while selected soloists took turns working on their pieces with our Seminar accompanist. The soloists, selected from the day s master class, were Jessica Croysdale, Portland, performing the 3rd movement of Mozart s Concertino (Quartet); Quinn Middleman, 10th grader at Mt. View High School, Washington, performing the 2nd movement of the Saint-Saens Oboe Sonata, and Ben Serna-Grey, 9th grader at Home Connections, Washington, performing the Andante by Loeillet. Small ensembles played between each soloist, and then Bert played two movements from Bach s Partita in g minor for unaccompanied oboe and time stood still as we all experienced pure musicality. Our first large ensemble was the Irish Tune from County Derry by Grainger in an arrangement by William Schmidt. The performance of the piece was dedicated to two-time Seminar master class guest, John Mack, and was lovingly played by our Seminar participants. Our next large ensemble selection was another arrangement by William Schmidt the Fuga 1 from Art of the Fugue by Bach, and this intricate piece was deftly conducted by Bert. Now it was time for our grand finale the duo for Bert and myself composed and conducted by Norman, and it was a smashing success! As always we headed to the reception hall after the concert to peruse all of the goodies provided by sponsors, Jones Double Reed Products and Mark Chudnow Woodwinds, as well as to have cake and ice cream and celebrate another amazing day in the Northwest for double-reed players! Our 14th annual Northwest Oboe Seminar was held on Saturday, August 18, 2007 and featured Grammy Award winning oboist, Nancy Rumbel. Besides touring with the Paul Winter Consort for nearly five years, Nancy is mainly known for her long-time successful collaboration with guitarist Eric Tingstad. Their debut album, The Gift, quickly became a holiday classic and the next 20 years saw countless reviews including The New York Times, The Washington Post, Billboard and number one debuts on radio charts. In 1998, American Acoustic was honored as Acoustic Instrumental Album of the Year. They made a Carnegie Hall appearance in 2000, and in 2003 they received a Grammy Award for Acoustic Garden. They have 13 albums to their credit, and are good friends who enjoy each other s company and truly love making music. Nancy s focus for the Northwest Oboe Seminar was The Improvising Oboist, and was definitely a Seminar to remember. Seminar information can be obtained by calling Seminar Director, Victoria Racz, at , ext. 3 or via at info@ oregonchamberplayers.org. Enjoying the after concert reception.

65 THE DOUBLE REED 63 Masterclasses with Milan Turkovic: A Report John Steinmetz Los Angeles, California The UCLA bassoon studio hosted three evenings of master classes by Milan Turkovic, on April 2, 3, and 4, Charles Coker, who has helped make Los Angeles a frequent destination for Mr. Turkovic, arranged for the classes. The Austrian bassoonist, conductor, and teacher gave two sessions devoted to bassoon repertoire, and one class focused on chamber music. Performing were bassoonists from UCLA (studying with John Steinmetz) and USC (studying with Judith Farmer and Rose Corrigan), along with chamber ensembles from UCLA. A large audience of bassoonists and other Turkovic enthusiasts attended the sessions. (Part of the fun for us professional players was connecting with friends and colleagues who attended.) As always, Mr. Turkovic demonstrated ways to make the music more vivid and expressive. He recommended ways to practice tricky passages and to develop various technical skills. Having recorded almost all of the pieces at least once, he shared his stylistic insights, his knowledge of errors in the published materials, his warm-hearted musicality, and his supportive, encouraging approach. Bassoonists and repertoire for the classes were: Sumner Arano (Kozeluh Concerto in C major ), Jill Box (Mozart Concerto), Amy Gillick (Mignone Concertino), Christina Havens (Hummel Concerto), Sylvia Heinz (Vivaldi Concerto in E minor), Yoonjoo Hwang (Weber Concerto), Rebecca Rivera (excerpts), Charles Stratford (Vivaldi Concerto in E minor), Benjamin Yingst (Vivaldi Concerto La Notte ). Milan Turkovic listens to Amy Gillick play a passage from Mignone s Concertino. (Photo by Yoonjoo Hwang.) After hearing the piece for the first time, Milan Turkovic discusses Mignone s Concertino with UCLA bassoonist Amy Gillick, whose doctoral dissertation focuses on Mignone s bassoon music. Mr. Turkovic had just added this piece to a competition list, and Ms. Gillick had the publisher information he needed. (Photo by Yoonjoo Hwang.) CURRENT EVENTS Milan Turkovic advises UCLA bassoonist Sumner Arano about Kozeluh s C major Concerto. (Photo by Yoonjoo Hwang.) UCLA bassoonists with Turkovic. L to R: Yoonjoo Hwang, Sylvia Heinz, Milan Turkovic, faculty bassoonist John Steinmetz, Amy Gillick, Sumner Arano.

