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Notes of Interest from Visitors to This Site
THE 10th INTERNATIONAL OBOE COMPETITION OF JAPAN 2012 in Karuizawa
Submitted on January 4, 2012 11:38:27 PM MST
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To Whom It May Concern,
We, Sony Music Foundation, are hosting THE 10th INTERNATIONAL OBOE COMPETITON OF JAPAN 2012 in Karuizawa in September next year. The Competition is being held triennially since 1985, and to date, the prize winners have taken the position of the principal oboists of such world famous orchestra as the Chicago Symphony Orchestra, Amsterdam Royal Concertgebouw, Berlin Deutsche Opera Symphony Orchestra, Orchestre de Paris, Orchestre National de France, Yomiuri Nippon Symphony Orchestra, Tokyo Philharmonic Orchestra to name a few.
We would like to ask for your kind cooperation in informing about this Competition to your friends, oboists, teachers, students who may be interested in learning about it and possibly in its participation. You could find details of the Competition on our website and you could download the Participation Requirements and the Application Form from our website: http://oboeck.jp Should you request for print brochures or posters, please let us know and how many.
Thanking you in advance for your kind cooperation in this matter.
Dates
Period for application: February 1(Wed) through April 2(Mon), 2012 (must arrive by this date)
Preliminary Screening with recorded materials(closed to public): April, 2012
Registration: September 27(Thu) , 2012
First Round: September 30(Sun), October 1(Mon) , 2012
Second Round: October 3(Wed)?4(Thu)?5(Fri) , 2012
Final Round and Award Presentation Ceremony: October 7(Sun) , 2012
Prize Winners and Jury Concert: October 8(Mon, Holiday) , 2012
Place
Karuizawa Ohga Hall, Karuizawa, Nagano Prefecture, Japan (altitude: 1,000m)
Chairman of Jury
Hansjoerg SCHELLENBERGER?Oboist, Conductor
Jury Members
Maurice BOURGUE, Oboist
Ken-ichi FURUBE, Principal Oboist of the New Japan Philharmonic
Gordon HUNT, Solo Oboist of the Philharmonia Orchestra and London Chamber Orchestra
Yoshiaki OBATA, Professor at Tokyo University of the Arts
Norbert TAEUBL, Clarinetist of the Vienna Philharmonic
Masaru YOSHIDA, Principal Bassoonist of the Yomiuri Nippon Symphony Orchestra, Tokyo
(in alphabetical order)
Best regards,
Secretariat (in charge: Chie Takezawa)
Sony Music Foundation
JS-Ichigaya Bldg, 7F, 5-1 Gobancho, Chiyoda-ku, Tokyo 102-0076 Japan
TEL: +81-3-3261-9933 FAX: +81-3-3261-9898
THE 10th INTERNATIONAL OBOE COMPETITON OF JAPAN 2012 in Karuizawa
e-mail: info@oboeck.jp URL: http://oboeck.jp
Ramsey Wind Symphony Seeking Bassoon Player
Submitted on Sunday, May 22, 2011 at 12:10:40
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Name: Music Director
Email: musicdirector@ramseywindsymphony.org
Seeking Bassoon player. We are one of the NY/NJ regions most established wind groups. The Ramsey Wind Symphony is a volunteer organization that provides opportunities for qualified individuals to renew, maintain and develop their interests and talents in the performing arts by participating in a positive and uplifting musical environment. Since its inception in 1986, the Ramsey Wind Symphony has served Northern Jersey and Rockland and surrounding communities for more than two decades, playing a wide range of repertoire of traditional and popular music for many who would otherwise be unable to access such an experience. The season is comprised of regular Wednesday evening rehearsals, and a series of indoor and outdoor concerts, including the annual Ramsey Fourth of July Celebration and Ramsey Day (a festive/carnival day celebrating the end of the summer in Ramsey). The Ramsey Wind Symphony focuses on love of music, craft, enthusiasm, constancy of commitment and effort, the highest possible artistic excellence, and a desire to share the joy of music. The Wind Symphony strives to create an atmosphere of accessibility within the community, warmth, challenge and encouragement for its participants, and audience. We invite all who love intensely inspiring and expressive live symphonic music to join us in our pursuits.
