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TitleJNL25.1997.pdf
TagsMusical Techniques Musical Compositions Musicology Elements Of Music Musical Notation
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IDRS Conference, Tempe, Arizona . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
God Save the Queen (Version No. 3) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

William Waterhouse
The Interpretation of the Ornamentation in Mozart’s Oboe Quartet K. 370 . . . . . . . . . . . . . . 5

Trudy Fraase
If Mozart Had Been a Bassoonist: Suggestions for a First-Movement Cadenza to K. 191 . . . 15

James A. Grymes
Double Reed Players of the Boston Symphony Orchestra, 1936 . . . . . . . . . . . . . . . . . . . . . . 20

Sketches by Gerome Brush
A Comparative Examination of the Notation of Selected Orchestral Bassoon Solos . . . . . . . 29

Mark Avery
Oboists and Electronics: Embracing a New Era . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Aaron Cohen
Poems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Travis A. Cox, Karen Hoagland, Maria Mendoza
The Bell of a Bassoon Made by W. Hess . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Dr. Klaus Gillessen
A Bassoon Part to Mozart’s Coronation Mass . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

Dr. Klaus Gillesson
Cartoons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

Lauris MacKenzie, K. L. Davis-Mendez, David Riddles
IDRS Honorary Members . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
Yard Sale Bassoon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

Paul Lein
Vivaldi Identification Information-Cross Reference Chart, Part 2 . . . . . . . . . . . . . . . . . . . . . 63

Trevor Cramer
Obituaries: Charles W.P. Cracknell, William S. Buzzard, Wilbur H. Simpson . . . . . . . . . . . . 65
Making Modern Music in Moscow: a Travelogue . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

Dr. Jeffrey Lyman
Back Issue Order Form . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
How to Make UltraLyte Easy Playing Bassoon Reeds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

Arthur L. Gudwin, M.D.
A Nearly Foolproof Method of Forming Bassoon Reeds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

Nicola A. Adamo
The History of the Oboe Class at the Prague Conservatoire . . . . . . . . . . . . . . . . . . . . . . . . . 81

Miloslav Masier
From the Past: Reprints of Double Reed Articles from Woodwind Magazine . . . . . . . . . . . 83

The Reed Problem Don Christlieb . . . . . . . . . . . . . . . . . . . . . . . . . 83
Letter from England Gwydion Brooke . . . . . . . . . . . . . . . . . . . . . . . 85
Woodwind Intonation Theodor Poduus . . . . . . . . . . . . . . . . . . . . . . . . 87
The Horrors of Bassooning Sol Schoenbach . . . . . . . . . . . . . . . . . . . . . . . . 89
The Vibrato Problem, I & II George Opperman . . . . . . . . . . . . . . . . . . . . . . 90
The Truth About Vibrato Josef Marx . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
Bassoon and Powder Puff No. 2 Gloria Solloway . . . . . . . . . . . . . . . . . . . . . . . . 97
Simplifying the Bassoon Simon Kovar . . . . . . . . . . . . . . . . . . . . . . . . . . 100
From Paris Ben Spieler . . . . . . . . . . . . . . . . . . . . . . . . . . . 102
Paul Bunyan-Bassonist Extraordinary Floyd E. Low . . . . . . . . . . . . . . . . . . . . . . . . . . 104

International Double Reed Society Membership Application . . . . . . . . . . . . . . . . . . . . . . . . 106
Bassoon Music Reviews . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

Ronald Klimko
IDRS Online . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114
Playing “Short” High Notes on the Hautboy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115

Bruce Haynes
A Bassoon Lite, Please - Der Fickle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119

Alan Goodman
Stan the Man . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121

Alan Goodman
Regression Analysis as an Aid in Making Oboe Reeds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122

Katherine Ceasar-Spall, James C. Spall
Report of the Executive Secretary/Treasurer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128

Lowry Riggins
Lost Sheep . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129
Contributing Members . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130
The Use of the IDRS Trade Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133
Classified Ads . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133
Advertisers Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134

The
Journal
of the

Page 67

IDRS JOURNAL

Obituaries

65

Charles W. P. Cracknell
1943 and Barbirolli was engaged as its conductor.
He had to contend not only with the difficulties of
recruiting musicians in wartime, but with the fact
that most local players opted for the greater secu-
rity of the BBC. Nevertheless, he succeeded in turn-
ing the Hallé into one of the country’s finest orches-
tras in the postwar years.