66 64 BOSTON WOODWIND SOCIETY S FIFTH ANNUAL DOUBLE REED DAY Boston Woodwind Society s Fifth Annual Double Reed Day Matthew Ruggerio, Boston, Massachusetts CURRENT EVENTS Every April brings thousands of people flocking to Boston from all points of the globe. While it s true most of them come to run the Boston Marathon, many come just to attend the Boston Woodwind Society s Annual Double Reed Day at Boston University. On April 21, Professor André de Quadros, Director of BU s School of Music and Matthew Ruggiero, BU faculty member and President of the Boston Woodwind Society, were on hand to deliver words of welcome to the nearly fifty students, teachers, and professional woodwind players who had come to enjoy the prodigious talents of Boston University s double reed faculty and guest artist Michael Sweeney, principal bassoon of the Toronto Symphony. After introductory remarks and greetings, oboists Laura Ahlbeck and Robert Sheena joined bas- soonist Richard Ranti in an hour long recital of trios and quartets, in which they were assisted by pianist Ayako Yoda. Their spirited performance was greeted with warm and enthusiastic cheers from the audience. Following the recital, the attendees enjoyed the oboe and bassoon master classes and viewed the latest models of Fox bassoons that James Kirker, Boston s premier bassoon technician, had on display. Michael Sweeney provided the highlight of the day when he delivered a lecture on Mozart s Concerto for Bassoon, K He spoke about his research into early editions of this piece and then performed the concerto, incorporating the conclusions he had drawn as a result of his findings. Michael then led all those present-oboists and bassoonists-outdoors and taught them to dance the minuet. Michael Sweeney teaching the minuet to the double-reeders.

67 Double Reeds and their Instruments Investigated at Edinburgh Conference James B. Kopp Hoboken, New Jersey THE DOUBLE REED 65 The author (left) with William Waterhouse (center) and Mathew Dart, organizers of the double-reed sessions. Double reed instruments took center stage during a conference of the Musical Acoustics Network (MAN), held June 20-21, 2007, at the University of Edinburgh, Scotland. Given the location, it was fitting that several papers focused on bagpipes and their reeds, while other papers dealt with the bassoon, the curtal (dulcian), the shawm, and their reeds. Murray Campbell, professor of physics at the university, chaired the conference. The double reed segments were introduced by William Waterhouse, the well-known bassoonist and author, and Mathew Dart, a maker of reproduction early bassoons. Both are based in London. David Sharp (The Open University, Milton Keynes, UK) reported on certain acoustical questions regarding the bending of bassoon crooks. Working in collaboration with the maker Mathew Dart, he used pulse reflectometry testing to conclude that bending of the crook makes no difference to the crook s bore profile or input impedances. Herbert Myers (Stanford University, Palo Alto, CA) examined a specific instance of what seems to be intentional bistability on the treble shawm, bass curtal, and possibly the three-key bassoon. The five-finger note on these instruments (fingered ) can reliably produce either a natural pitch or its flatted version, so that the instruments (certain originals and careful reproductions) can produce this chromatic variation (A-natural/A-flat on curtal and bassoon) without use of a half-covered hole 6 or a dedicated key. James Kopp (Hoboken, NJ) traced the later history of A-flat on early and modern bassoons. Obtaining this pitch in both the fundamental and the overblown octave has inspired a succession of special solutions by both makers and players, partly because the octave vent ( half-holed ) is not in an ideal location. For centuries, the result was a stretched octave between the two A-flats. Robert Cronin (Menlo Park, CA) reported on Understanding Auxiliary Fingerings on Early and Modern Bassoon, explaining in acoustical terms how closing extra tone holes can strengthen the tone of a note. (A related paper by Cronin is available at: idrs.colorado.edu/publications/journal/jnl24/ cronin.html.) David Rachor (University of Northern Iowa, Cedar Falls) reported on the significance of the Henk de Wit collection of early and modern bassoon reeds, which he recently acquired. Included are some twenty reeds from before 1850 and forty from the period Four of the conference s seven sessions focused on double reed topics, including bagpipes and their reeds. The pipe maker Nigel Richards (Edinburgh) reported on his trial-and-error development of a fully chromatic border-pipe chanter, then concluded with CURRENT EVENTS