Rehearsals are on Wednesday nights at 7:45pm in Ramsey, NJ.
Ramsey Wind Symphony, NY/NJ Regions
Bassoon Bonanza Workshop, Summer 2011
Submitted on Wednesday, April 6, 2011 at 23:38:37
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Name: Richard Ramey
Email:
Hello,
Would it be possible to include a link to my bassoon camp that will be held this summer? If so, then here is the information: (for the Societies, camps, etc. section)
Bassoon Bonanza Workshop
and the link is this:
Thanks.
Richard Ramey
Playing with a Finger Injury
Submitted on Saturday, February 5, 2011 at 21:01:44
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Name: Rondia
Email:
I wanted to pick up playing music again after many years. The problem is I lost part of my left index finger in an accident. Would this disadvantage keep me from playing a bassoon again? If not where do I need to go to have an instrument changed so that I can play music again?
Response:
I see no reason why you would not be able to play again. It would, of course, depend on the extent of damage to your finger and which finger it is, but there might be a special plateau key that could be added to your bassoon to make it possible for you to play again in this particular instance. Here's a section from an article by Chip Owen which describes and talks about plateau keys:
Bassoon Modifications for Small Hands
Chip Owen
Fox Products Corporation"Plateau Key
This is always the first alteration that should be considered for small hands. Easing the stretch needed to close the third finger hole of the wing joint can improve the comfort of playing. It also makes access to the high C and D keys easier for the left thumb. For many persons adding a plateau key is all that is required. A plateau key is easily added at any time in the life of any bassoon.
By definition, a plateau key is simply a padded key that closes a hole that would otherwise be closed directly by a finger. Technically, the low E (or pancake key) is a plateau key; it is needed because the tone hole under it is too large for a person?s thumb to close it. In general usage for bassoons, the term ?plateau key? with no other information always refers to the plateau key for the third finger hole of the wing joint, replacing the normal ring key.
Plateau keys are often considered ?student? keys. Many players avoid them with the idea that only a real ring key should be considered ?correct.? This idea is wrong. The plateau key is used to make reaches more comfortable for small hands. Small hands are more common among students but adults can also have small hands.
It is possible to have a plateau key made in addition to a ring key. The two keys can be made so that they can be interchanged. It is necessary to reverse the direction of the spring tension and to check the adjustment of the key when the other key is installed. Plateau keys can also be made for other open finger holes. In general, these are strongly discouraged. They can get mechanically complicated and can cause more trouble than they are worth. They are appropriate for persons with special needs, for instance, for persons with nerve damage that can no longer feel the finger holes to know that they are actually closing the holes properly..."
In the article he talks about keys that are made in addition to a ring key and that can be switched out. If your injury is minimal, this might be the answer and a simple fix. If your injury is more severe then you would probably need to have a special key made to fit your particular situation. Depending on the brand of your instrument you might want to contact the maker first and ask what the possibilities are. To find out about having a special key cast, one of the Bassoon repairmen listed on the Links page might be able to help. If too much of the finger is missing then there might be a need for a prosthetic device in combination with the plateau key. This goes beyond my expertise and you would need to contact someone in the medical field.
Bassoon and Double Bass Duet by Klaus George Roy
Submitted on Monday, August 23, 2010 at 23:58:50 PM MDT
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Name: PNeher
Email: info@isgpublications.com
ISG Music www.isgmusic.com publishes a wonderful duet for bassoon and double bass composed by the late Klaus George Roy, titled "Duet in Ancient Style." I think your readers would be interested. Cheers!
Bassoon Quartet Now Published
Submitted on Saturday, May 22, 2010 at 16:55:18 PM MDT
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Name: Joseph M Russo
Email: JoeRusso11@mail.com
Hello,
I thought your readers might be interested in my new composition ?In The Woods? for bassoon quartet.
This is a tonal work in three movements.
You may learn more about it ? and hear a computer generated rendition of the work ? at my website:
http://josephmrusso-composermusician.blogspot.com/
Information about the piece can be found by scrolling down to the "May 19, 2010" post.
