Connecting, Part II

My last post focused on ideas for building a connection between the audience to the musicians.  This post deals with the issue of connecting the audience to the music.

"Everyone loves classical music..................

......they just haven't found out about it yet."

                                 -Benjamin Zander

In this video, the renowned conductor, teacher, speaker and author Benjamin Zander describes an experience he had while working with a group of street children in Ireland.  One day a boy approached him and told him how the Chopin piece (he referred to it as the "shopping" piece!) which Zander had played the night before had affected him even though he'd  never heard classical music before.  He went on to say that his brother had been shot a year earlier, and while Zander played, thoughts of his dead brother came into his mind; before he knew it, tears were streaming down his face.  It was the first time he had cried for his brother, and it was cathartic.  What a clear demonstration of the universal power of classical music!

(Do not listen to the statisticians who claim that only 3% of the population likes classical music!!)

My recent post about connecting with the audience drew many well-thought-out and helpful comments.  For example, commenter Travis Branam mentioned a blog post he had written on this subject entitled new years resolutions for classical music.  This is one of Travis' suggestions for classical musicians:

"Find someone who can “decode” your music for the general public.   Someone- a musician, a journalist, a blogger, anyone- needs to be appointed as our unofficial diplomat to the masses on behalf of all branches of classical music; someone who will not only carry a unified,  positive and specific message about what classical music has to offer people today but someone who can break down and analyze music in a register of language that someone who doesn’t have a music degree can understand and even enjoy."

Travis is proposing the idea of one individual who can have a far-reaching, international effect.  He goes on to say that we need someone to do for classical music what Oprah did for literature through her famous book club.  Leonard Bernstein is a past example of a classical music diplomat.  (How about having lots of musical diplomats?  How about one or more for each orchestra?)

I'd say that Benjamin Zander is serving as a present-day international musical diplomat.  He has the ability to reach every last person in his audience.  He doesn't do it just by playing the piano- he also speaks, in an enthusiastic and inspiring manner.  That's how an audience is created.  Chances are, everyone who has experienced one of Benjamin Zander's presentations will attend a classical concert in the near future!  

This reminds me of a recently viewed PBS documentary about professional baseball.  Pro baseball was not that big a deal in the U.S. until the games started being broadcast on the radio.  Why?  Because the radio announcers made baseball accessible!  Their explanations of how the game was played changed everything.  Radio announcers made baseball accessible to and understood by the masses.

After watching that documentary about baseball, I began wondering how orchestras might benefit from some sort of announcer who could keep the audience informed during the concert.  Of course, Peter Schickele thought of this a long time ago: 



But is there some way that orchestras can do this in a serious way?  At the very least, how about having a charismatic announcer (maybe the conductor) speak before the piece begins and between movements?  How about subtitles (commonly used for opera) being used to help the audience keep track of what's unfolding in the music?  Maybe twitter or a smart phone application could be used, especially for the younger audience members which all orchestras are currently seeking.

The Columbus Symphony is already using an announcer of sorts (a narrator, really) in a series of educational concerts we're presenting in elementary schools.  The narrator guides students through the concerts.  Sometimes she uses props, which I think is a great idea. She even asks students to volunteer to help her. In my opinion, the narrator could be doing even more- I see nothing wrong with her signaling to the audience when a theme is returning or when the oboe has a solo!  It's time for us to break free from our outdated molds and start innovating!  If the announcer is concerned about offending or distracting the musicians, then it's time for the musicians to let it be known that we embrace change!  (We do, don't we?)

During the past year and a half, the Columbus Symphony has been offering audio streams of our concerts on Instant Encore.  At first, some musicians feared that the availability of our concerts for free on the internet would result in a decline in ticket sales.  Those fears proved to be unfounded, since our ticket sales have been strong.  In fact, our internet presence has been extremely beneficial.  It's a way of putting our orchestra on the map, so to speak.  Several of my long-distance friends have told me how much they've enjoyed listening to our concerts on InstantEncore.  (Also, as an added benefit, the musicians in the orchestra, especially wind and brass players, can learn a lot about their playing from listening to the performances.) 