68 66 DOUBLE REEDS AND THEIR INSTRUMENTS INVESTIGATED AT EDINBURGH CONFERENCE CURRENT EVENTS a rousing demonstration. Sandra Carral (Institut für Wiener Klangstil, Vienna), who had tested the effect of varying humidity on border-pipe reeds, reported that increased humidity led to a flatter pitch response, and lower humidity to a higher pitch response. Michael Hutley (Derby, UK, and Angoulême, France) described Home Workshop Techniques for Investigating Reeds and Instruments. Using inexpensive and readily obtainable equipment, he produced live videos of the blade vibrations of the double reeds from a variety of bagpipes. The Musical Acoustics Network, open to all those interested in the scientific study of musical instruments and musical sound, is intended to build bridges and develop collaborations between musical performers, makers of musical instruments, and scientists working in the broad research area known as musical acoustics. Besides the acoustics and history of musical instruments, MAN takes an interest in the singing voice, psycho-acoustics and music perception, musical performance, and other topics. The network is supported by the Culture and Creativity Programme of the Engineering and Physical Sciences Research Council of Great Britain. The MAN web site is at: index.html. Herbert Myers spoke on the acoustics of shawms and curtals (dulcians). William Waterhouse (left) and Mathew Dart introduced the double-reed papers at the Edinburgh conference.

69 The Fulbright Experience: Life as an American Oboist Abroad Part III Merideth Hite Baden-Württemburg, Germany THE DOUBLE REED 67 Oboists in the Trossingen Hochschulorchester performance of Mahler s 2nd Symphony: Merideth Hite (author), Jenny Brittlebank, James Turnbull, and Christina Schlimper With only a few months left in Germany, I m trying hard to savor every minute. The new semester began in April, after a month-long semester break. During the break I attended the annual Fulbright conference in Berlin where I performed in two concerts and learned a lot about other Fulbright students experiences all around Europe. I d always heard that the Fulbright Commission in Germany treats their musician grantees well, but after the Berlin Conference, that seems like an understatement. With hotel rooms of our own where we could practice, halls and pianos for rehearsal at different Musikhochschulen around the city, flowers and dinner after our gala concert, and that night in itself: our own special time during the busy conference to entertain our colleagues and mentors. What a treat! I felt honored to be on stage with such accomplished and amazingly talented people. I performed two J.S. Bach obbligato arias on oboe d amore with the fabulous tenor, Derek Chester, at the opening ceremony and Schumann s Adagio and Allegro at the gala concert evening. There were singers, cellists, pianists, a violinist, a clarinetist and me, coming from conservatories in Spain, France, Norway, Italy and of course, Germany. Not only did we enjoy playing together, we had a blast getting to know each other and rehearsing together throughout the week. I found it very true when a biology granteefriend said, You musicians are so lucky because you can actually show us your Fulbright project, without saying a word. What a joy and honor it was to participate in this weeklong event. There was no rest for the weary, though. Shortly after Berlin I had my first German recording session with the Tonmeister at the Hochschule here in Trossingen. I needed to make a tape of some of the music I d been working on from the previous semester with Wolfgang Mittermaier, former oboist and recording engineer extraordinaire. While demanding, Herr Mittermaier was very helpful and amazing to work with. Recordings can be stressful, but having such great ears in the booth and such high-quality equipment like the Trossingen Hochschule has, I was so pleased with having done it. Hearing oneself play (interspersed with one speaking a foreign language) is always an eye-opening experience. A major high point of the current semester came early in May when Prof. Nicholas Daniel assigned me to play first in Mahler s Symphony No. 2 Resurrection with the Hochschule Orchestra under Manfred Schreier, the school s head conductor. I was really excited to get a chance to play in orchestra here ARTICLES