Cracknell was highly regarded by his colleagues
in the orchestra, who appreciated his beautiful
sound, his natural musicianship and his support
and encouragement of his fellow players. He gave a
number of historic performances, among them the
British premiere in 1949 of Richard Strauss’s Duet
Concertino for Clarinet and Bassoon (with Pat Ryan).

Despite his heavy workload with the orchestra,
with more than two hundred concerts a year,
Cracknell found time to teach at the Northern
School of Music (later to be the Royal Northern
College) and Chetham’s School, as well as taking a
number of private pupils.

He was an inspirational teacher, but exacting
and methodical. He demanded high standards of
accuracy and technique, though always at the ser-
vice of musical expression. Many of his former
pupils have gone on to become professional play-
ers and teachers often returning to him throughout
their careers for coaching and advice; the distinc-
tive school of playing they represent is his lasting
musical legacy.

Cracknell was made an Associate of the Royal
Academy of Music in 1972, and retired from the
Hallé in 1977. His imposing 6 ft. 5 in. presence was
much missed by colleagues and concert audiences
alike. The former still recall his wry sense of humor
and predilection for complex spoonerisms. Despite
heavy professional commitments, he took great
delight in trying to grow dahlias almost as tall as he
was in his Didsbury garden.

Retiring to Kent, Cracknell continued to teach at
King’s School Canterbury, and in 1980 his work as a
teacher was recognized when he was appointed
MBE in the New Year’s Honours List.

In 1941 he married Patricia Mary Murphy. She
survives him with their three daughters, two of
whom are also musicians and teachers.

Charles W. P. Cracknell, renowned British bas-
soonist, died on Thursday, May 1st, 1997 at the
Maidstone Hospital, Kent, at the age of 81. Charles
had a long and distinguished career as principal
bassoon of the Hallé Orchestra. His presence in
the IDRS and BDRS will be greatly missed. His obit-
uary from the London Times reads as follows:

Charles was principal bassoon of the Hallé for
31 years, during which time the Manchester
Orchestra under John (later Sir John) Barbirolli
became of Britain’s best. He was also an active and
distinguished teacher of his instrument, who influ-
enced generations of pupils and may be said to
have created his own individual school of bassoon
playing.

The second son of a Hastings clockmaker,
Charles William Penton Cracknell was expected to
follow his elder brother into the family business.
However, visits to the Hastings Municipal
Orchestra had kindled in him an interest in music
in general and the bassoon in particular. “Once bit-
ten by the bassoon bug, there is no known anti-
dote.” he said.

A local piano-tuner and bassoonist started him
off on a French-system instrument, and his studies
continued with Frank Rendall. After switching to an
Adler bassoon, using the more manageable and
now much more widespread German system,
Cracknell began to deputise at weekends in the
Eastbourne Municipal Orchestra.

After the Second World War, spent in the Royal
Corps of Signals at York and then in Algeria,
Cracknell enrolled part-time at the Royal Academy
of Music. He studied with Richard Newton, princi-
pal bassoon of the BBC Symphony, and freelanced
alongside players such as Archie Camden, Paul
Draper and Eddie Wilson.

When Barbirolli came to conduct a performance
of the Verdi Requiem at the BBC towards the end of
1945, he asked Newton if he had any promising
pupils for the recently reformed Hallé Orchestra.
Cracknell went to play for him, and by August was
in the seat he was to make his own over the next 30
years.

The Hallé, founded in 1857, had been going
through a difficult period. Players were shared with
the local BBC Orchestra and the Liverpool
Philharmonic Society. But Liverpool formed an
independent orchestra in 1942, and, with BBC com-
mitments preventing the Hallé from functioning
properly, the decision was taken to go it alone.

A separate full-time orchestra was formed in

Page 68

OBITUARIES66

over the years that followed to make a distin-
guished contribution to what were the vintage
years for the Hallé Orchestra under Barbirolli’s
direction. A highlight early on was the British
premiere of Richard Strauss’s Duet-Concertino,
which Cracknell gave with the clarinettist Pat
Ryan during the 1948-49 season.

In addition to his activities as orchestral play-
er, he was a dedicated and much-loved teacher,
working at both the Northern School and the
Royal Manchester College of Music. He took
retirement in 1977, having spent 31 years with
the orchestra, and was appointed MBE in 1980.