The Chicago Symphony has created an incredible series called Beyond the Score® which is designed not only for classical music aficionados, but also for newcomers looking to delve deeper into the world of classical music.  The first half of each Beyond the Score® program offers a multimedia examination of the selected score - its context in history, how it fits into the composer's output of works, the details of a composer's life that influenced its creation - sharing the illuminating stories found "inside" the music.  Actors, a narrator and moving and still images are used.  The second half features a performance of the work in its entirety. 



These productions are extremely well done, as proven during our Beyond the Score® presentation of Mozart Piano Concerto #27 here in Columbus, but they're also expensive to present - a problem for beleaguered orchestras.  I wish that presentations like Beyond the Score® were more affordable, because currently, the multimedia approach offers a huge advantage for orchestras which must compete with endless entertainment options, such as other local arts groups, a vast array of internet options, and more recently, videos of world class orchestras shown in movie theaters.

Next season the Columbus Symphony is offering some new options which hopefully will allow us to connect more people with the music.  For example, we will present "Rush Hour" concerts beginning at 5:30 - a great time for downtown workers who welcome an excuse to avoid traffic jams!  Also, the once-popular "Coffee Concerts" presented at midday on Fridays will be re-introduced, in a smaller venue than our regular hall.  These new concerts are sure to attract new audiences.  It totally makes sense for orchestra managements to seek new options (new times, new formats, new venues, new add-ons such as food and drinks) for connecting the music to the audiences.  The mid-sized orchestras most likely to survive are the ones which flex, offering presentations which are appealing and convenient.

Please add your comments and additional ideas!



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Connecting with the audience

Gone are the days when orchestral musicians had nothing to worry about except practicing.  Now our careers are threatened by:

• plummeting philanthropy
• diminishing governmental and foundational support
• aging audiences
• competition from world class orchestras on the internet and in movie theaters
• a glut of live entertainment options competing with orchestral concerts
• cuts in arts education
• perceived stuffiness, stiffness and formality of symphonic concerts

Some classical musicians have sought careers in chamber music, and those who have done so successfully have figured out that a connection must be forged between musicians and audience. For example, I recently attended a performance by Carpe Diem String Quartet here in Columbus.  Instead of hiding backstage, fussing over the tricky passages before the concert, each quartet member was in the kitchen of the venue, chatting with and serving food and drinks to the audience members who joined them in the kitchen.  When it was time for the performance to begin, the guests brought their drinks and plates into the performance area (which included unusual seating options like sofas).  The musicians chatted and joked in a relaxed fashion with the audience during the performance.  One of the pieces on the program was composed by a Columbus resident who was present, and he also offered a few words to the audience. What a great way to establish relevance in the community!  The quartet played really well too, but they were smart enough to realize that playing well is just one of the requirements for success in today's classical music environment.  I believe that orchestral musicians can benefit from following the examples of successful chamber ensembles like Carpe Diem.

The musicians of The Cleveland Orchestra have begun an innovative series in which they perform chamber music in the Happy Dog bar in the Gordon Square Arts District of Cleveland.  They are responding to the current environment which is making it difficult for even the top orchestras to thrive.  These musicians are not above donning Happy Dog t-shirts and offering their fine musicianship free of charge.  Why?  It's all about forging a connection between the audience and the musicians.

Just last Thursday The Cleveland Orchestra was stranded in Ann Arbor during a winter storm  Guess what the musicians did?  Thirty of them gathered at Silvio's Organic Pizzeria at the University of Michigan for an impromptu performance of chamber music where they were joined by world-renowned pianist Pierre-Laurent Aimard.  It has become habitual for The Cleveland Orchestra musicians to connect to their audiences, even when they're out of town!

The efforts of The Cleveland Orchestra musicians are especially remarkable because the free events are organized solely by the musicians.  Instead of looking around for a target to blame for the current socioeconomic environment which is not as supportive of symphony orchestras, the musicians have found a solution.  Their performances in Happy Dog have created quite a stir in Cleveland, from which the entire orchestra will benefit greatly.