70 68 THE FULBRIGHT EXPERIENCE: LIFE AS AN AMERICAN OBOIST ABROAD PART III ARTICLES in Germany, especially in such an amazing piece. The other oboists in the section (the piece calling for four all together) were two British and one German student, all of whom played on short scraped reeds. I was kind of nervous at first, worried about how we would blend, tune and play together; me on my American reeds and Lorée AK bore. But it wasn t nearly as difficult as I d thought. We really came together as a section. I felt such support and teamwork from down the row, and since Prof. Daniel conducted two woodwind sectionals, we really learned a lot. I was surprised at first when I saw the rehearsal schedule for the Mahler project, as it differed so much from what I had expected. In my experience at school in America the orchestra would rehearse throughout the year three or so times a week, giving two or three concerts per quarter or semester. It was an on-going class that one attended all year long. Our schedule here on the other hand was much more intense: starting two weeks before the first performance we had rehearsal every day for a few hours in the morning and the afternoon or evening (sometimes both) until the day of the performance. The orchestra meets only when they are doing a project and there is usually one project per semester. This means those that are in the project take it very seriously. We all knew very far in advance who was playing what part and upon arriving at the first rehearsal all the wind players had studied their scores and their parts for the first of the two sectionals. This meant everyone was really prepared before the intense two weeks of rehearsing even began. I found this way of preparing a concert to be very effective, if a little exhausting and stressful leading up to the first performance. We performed a concert here in Trossingen at the Konzerthaus, a runout concert in a gorgeous basilica in Kempten-Allgäu (on the Austrian-German border), and a final concert in a former monastery in near-by Villingen. Playing the solo in the Urlicht movement in those beautiful places will probably remain with me as one of my fondest memories of my time in Germany. So what now? Life goes into overdrive in preparation for my Abschlussprüfung (final exam) recitals, which take place at the end of this month. The requirements for finishing the KA or the Künstlerische Ausbildung (basically the equivalent of a masters degree in America) involve performing two exam recitals. One is sixty minutes of music from differing time periods, and the other consists of a major concerto from memory and the Klauserstück, a piece that you receive six weeks ahead of time and are allowed no lessons on. The recitals are scheduled a few days apart (yes only a few days ) and a committee of faculty members including Prof. Daniel will adjudicate my performance. Not only are these performances allowing me to gain a degree, I look at them as a culmination of all my work, a Höhepunkt of my time here. On the first recital, I ll play a Zelenka Sonata on baroque oboe with my professor Martin Stadler, the Britten Temporal Variations, Impromptu No. 1 for flute and oboe by Thea Musgrave, Schumann Adagio and Allegro (again!), and Pasculli Rimembranze del Rigoletto. For the second part, I m performing the Mozart Concerto and another piece by Thea Musgrave for oboe and tape. I m so excited to play for Prof. Daniel and the rest of the faculty and my colleagues and sharing the stage with an oboist like Prof. Stadler will be a thrill. I ll let you all know how it all goes in my next and final installment. Until then, thanks for reading. Aufwiedersehen! Merideth Hite, a Fulbright Scholar for the academic year, currently studies Modern and Baroque Oboe in the Staatliche Hochschule für Musik in Trossingen, Germany under Nicholas Daniel and Martin Stadler, respectively. Merideth is a native of Abbeville, South Carolina and graduated with a Bachelor s of Music degree summa cum laude from the University of Cincinnati College-Conservatory of Music in June 2006 where she studied under Mark Ostoich. She hopes to share her experiences in Germany through a set of articles printed throughout her time abroad.

71 Concert Review: Tiny Alligator Large Band THE DOUBLE REED 69 Barrick Stees Cleveland, Ohio July 30, 2007 The Trane Studio 964 Bathhurst St. Toronto, Ontario While vacationing in Toronto this summer, I noticed an announcement in the paper for a bassoon-friendly big band. Not sure what we d find, my wife and I headed to a club on Bathurst St., paid the cover charge and went in to listen. There in the back of the club was the Tiny Alligator Large Band, a 16-piece ensemble of woodwinds, brass, rhythm section, a vocalist and, as promised, a bassoonist. Conducted by leader, Caitlin Smith, the group performs her compositions and arrangements. Smith s music encompasses elements of classical, jazz and rock music, at times all within one piece. She likes a large orchestral palette, using flute, clarinets, saxophones, bassoon, trumpet, flugelhorn, trombone, rhythm section and vocalist. She is partial to chamber music writing, not utilizing the whole ensemble all the time. Some of the pieces had the character of a suite with solo interludes joining the movements. The pieces we heard favored mostly slow ballad tempos and moderately fast swinging speeds. Many of the charts offered meters unusual for jazz such as 5/4, 6/4, and 7/4. The rhythm section expertly negotiated these rhythmically less charted waters and kept the band swinging nicely. Bassoonist Lisa Griffiths rich, robust tone and her sensitive miking made her a real contributor to the Large Band s sound. Smith paired her with clarinet and with flute in many of the melodic lines. Her solos were beautifully played. It was nice to hear a bassoonist in a big band who wasn t a doubler. The club was full of people who were there to listen. There was very little talking and even very little motion in the room as the band played. Each piece had something really original for the ears. Occasionally I was reminded of the Octets of Alec Wilder, but a few bars later a new texture would emerge. The ensemble playing is loose, fresh and spontaneous. In spite of little rehearsal (it must be hard to get 16 freelancers together on a regular basis) the players seemed very relaxed and were enjoying themselves. Tiny Alligator Large Band has a website ( with some mp3 files, but no recordings yet. If you are in Toronto, look them up. You will have an enjoyable evening. ARTICLES