Moving back south to Borough Green, Kent,
he continued to teach for many years in
Canterbury and the surrounding region.”

In an obituary for Charles that appeared in the
British newspaper the Independent (May 30,
1997) distinguished bassoonist William
Waterhouse wrote the following words:

“Charles Cracknell was for over 30 years
Manchester’s leading bassoonist. Joining the
Hallé Orchestra in 1946, he was one of the fresh
crop of wind principals recruited after the end
of war by Sir John Barbirolli to revitalise the
orchestra. Cracknell was born in Hastings in
1915, the second son of a clockmaker. Early
exposure to the excellent local Municipal
Orchestra inspired him to take up the bassoon.
After war service spent mostly in Algeria, he
completed his studies on the instrument in
London at the Royal Academy of Music.

Having moved to Manchester, he was able

William S. Buzzard
William S. Buzzard, 74, chemical engineer for

50 years, amateur bassoonist, and longtime
IDRS member died of heart failure on
Wednesday, May 14, 1997, at his home in
Jenkintown, Pennsylvania.

He was born in Portage, PA, and graduated
from the Massachusetts Institute of Technology
after serving 28 months in the US Army in
Europe during WWII. He married his wife,
Georgine in 1948 after meeting her in Austria

while in the Army. He worked as a chemical
engineer for many years in Hatboro with the
Fisher and Porter firm, retiring in 1990.

Mr. Buzzard was an avid bassoonist, playing
in the Bucks County Symphony Orchestra for 44
years. He also served as librarian and was on
the board of directors. He is survived by his
wife, four children and three grandchildren. The
IDRS joins them in mourning the loss of this
valuable member.

Wilbur H. Simpson
Wilbur H. Simpson, former bassoonist with

the Chicago Symphony and bassoon teacher in
many of the Chicago area universities, including
Northwestern University, died at his summer
home in Platte Lake, Michigan, on Tuesday, June
17, 1997. He was 79 years old. A resident of
Evanston, Illinois, he performed with the
Chicago Symphony for 45 years until his retire-
ment in 1991. Originally from Angola, Indiana,
Wilbur graduated from Northwestern University
before serving in the Navy during World War II.

He was in the 30 piece band on the battleship
Missouri when the Japanese formally surren-
dered in 1945. In 1946, he joined the Chicago
Symphony and over the years taught many bas-
soonists who can now be found in major orches-
tras and universities throughout the world.
Wilbur Simpson is survived by his wife,
Margaret, three children and four grandchil-
dren. The IDRS joins them in mourning the loss
of this great bassoonist and teacher.

Page 134

CONTRIBUTING MEMBERS132

Marco Le Manna
Dwight C. Manning
Kiyoshi Matsubara
Donald C. Mattison
Susan A. Mausolf
Paul B. McCandless, Jr.
Evelyn McCarty
D. Keith McCelland
Charles McCracken, Jr.
Donald J. McGeen
Timothy S. McGovern
Melinda McKenzie
Richard Meek
Eugen Meier
Andrea Merenzon
Kristy L. Meretta
Dennis P. Michel
Marcos Mincov
James R. Mitchell
W. Stuart Mitchell, Jr.
Moeck Verlag
Carol Moffett
Adriano Mondini
Gene E. Montooth
Robert J. Moore
Bernd Moosmann, Ltd.
Laurence S. Morgan
Ralph William Morgan
Robert E. Morgan
James H. Moseley
Dorothy E. Mosher
Robert Mottl
Franklin Pieter Mulder
James W. Mullins, Jr.
Rev. Greg W. Neteler
Amelia Russo-Neustadt, Ph.D.
Jan Joris Nieuwenhuis
Daina L. Nishimoto
Coreen L. Nordling
Rebecca Noreen
Earl C. North
Dirk Noyen
James N. O’Donnell
Rosemary Ruth O’Farrell
Leslie S. Odom
Eric P. Ohlsson
Antero Ojanto
Robert L. Olson
Gustavo E. Oroza-Henners
Mark S. Ostoich
Miguel Pakalns
Havner H. Parish, M.D.
Josep Julia Pascual
Kenneth Pasmanick
Sandra E. Pearson
Homer C. Pence
Tedrow L. Perkins
Kermit C. Peters
Eric J. Petersen
Robert J. Pfeuffer
Christopher Philpotts
Enzo Pizzi, Inc.