What else can be done to forge those connections?  Well, first of all, the musicians have to be willing to connect to the audience.  Columbus Symphony Principal Clarinetist David Thomas started a podcast project a few months ago.  He asked the members of the Columbus Symphony to volunteer to be interviewed (by David himself) with the intent of making these podcasts available to audience members so that they'd have the opportunity to learn more about the individual musicians.  Sounds like a great idea, right?  Yes, it is, but unfortunately, very few musicians agreed to be interviewed, and the project flatlined.  (Thank you, David, for trying....)

David Thomas' house in Clintonville

Another project of David's has been wildly successful.  He has presented numerous  chamber music performances by Columbus Symphony musicians in his house.  Each time, his house has been jam-packed with enthusiastic symphony supporters who relished the chance to meet the musicians and to watch them perform up close.  One of David's many talents is that he really knows how to throw a party, and he sees to it that the music is complemented by delectable hors d'oeuvres and fine wines.  David's most recent chamber concert was also a benefit for the symphony; the guests gladly offered donations.

Some orchestras showcase individual musicians before concerts by having a different musician each week speak a few words about his or her background before the concert begins.  Although the musicians always report that it's nerve-racking to speak before a concert, the audiences love that personal touch.  Some orchestras create a video bio of each musician for inclusion on the orchestra's website, and of course most orchestras feature photos and brief bios of the musicians on their websites.

I think that post-concert gatherings held in the lobby are an obvious way to forge connections between musicians and audience.  The orchestra would not incur any expenses except the fee required to keep the hall (and its concessions) open a bit later. The resulting connections would be well worth whatever it costs to keep the hall open an hour longer. 

In the past, some Columbus Symphony musicians have experimented with a "Meet and Greet" in the lobby of the hall as concertgoers arrive.  However, many musicians feel that pre-concert socializing interferes with concert preparation.  The musicians standing around the lobby trying to greet patrons are not easily recognized as musicians because they don't have their instruments .  Also, the patrons entering the facility always seem to be in a hurry to get to their seats.  Based upon my observations, pre-concert "Meet and Greet" situations are minimally effective.

But the unexpected encounters between musicians and audience members on their way into or out of the hall provide great opportunities to connect.  We're usually carrying our instruments, so everyone knows we play in the orchestra.  I vividly recall an incident which occurred before a concert a year ago.  I witnessed a couple of musicians walking very quickly toward the hall. They were intently engrossed in conversation, and as the musicians veered around an elderly couple, they nearly knocked them down.  The elderly patrons were incensed, and they hissed something about Columbus Symphony musicians not caring about anyone except themselves!  It was very unfortunate, especially since the offending musicians, who unwittingly served as the orchestra's ambassadors, never even realized what happened.

After that, I decided to embark on a mission to offer good will to any concertgoer I encountered.  I began going out of my way to smile at and speak to anyone who looked at me before and after each concert.  Right away, it became clear from the way people reacted that my efforts were appreciated.  In fact, I was surprised to find out that some patrons actually knew who I was!   That invisible barrier which has existed between musicians and audience does not serve us well.  Let's get rid of it!

When we're onstage, we're being watched.  I don't like to think about that too much, lest I become self-conscious, but the fact remains that there is indeed a visual aspect to our performances.  Perhaps we musicians should even consider smiling now and then when our performance is being acknowledged!

Please help me brainstorm.  What ideas do you have to help orchestral musicians connect with the audience? 

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Shostakovich 11

Dmitri Shostakovich

Judging from the reaction of the audience following last night's Columbus Symphony performance of Shostakovich Symphony No. 11, Opus 103, "The Year 1905", the power of this symphony transcends the specificity of Bloody Sunday and the Revolution of 1905 which the piece commemorates.  On Bloody Sunday, a peaceful protest (against autocratic rule) by Russian workers and their families turned into massacre as Russian troups opened fire on the defenseless crowd.  Hundreds died senselessly; the Revolution of 1905 ensued.

Shostakovich himself wrote of his 11th symphony:

"...it deals with contemporary themes even though it's called '1905'.  It's about the people, who have stopped believing because the cup of evil has run over."

Undoubtedly, many people in the audience and the orchestra were mindful of current events in Egypt during last night's Shostakovich 11 performance.  We were fortunate to participate in such a powerful demonstration of the relevance of classical music.

