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Doublereed Archive - Posting 000038.txt from 2006/02
From: herb fawcett <herbgosia@-----.net>
Subj: Re: [DR-L] Re: Ray Still/Heinz Holliger
Date: Fri, 03 Feb 2006 19:41:53 -0500
It does not follow that a fine player is necessarily a great teacher. One
of the renowned teachers was Simon Kovar, the teacher of Schoenbach,
Sharrow, Maxym, Herzberg, Garfield etc etc. He was a violinist who converted
to bassoon and was adequate for the NY Phil in those days, but he apparently
knew how to get people to play the bassoon. Sol Schoenbach told me that one
of his valued teachers was Daniel Bonade, a clarinetist.
I think a more productive approach in selecting a teacher would be to listen
to his/her students and then decide. Knowing a bit more about Dave McGill
than just how he plays, which is perfectly delicious, I would choose him as
a teacher easily. Pity though, I hear he doesn't teach. If I had free choice
in such a matter I would seek Richard Ranti in Boston, or I would see if
Matt Ruggiero still teaches. A lot depends on Geography. Is Arthur Weisberg
near you. He is a superb player who also thinks and can explain the
ineffable. I don't know if he can teach, but I would be pleased to be
accused of sounding like Milan Turkovic.
Herb
On 2/3/06 12:06 PM, "Geoff Rousell" <bassoon@-----.uk> wrote:
> Well I have to say it has been refreshing to have a topic that has
> generated such a level of discussion on the list!
>
> It has reminded me of the words of my last bassoon teacher at school. As
> I was leaving school to go on to university he said that he had probably
> come to the end of what he could teach me for the time being. His
> recommendation was to listen to a lot of bassoon players, and when I
> HEARD one that I liked the sound of, go to him/her for lessons.
>
> Here I am, over 25 years later, and I'm still waiting! Actually of
> course I love some aspect of nearly every bassoonist's playing, but I
> often felt that to some extent a bassoonist has to be a "sonic
> chameleon". Since you form the bass of the woodwind ensemble most of the
> time you cannot be too strident, but when you do have those moments of
> solo you have to change so that the distinctive sound of the instrument
> can be heard above the hubbub. Therefore there is no "right" sound, just
> "right in this ensemble" sound. My opportunities as outright soloist
> have been few enough that I have not really attained (to my ear, at any
> rate) a distinctive sound, but my beloved Fox does seem to blend as the
> occasion requires...
>
> Geoff
>
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