72 70 ARTICLES Articles

73 THE DOUBLE REED 71 Milde has a FACE! David McGill Chicago, Illinois Ludwig Milde (1849- find on the Internet. This took 1913) wrote arguably about two minutes. I had, by the most important that point, only found two articles that essentially mirrored and popular etude books used by bassoonists around the each other, both having appeared in IDRS publications. world today. His 50 Concert Studies (Op. 26) and 25 Studies Each contained only one short in Scales and Chords (Op. 24) paragraph about Mr. Milde have been staples of the pedagogical repertoire for the bet- few details. I then went on to and they differed in only a ter part of a century - and are speak about and play the first likely to remain so. seven of his Concert Studies I have long regarded many with my newly written accompaniments. 2 During that class of Milde s 50 Concert Studies as worthy of public performance for bassoon alone, how many of the eighty or so I asked, by a show of hands, but their complex harmonies bassoonists present had gone had suggested to me that they through all or significant portions of the 50 Concert Studies. might also be effective as romantic concert pieces if provided with suitable piano ac- their hands, and one of those All but three of them raised Ludwig Milde (c. 1880), courtesy of the Prague companiments. Because of a Conservatory of Music. three was only twelve years curious three bar rest appearing in study #49, I began my search in 2003 to find out ercised great influence on the bassoonists of all ages of age! Clearly Milde had ex- if Milde had written accompaniments for them. But gathered in that room. my preliminary research came up empty. I did find My curiosity about this important man of music that some accompaniments had been written by other musicians for a few of these studies and that one Once I had finished the first twenty-five in November continued to grow as I wrote more accompaniments. man, Rainer Schottstädt of Kassel, Germany wrote of 2006, I decided I would do all I could to humanize this disembodied name on the cover of an etude and self-published accompaniments for all fifty. By the time I discovered those accompaniments, I had book. Hoping that more information had been discovered, I renewed my Internet search but came up already begun the arduous task of writing my own, while teaching bassoon at Indiana University during with little new information. And I was also on a mission to find a photo of this man. my sabbatical from the Chicago Symphony. 1 After examining the few accompaniments I could One of the short articles I did manage to find online was in German. It accurately, and sadly, assessed find (one for #7, one for #13, and the Schottstädt) I was determined to go ahead with this mammoth undertaking because of my own strongly held musical poser born April 30, 1849 is known today by bassoon- Milde s current status: Ludwig Milde - Prague com- ideas about Milde s great studies. ists only as a term. When I read this I needed nothing In June of 2004, at the Glickman-Popkin Bassoon Camp in Little Switzerland, North Carolina, I mation. As Gerald Corey wrote in his article for the more to spur me on to greater efforts to gather infor- taught a class that concerned itself solely with Milde s IDRS (Ludwig Milde - About the Bassoon, a Genius): Concert Studies. The class opened with a recitation of Many assume vaguely that [Milde] was German and the few facts about Milde s life that I had been able to just a teacher. How wrong it is to do so. ARTICLES