Shostakovich quoted nine different Russian workers' revolutionary songs which were woven into the texture throughout the 65-minute symphony.  This was a departure from his usual style, and probably contributed to this symphony's immediate success in Russia upon its publication in 1957.

Shostakovich wrote some of the greatest bassoon solos of all time, most notably the recitative-like solos of 4th movement of Symphony no. 9.  The first page of the 1st bassoon part of Shostakovich 11 contains nothing but solos:

The first solo (2 bars before 15) occurs following a lengthy rest.  To avoid surprising yourself and everyone else with a pitch below A=440, it is advisable to remove the reed from the bocal and quietly blow air into the instrument for a couple of minutes prior to the entrance.  Bassoons are extremely sensitive to temperature, and any entrance following a lengthy rest should be preceded by blowing air into the bassoon, unless the stage temperature is unusually high.  The reason I know this is because I listened to the InstantEncore stream of the Columbus Symphony's Handel's Messiah performance from a couple of months ago.  I was horrified to hear an entrance of mine sounding quite flat on low F after a prolonged rest.  Then I remembered the advice of my Japanese bassoon teacher, Ryohei Nakagawa: he insisted on blowing into the instrument during long rests to keep the pitch stable.

The passage above which begins 3 before 21 (and becomes a soli with the 2nd bassoon at 2 before 21) is to be played as powerfully as possible.  It really is ff!  The last 3 bars complete the passage with 1st bassoon and contra.  Of course, it's a good idea for the bassoonist to drop his/her jaw in the attempt to keep the pitch of low Eb down.

Near the end of the 3rd movement, which is a funeral march lamenting those who lost their lives in the Bloody Sunday massacre, Shostakovich wrote the following bassoon solo which is accompanied by 2 clarinets during the 1st 3 bars:

The bassoonist is well advised to match the dynamics of the 2 clarinets until they drop out.  (It may require a volume louder than p!)  Then the bassoon can end the solo quietly beginning at 5 after 117.

There are some tutti passages which require significant wood shedding in this piece.  This example is from the final page of the 1st bassoon part:

Along with the other woodwinds, the bassoons are likely representing the intensity of the crowd - the people who will ultimately prevail in their revolution.  We should not let Shostakovich down by fumbling through this passage!  Its intensity requires precision.

Here is the audio stream of the Columbus Symphony's performance of Shostakovich from this past weekend:

Russian Masters - Rachmaninoff Paganini Rhapsody - InstantEncore

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Please fill out this easy survey for a reader of bassoon blog!

I received a request from a bassoon blog reader today who asked if I would post this online survey.  The author of the survey is a college student who is completing a research project about the use of machines in reed making.  Please fill out the form and submit it to help our fellow bassoonist!  I've pasted the form below just so you can take a quick look at it, but in order to actually submit your results, please use this google spreadsheet link.  Thank you!

1. Your instrument?

• Oboe
• Bassoon
• Other:

2. Country of residence?

3. How old are you?

• less than 26
• 27 - 40
• more than 41

4. Your occupation? (student, orchestra member, teacher, other)

5. Do you use reed making machines for making your reeds? (if no proceed to question 8 )

• Yes
• No

6. Which?

• Gouging (oboe and bassoon)
• Shaping (only oboe)
• Profiling (only bassoon)
• Tip profiling (oboe and bassoon)

7. What brand? (i.e. gouger rieger, tip profiler DRM)

8. What are the advantages of using reed making machines? (1 is less important and 5 is more important)

		1	2	3	4	5
I am saving time using some kind of machines.
I can make personal adjustment.
I am saving money.
I can achieve better quality than buying ready cane.

9. What are the disadvantages of using reed making machines? (1 is less important and 5 is more important)

		1	2	3	4	5
I do not know how to use the machines.
I do not know how to adjust machines.
I do not have time for making canes.
I can not afford buying machines.
I can not achieve same quality like ready cane.

10. How long does it usually takes for you to get the answer from the customer service?

• I usually get an answer within 24 hours.
• I usually get an answer within 1 - 2 days.
• I usually get an answer within 3 and more.