Joseph Russo
BASSOONINTENSIVE!
Submitted on January 16, 2010 11:55:09 PM MST
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Name: Jesse Read
Email: jesse.read@ubc.ca
BASSOONINTENSIVE! A week-long bassoon experience with Jesse Read, and the Principal Bassoonists of the Vancouver Symphony, Julia Lockhart, Principal of the National Broadcast Orchestra of Canada, Sophie Dansereau, Contrabassoonist of the Vancouver Symphony.
Special guests: Harlequin-the Bassoon Quartet, and the Proart Ensemble, a professional 12-player bassoon ensemble from Taipei, Taiwan.
Orchestral audition preparation, solo repertoire, bassoon in ensemble, contra bassoon, baroque bassoon, extended techniques, private and group lessons, recitals, readings and gala concert and more.
School of Music, University of British Columbia, Vancouver, Canada July 13-19
Vancouver is one of the most beautiful cities in the world, with mountains, hiking, ocean exploration, sailing, and striking, magnificent scenery.
Information: http://summer.music.ubc.ca or jesse.read@ubc.ca
Puchner Serial Numbers
Submitted on Wednesday, July 15, 2009 at 7:06:36
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Name: Peg Weissbrod
Email:
Does anyone know how to determine the approximate age of a Puchner bassoon from its serial number? I saw a chart online years ago but can no longer find it. Any ideas would be appreciated. Thank you.
Response:
I am not familiar with the chart that you talked about in your email, but I have contacted a Puchner representative to see if the company has any information. I do have limited information about some of the serial numbers and when they were built but let me see if I get a response from Puchner. Hopefully, they will provide something that is more complete.
Update: After several emails back and forth and with Peg's help we have a chart that shows the year and corresponding serial numbers for Puchner instruments. A chart from Howarth of London has been posted here.
Many thanks to Peg for her help in finding and sending this information.
The Bassoon Can Play Higher
Submitted on Friday, May 29, 2009 at 12:41:23
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Name: steph
Email:
the bassoon can reach up to a treble F
Response:
You are absolutely correct in that the bassoon can go higher than normally called for in the repertoire. However, it requires special consideration to be able to play the higher notes - for instance, using a harder reed, changing the embouchure to incorporate the teeth, and in some cases, adding special keys to the instrument (although there are alternate fingerings for instruments without those keys). Also important is the condition and ability of the particular instrument itself. So anything written above the treble E is rare and requires advanced technique for the regular bassoonist.
There have been fingerings actually developed for the bassoon that go up to C#6 (a full octave above the solo written in Stravinsky's "Rite of Spring"). Here is a link to some of those fingerings as provided by the IDRS:
http://www.idrs.org/resources/BSNFING/fingnote.htm
Experimentation is also being done now to expand into the multiphonic range. Leslie Ross has captured some of those fingerings and they can be found at the link below along with sound clips for each one:
http://www.leslieross.net/multies1T.html
Keeping Reeds "Young"
Submitted on Friday, March 20, 2009 at 11:29:38
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Name: Joe McDaniel
Email:
Suggestion for keeping reeds "young:" I soak my reeds in a mixture of about 25% hydrogen peroxide and 75% water. This keeps the "gunk" build-up under control, stops all mold, and my reeds last for a very long time (I typically buy 10 and play them for a year or more. Only problem is that the liquid must be kept in a screw-top bottle or it will leak!
Reed Adjustment for Decrescendos and Pianissimos
Submitted on Thursday, May 08, 2008 at 23:03:58
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Name: Rachel
Email:
Hi,
I have only been making reeds for a relatively short while so I'm still learning the finer points. I have some reasonable reeds right now - nice tone, good intonation - but am finding that the sound stops too soon on decrescendos. Is there something I can do to help (adjust the wires in some way, more scrape in a particular place etc)?
Response:
Without playing the reeds, I can't be sure, but it sounds like the blades might be a little out of balance and the vibration of the reed when you blow is being blocked some how. One thing you can do is check to make sure both blades are balanced (equal thickness and lay in corresponding locations) and that there isn't a tiny bump or gouge somewhere. When you blow harder to make the louder sound you can unconsciously overcome such a small imperfection but as the wind flow decreases, it can become a problem. The fibers of either blade should be straight and uninterrupted from the tip to the wire so that the vibrations can flow easily down the lay as you blow.