74 72 MILDE HAS A FACE! ARTICLES Courtesy of the Prague Conservatory of Music. A LIFE NOT CHRONICLED Here are the few bare-boned facts of his existence that I have been able to unearth: Ludwig Milde was born April 30, 1849 in Prague. He began studying bassoon at the age of twelve. From 1861 to 1867 he studied bassoon at the Prague Conservatory with Voijtĕk Gross who taught there for nearly forty years (and had also taught in Bucharest, Romania from time to time). Milde was undoubtedly a model student. Through contact with Mr. Aleš Kaňka, a Deputy Director of the Prague Conservatory, I received Ludwig Milde s grade reports (in German) from 1864, 1865 and None of the wind students listed on those pages (clarinetists, bassoonists and all of the brasses) live up to the level of grades Milde achieved in courses as diverse as French, Harmony, Religion, German, Chorus, Math and Geography. In every instance Milde receives either an E for Excellent or ad E for Excellent-Plus ( ad being short for Additionszeichen or plus-sign ). Others did receive those high grades in a few subjects but they also received a 1 or a 2, which are obviously lower grades. There is not a single grade for Milde lower than an E. His graduation report states: Herr Ludwig Milde, 20 years old [sic], born in Prague/[student] from the years with unflagging diligence: In Instrument Bassoon / Excellent In Harmony and Counterpoint/ Excellent In Religion/ Laudable In Literature/ Excellent In French/ Laudable Has hereby matriculated. Herr Ludwig Milde is now qualifi ed as a most suitable Orchestra and Solo player. Prague, the 25th of July 1867 If the reported date of Milde s birth is to be trusted, then he had achieved his graduation at the age of only eighteen and not, as stated on this document, at twenty. Did he or his family lie about his age to allow

75 THE DOUBLE REED 73 Courtesy of the Prague Conservatory of Music. for his entrance to the conservatory at the tender age of twelve? If so, Milde s early graduation makes his industry all the more impressive. After his graduation as a bassoonist, Milde continued his musical studies for three more years ( ), but it was now composition that consumed his time and effort. František Zdeněk Skuherský, well known for his liturgical works and founder of a famous organ school in Prague, was Milde s teacher. Perhaps study with this church musician influenced Milde to leave his first job, principal of the Linz (Austria) Opera Orchestra, after serving for only two years ( ) to become a choirmaster in Novi Sad, Croatia for some period between 1872 and Perhaps at that young age the bassoonist/composer Milde also had a desire to conduct. On the face of it, Milde seems to have been deeply influenced by his mentors - Skuherský and Gross. His seeming respect for them, and probable adherence to their advice, may have led him first to his choirmaster job in Croatia (Skuherský being well-known in church music circles) and later to Bucharest, Roma- nia, where Milde taught bassoon at the Conservatory of Music from 1874 (1875 according to pay records at the Conservatory) until Milde s teacher, Gross had, after all, taught in Bucharest off and on. On May 12, 1886, at thirty-seven, Milde succeeded Gross to become professor of bassoon at the Prague Conservatory (selected from four applicants). I would imagine that Milde had every hope of having a long and productive tenure teaching at his alma mater but he taught there for only eight years. He resigned in July of 1894, at the age of forty-five, due to health concerns. Incidentally, after the organ school founded by his composition teacher, Skuherský, became affiliated with the Prague Conservatory, Milde was also engaged to teach piano at the conservatory temporarily, beginning in October of An interesting sidelight: During his tenure in Prague Milde may have known Antonin Dvořák, who served as professor of composition at the Conservatory during the school year. Dvořák left Prague after his single year teaching there to become the director of a new National Conservatory of Music in New York City. This new school of music was formed by an act of congress (the only music school so formed) and it had a special emphasis on training African-American students. In America Dvořák composed his Symphony #9 From the New World as well as his cello concerto. In 1897, after three years possibly spent in ill health and recuperation, Ludwig Milde accepted once again the bassoon professorship at the Bucharest Conservatory. By that time, František Dolejš was well into his long tenure as professor of bassoon at the Prague Conservatory ( ). I have been unable to find how long Milde remained as a professor at the Bucharest Conservatory for this second period. In Gerald Corey s IDRS article, Will Jansen states that in Milde s later years he remained active as a soloist and as a private teacher. In the other IDRS article I found - Famous Bassoon Tutors and their (Less Known) Authors - Jansen asserts that Milde played in woodwind quintets during this autumn period of his life. However, I have been unable to find any information to support these assertions. Ludwig Milde died in the spa town of Bad Nauheim, Germany, in 1913, presumably during the course of trying to recuperate his health. He was only 63 or 64. I have not been able to find the exact date of his death. ARTICLES

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