11. Your opinion about the price of reed making machines?

• The price could be much higher.
• The price could be a little higher.
• The price is ok.
• The price is a little to high.
• The price is way to high.

12. Are you planning to buy a new machine soon?

• Not at the moment.
• In less than 1 year.
• In more than 1 year.
• Maybe if they would cost less.

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Ravel Piano Concerto

One of the most challenging works for the bassoon in the orchestral literature is the Ravel Piano Concerto in G Major.  It appears on many bassoon audition lists, although the specific movements vary.  Some orchestras ask for the first movement only; some ask for the third movement only.  Most ask for both.

Some bassoonists use a special high note bocal for a high solo like the one in the Ravel first movement:

I am not one of those bassoonists who switches bocals, for this or any other solo.  For me, that's just too much fussing around.   However, I do switch reeds for extreme solos like this one.  Although I can play the solo on a regular reed, it sounds better on a reed which favors the high range.

HOW TO MAKE A HIGH REED

I know there are bassoonists who claim they can make a high reed, and they can even explain how they do it.  Those methods have never, I repeat, NEVER worked for me.  But fortunately, high reeds just appear in my life from time to time.  I can't say whether high reeds are caused by certain density variations in cane, or quirks of construction, but I just know that high reeds crop up when I least expect them.  They tend to be higher pitched in general, and difficult to play.  They don't vibrate as well as other reeds, and the crow of these reeds is resistant.  If one of these reeds plays high Es or The Rite of Spring easily, then I let it dry and then store it in an airtight container until I need a high reed.  I even have a special zip-lock bag reserved specifically for Shostakovich 8 reeds (reeds which easily attack high E flat, or E flat 5).

When played in the orchestra, the tempo of the above solo is usually not very strict - it's rather laid back.  Just listen to the accompaniment and watch the conductor, and it will be easy to place each note.  This solo definitely benefits from intonation practice.  I like to set up the tuner to produce a drone on E and play the solo against it, and afterwards I check the pitch of each note on a meter just to be sure.  Of course it's a big deal to get the high E in tune, but the high C# and high B are often problematic as well.  Be aware that the temperature of the stage where you perform may affect the pitch of your reeds.  In my case, the stage temperature is usually hot, and so my reeds play higher.

In my opinion, this solo should be played out, with as big a sound as possible.  I've never had a conductor ask me to play less on this solo, and it's so easy for the bassoon to be drowned out by the rest of the orchestra.

I am a huge fan of the French bassoon, and of course this part was written for the French bassoon.  I searched YouTube for an example of this movement played on French bassoon, but this was the closest I could find:


This is the Orchestre National de France, Charles Dutoit conducting, with pianist Martha Argerich.  It's definitely a French orchestra, and the bassoons are French bassoons.  However, these players exemplify the trend in which French bassoonists are attempting to sound more like German bassoons.  This trend disappoints me, since I am quite taken by the sound and lyricism of a real French bassoon.

Later in the movement there is a tricky passage in which the notes can be challenging to place accurately:

It's wise to prepare prior to the first rehearsal by practicing the 32nd note passages with the metronome at many different tempos.  Then you'll be ready for whatever tempo the conductor presents at 25.  Usually this is conducted in 3, so set your metronome accordingly.  During the rest between the two 32nd note passages, it's very easy to lost track of what's going on, thus compromising the accuracy of the second entrance.  It's advisable to learn the horn solo so that the second entrance is obvious based on what the horn player does.  If the horn player gets off, you're covered, whereas any woodwind colleagues who were relying on counting (as opposed to listening) may be left in the dust.

These notes go by rather quickly, and must be well practiced so that they sound smooth and even.  Because of the more famous solos in this piece, it's easy to neglect this difficult passage.

And what about the second movement?  There's an oft-forgotten solo there too:

Every second bassoonist knows about the solo at the top of the page, beginning on B#.  Intonation is tricky and can benefit from private rehearsing with the English horn player, who plays the solo line for the first 4 bars.  Then the 1st bassoon takes over from the English horn in the 5th measure. I like to pretend I'm an English horn player during that passage, starting the E4 at the same dynamic as the English horn finished with, and matching the English horn player's vibrato.  Conductors often like this passage to be very expressive, as someone seems to have scribbled in the rental part pictured above.  It works well to have the volume and vibrato both intensify in the middle of the 4 bar phrase, and to begin and end very subtly. 

