Last week, I went to a wind quintet performance. About two-thirds of the way through, I started wondering what the point was of this performance. Further, I began wondering what the point was of what I do, my own musical exploration and performances and those of my musician comrades. What’s the point?
I smashed my hand this week with my bassoon. Unfortunately, I also smashed my bassoon with the floor. Except for its horrific appearance, the damage was shockingly minor and it still plays beautifully.
As you can see, the ring on the end of the bassoon was obliterated, but it seems to have absorbed most of the impact. No, it isn’t ivory. It is a lovely plastic that mimics ivory that I’m told Moosmann created himself (it’s slightly translucent when you hold it up to light). Whatever it is, it saved my bassoon from a much worse fate.
For all.. well, zero of you that were quite concerned with what the mystical maids of the bassoon quartet were going to call themselves, the issue was resolved about two weeks ago...
A few years ago, I subbed in an already established woodwind quintet for a few months. Extremely talented musicians tend to rub off on other musicians and unfortunately, the same holds true in reverse. That summer, I enjoyed my bassoon in a way I never had before. I played pieces of which I hadn’t realized I was capable. Difficult stuff, and we not only played it well but damnit, we made music out of those note-filled pages! The regular bassoonist returned and I have truly missed playing with them.
On to something besides informal audition whinging…
Right now, I’m working on the Ibert trio for Oboe, Clarinet, and Bassoon. Two friends and I have a little trio that meets once a week. We’re hoping to hire ourselves out later but for now, we’re just playing music and having a good time together. Also on my docket is endless double-tonguing practicing and the Vivaldi Bb Major Concerto. Yes, it is somewhat easy but it’s what my professor wants so it is what he shall have. Too proud to play ball, I am not. If I am serious about working on my technique, I need to start somewhere.
Made a decision to not take a volunteer gig in which I am very interested. It conflicts directly with a chamber orchestra concert. Sure, we’re only doing Handel’s Messiah (AGAIN!), but I signed up to help ferry around the timpani so I don’t think I have much choice. The volunteer project sounded so interesting that it’s bothering me to have to say no. I’m trying to get more information before I officially turn it down, but it is not looking good.
Freelance bassoonist and carpenter of the reedy persuasion in Tucson, AZ.
Habits of Musicians
Have Bassoon Will Cook
The Pedantic Bassoonist
Double Reed Ltd.