Gina Pontoni
Richard Porter, M.D.
Prestini Reed Corporation
James F. Preston
John F. Price
Gerald & Patricia Prunty
Gregory Quick
Jerome L. Rabinowitz
Carl Rath
Richard Rath
Vernon Berry Read
James F. Reiter
Scott E. Reynolds
Andrea J. Ridilla
George T. Riordan
Joseph Lee Robinson
Tonyia R. Robinson
James R. Roe
John Rojas
Mark L. Romatz
Ronald Roseman
D. Hugh Rosenbaum
Rosslyn Woodwind Supplies Ltd.
Steven J. Rovelstad
Harrison E. Rowe
Frank Ruggieri
James M. Ryon
Pamela S. Sacco
George J. Sakakeeny, II
Bruce M. Salad
Walter Hermann Sallagar
Dean H. Sayles
Schilling Reeds - Kevin Schilling
George S. Schlazer
Dr. John H. Schnabel
Peter J. Schoenbach
Clare Scholtz
David Schreiner
Elizabeth A. Schulp
Martin Schuring
William J. Scribner
Mark S. Seerup
The Selmer Company
Scott M. Shevy
Andrew M. Shreeves
Carolyn I. Shull
Ivan A. Shulman, M.D.
Joyce Sidorfsky
Keith Sklower
Joseph Lawton Smith
Malcolm W. Smith
Rheta R. Smith
Michelle Jo Snyder
David Solter
Roger C. Soren
Douglas E. Spaniol
Thomas J. Stacy
Frank S. Stalzer
Sylvia Starkman
Bob Stevens & Son
Eugene E. Stickley
Jim R. Stockigt

Daniel J. Stolper
Maureen C. Stone
Sherry L. Sylar
David E. Taylor
Jane Taylor
John F. Thompson
Robert K. Thompson
Mrs. Grace S. Tracy
Milan Turkovic
John J. Urban
Gerhard Veith
Vigder’s Bassoon Supplies
Allan Vogel
Erik Waldejer
Stephen J. Walt
David B. Ward
Sara Watkins
Wolfgang R. Wawersik
Arthur Weisberg
Abraham M. Weiss
David E. Weiss
Karl-Friedrich Wentzel
Andrea Whitcomb
Charles C. Wicker
Isle of Wight International Oboe
Competition
David A. Wild, M.D.
Paul A. Wille
Dr. Jack D. Williams
Kerry M. Willingham
Peter J. Wolf
Richard C. Woodhams
William S. Woodward
The Woodwind and The Brasswind
Brian Woodworth
Deborah W. Wright
Malcolm John Wright
Hiroshi Yoshimizu
David Zar
MS Bernadette Zirkuli
Marilyn J. Zupnik

Page 135

IDRS JOURNAL 133

The logo and the seal of the International Double Reed Society
are the exclusive property of the Society and may not be repro-
duced or used without written permission.
The Society will permit the use of logo or seal only if used in conjunction

with an official application form for membership in IDRS and not used in a
manner that may give the casual reader the appearance of an endorse-
ment by the IDRS, of the person, entity or product associated with such
reproduction. Prospective users must obtain permission in writing and
submit a press proof of the proposed printed item in advance of publica-
tion. Please direct inquiries in writing to the IDRS music Industry Liaison.

ADVERTISEMENTS IN IDRS PUBLICATIONS
The International Double Reed Society sells advertising space in The

Double Reed and in The Journal of IDRS to individuals, institutions and
businesses for payment of the current advertising rates.
The Society does not attempt to verify the accuracy or reliability of any

advertising claims, made herein, and thus IDRS does not recommend or
endorse any of the products, businesses or services advertised in the
advertising section.

C L A S S I F I E D A D S

The Use of the
IDRS Trade Marks

FOR SALE: Heckel Bassoon No. 4328.
Recently completely restored by Bernd
Moosmann. Silver plated keys, excellent finish
and beautiful sound. High D and E keys. US
$13,000. Fax: (54-1) 961 8223 (Argentina) or
Email: [email protected]

BASSOONS FOR SALE: 4 Fox Renard
Bassoons Model #51 (short reach), Brand
New!: 2 still in box/2 played for about 3 months;
complete with new Altieri custom-fitted back-
pack case covers and all originaL Fox acces-
sories. $2000/$1900 John Ruze 804-883-7441.

If you would
like to advertise

in the
DOUBLE REED

contact:

Peter Klatt

510-845-7178

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