There are a few different ways to perform the famous 3rd movement bassoon lick:

It can be performed as written, or with the 1st bassoon playing the whole passage alone, or with both bassoonists playing the entire passage.  I've done it all 3 ways, and I'd say that the least successful was the one time I played it as written.  For some reason, at such a fast tempo, it's hard to coordinate 2 players, and the two players usually sound quite different from one another.

The first time I played it, shortly after I was hired by the Columbus Symphony, I remember how unspeakably frustrating it was to practice this passage.  I was ready to toss the bassoon out the window.  The more I practiced it, the worse it sounded!  Back then, I didn't have any history with this piece, so I think I was somewhat flipped out.  (What if the performance didn't go well?  Would I fail my probationary period??)

Now, with a few performances of this concerto under my belt, I know I can do it, but it's still extremely daunting.  It makes total sense to me for the first bassoonist to play the entire passage (either alone or with the second bassoon playing in unison) rather than trading back and forth as printed.  In auditions we are expected to play the entire passage, combining the first and second parts.  That's what we're used to, so why not play it that way in the orchestra?

I've noticed one difference between practicing this excerpt and actually playing it in the orchestra - it's harder for me to get through the entire passage in one breath in the orchestra. I think it's because I play it louder in the orchestra than I would when practicing.  In the orchestra I automatically adjust the volume up to a level appropriate for projection, and that does take a lot more air.

Preparing the above passage is no different from any other as far as practicing techniques.  I slow it way down (quarter = 60) and aim for smoothness and ease.  Sometimes I practice it with altered rhythms.  But the important goal is to slow it way down.  Once it becomes easy and 100% reliable at a slow tempo, it's no problem to tackle faster tempos, since the finger motion between consecutive notes is the same regardless of tempo.  I like to practice it at a wide variety of tempos so that I'm prepared for anything, up to around 165.

There's one more passage to consider, a few bars before the end of the concerto:

This is exposed, fast and best played with a truly growling fortissimo so that it can project - the perfect last word from the first bassoon!

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Petrouchka

The great Russian composer Igor Stravinsky (1882-1971) wrote his ballet score Petrouchka in 1910 and 1911 and revised it for a more moderately-sized orchestra in 1947.  Petrouchka is one of the great pre-World War I tone poems, so colorful and captivating that it stands alone in the concert hall even without the ballet dancers it was meant to inspire.  Petrouchka is set in St. Petersburg during a Mardi Gras-like festival and tells the dramatic tale of the love triangle among three living puppets: the downtrodden, mournful Petrouchka, the handsome, cocky Boor and the beautiful yet superficial Ballerina. 

Many of the greatest bassoon solos in  the orchestral literature can be found in Stravinsky's ballet scores. Stravinsky was not afraid to require the bassoon player to reach beyond his or her limits, as best exemplified by the famously high-pitched bassoon solo which opens another of his famous ballets, The Rite of Spring.

Petrouchka, which the Columbus Symphony performed this past weekend, abounds with interesting parts for the bassoon section, such as the one for 2 bassoons and contra at 58 in Part One:
 

It would be easy for the first bassoon to be uncertain where to come in if he/she didn't realize that the strings play pizziccato on the downbeats of each measure with grace note entrances after 58.  That's why it's so important to listen to recordings and study scores.

The following passage beginning at 73 presents quite a technical challenge:

Oftentimes, bassoon passages like the one above are lost within the orchestral context.  Not this one!  It's fairly exposed and must be played accurately.  The tempo is usually around 120 per quarter note.

The most effective way to practice is is to slow the metronome way down and, while remaining relaxed, practice it until the fingerings become automatic. (This requires a considerable amount of practicing over a period of days.)  Some musicians refer to this process as the development of "muscle memory."  It is also helpful to practice the patterns with various rhythms and, in the advanced stages, faster than necessary, so that it seems easy when slowed down to the actual tempo.