Another reason could be that the cane (which is going to be different for every reed because it's an organic material - no two pieces alike in grain or hardness) might be harder or softer than on another reed that is working okay. Usually a reed won't play pianissimos because it is just a little too hard. This requires a little more carving to make the cane a little thinner. It can also mean just a little longer break-in period (playing it longer when it is brand new).
If you carve more to make it thinner, the best area to start that will get the most immediate result is what I think of as the "valleys" on either side of the center starting from the wire and going to the tip. Next, thin the tip.
Be sure that the edges on the side of each blade taper properly and aren't too thick. That's also an area that can cause a reed to play harder.
The most important thing after you make any cuts is to start just above the wire and, using your knife, "brush" all of the fibers on each blade from the wire all the way to the tip. You aren't actually taking off a lot of cane or any cane at all - just making sure the fibers are laying in a straight line and that there are no unintentional obstructions.
Finally, you can try to adjust the wires. If the reed is giving you good sound and response except when you play soft, then it is probably okay as to how open the tube and throat are and whether that relationship is balanced. It might just take a small wire adjustment to adjust for the softer sound.
To get the easier response for a softer sound by adjusting the wires, start with the wire just above the turban and squeeze it gently top and bottom. This will open the tip slightly. Then do the same thing on the top wire to adjust the tip's opening back to what it was before you squeezed the first wire.
Remember, if this doesn't get the desired result, you can reverse the process and put it back to what it was by squeezing the wires from the sides.
Whether you carve the cane or adjust the wires, take it slowly and play the reed frequently to see what effect each step has had so that you know when you've reached what you are looking for and when to stop.
College Audition Preparation Workshop
Submitted on Thursday, June 12, 2008 at 18:09:23
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Name: M. Dee Stewart
Hello,
With the high schools now out for the summer, I thought it would be timely to remind you about the College Audition Preparation workshop. I believe that CAP could be of great importance to your bassoon students as they get ready for the next step in their careers. CAP is a great program for aspiring musicians and we are dedicated to their development. You probably know of our positive involvement in student growth at the Indiana University Jacobs School of Music. Now that we have Bill Ludwig on board, we are especially happy to be able to share his expertise with students. Please share this email with appropriate students and you may forward it to anyone you like. CAP is for winds and percussion. Feel free to post this and/or the attachments. If you can help us get the word out about this important program, we would be very appreciative.
Thanks, Dee
M. Dee Stewart, Chair of the Brass Department
Professor of Trombones/Euphonium
Jacobs School of Music, Indiana University
812-855-4767
www.StewartSounds.com
www.music.indiana.edu/som/cap
(College Audition Preparation - July 20-26, 2008)
COLLEGE AUDITION PREPARATION WORKSHOP
AT INDIANA UNIVERSITY JACOBS SCHOOL OF MUSIC
M. Dee Stewart, Director
Elizabeth L. Pfaffle, Assistant Director
Workshop Dates: July 20-26, 2008- No Audition Required
Limited Space ? Apply Now!
CAP Activities: Mock Auditions, Faculty Recital, Jacobs School of music Student Recital, Lessons with IU Faculty in Private and/or Group Settings.
CAP Presentations: Resumes, Financial Aid, Career Options, Audition Preparation, University Entrance Requirements CAP I Grades 10-12 - CAP II Post-high school students over the age of 18
CAP FACULTY
M. Dee Stewart-Trombone/Euphonium-Director
William Ludwig-Bassoon
Howard Klug-Clarinet
Daniel Perantoni-Tuba/Euphonium
Richard Seraphinoff-Horn
Kathryn Lukas-Flute
John Rommel-Trumpet
Thomas Walsh-Saxophone
Steve Houghton-Drums/Percussion
* These listings are for information purposes only and do not constitute an endorsement from the Bassoon Resource. Except where a response might be posted, the Bassoon Resource is not responsible in any way for the content.