I use all standard fingerings for the passage, except for using short F# (LH: half hole, 2,3 , E flat key, whisper key; RH: 1) on the downbeat of the second measure.  The parts for Petrouchka are rental; the markings in the above passage are not mine (and I don't know what they mean!).

The bassoon solo after 95 in the Second Part can be awkward:

It's a good idea to be very aware of the clarinet parts, by listening to recordings and examining the score, so that there is no question where to place each note.  The 64th notes 3 before 97 may require some experimentation with F# fingerings.  My standard F# fingering, known as the French fingering (LH: 2, Eflat key; RH: 1,2, F key) doesn't work for me in this passage due to resultant squeaking.  The short F# fingering which I referred to above doesn't work much better.  Instead, I chose an F# fingering which I rarely use: LH: 2, E flat key; RH:1,2, B flat key.  (For some bassoonists, this is the standard fingering.)  This fingering produced reliable results, although since I don't use this fingering very often, I had to train myself very thoroughly to use it here, with lots of repetitive practice.

At 106 in the above excerpt, the bassoon seems to represent poor Petrouchka crying over his imprisonment and his rejection by the Ballerina.  The crying is best done in tune, though, and I checked the pitches of those notes with my Boss tuner before each performance.

Perhaps the bassoon solo which most people associate with Petrouchka is found in the Valse:

The first note of each measure, the detached and staccato E flat or D, should sound like a swift kick, I think, and can be somewhat bold.  The remaining five notes of each measure, though, are legato and refined, taking great care to ensure a smooth connection between F and A flat especially.  I tried several different fingerings for the staccato E flats to find the one which was in tune when played with the "kick" character.  That fingering turned out to be LH: 1, 3, whisper key; RH: 1, B flat key.

Here is the Columbus Symphony's performance from this past weekend which included Petrouchka, with Enrique Diemecke guest conducting.

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The dog ate my reed

Although my dog is widely known for his ability to keep my playing in check through his selective howling during my practice sessions, he harbors an unfortunate addiction.  He loves to sneak around behind my back, snatching and devouring any wayward bassoon reeds.

I managed to pry this one from his clenched jaw before it embarked on its intended journey through his digestive tract.  He did, however, manage to ingest the most delectable part of the reed: the ever-so-carefully crafted blades. 

Luckily for the dog, this was my "embouchure maintenance" reed.  An "embouchure maintenance" reed is a reed with undesirable playing characteristics which, instead of throwing in the trash, I keep in my mouth when I'm not playing the bassoon, with an embouchure formed tightly around it.  ( For anyone unfamiliar with the term, embouchure is defined as the application of the lips and surrounding facial muscles to the reed and/or mouthpiece of a wind instrument.  The position of the jaw is also involved in the formation of an embouchure.)  Sometimes I blow into the "embouchure maintenance" reed, but that doesn't really seem to make a difference.  The point is to build up the embouchure muscles without actually playing the bassoon. 

Why not just practice the bassoon to build up the embouchure? you might ask.  Well, I am practicing the bassoon, but after a certain point (when the player becomes too tired) continuing to practice does more harm than good, and I need an embouchure of Herculean strength this week.  I need an embouchure which is stronger than that which can be attained through mere practicing.

Why?  Well, my music stand is overloaded this week:

This is the list of pieces I am preparing to rehearse and perform this week, beginning tomorrow:

Beethoven Symphony No. 8
Britten Soirees Musicales
Ravel Piano Concerto in G Major
Rimsky-Korsakov Overture on Russian Themes
Shostakovich Festive Overture
Stravinsky Petrouchka
Tchaikowsky Piano Concerto No. 1
Tchaikowsky Symphony No. 2 "Little Russian"
Tower Made in America

You can see why I think I need a strong embouchure (among other things).  I am daunted!

Yet, as always, I remind myself that anyone who is employed as a classical musician is fortunate.  I'm not sure how I'm going to manage to perform each of these pieces at a professional level all within the same week, but I'm ready to give it my best shot.

B-a-a-a-a-d dog!

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