THE WINSTON CHURCHILL MEMORIAL TRUST OF AUSTRALIA

The ‘Mr. and Mrs. Gerald Frank New’ Churchill Fellowship for the study of Baroque bassoon performance practices in the Netherlands, UK, Switzerland, Italy, and Germany

I understand that the Churchill Trust may publish this Report, either in hard copy or on the internet or both, and consent to such a publication.

I indemnify the Churchill trust against any loss, costs of damage it may suffer arising out of any claim or proceedings made against the Trust in respect of or arising out of the publication of any Report submitted to the Trust and which the Trust places on a website for access over the internet.

I also warrant that my Final Report is original and does not infringe the copyright of any person, or contain anything which is, or the incorporation of which into the Final Report is, actionable for defamation, a breach of any privacy law or obligation, breach of confidence, contempt of court, passing-off or contravention of any other private right or of any law.

Signed: Date: 6 July, 2016

Contents

Introduction 3

Executive Summary 4

Program 5

Main Body 7

Conclusions and Recommendations 23

2 Introduction and Acknowledgements

In March 2016 I set out on what was to be the most informative, inspiring and life affirming

5 weeks of Baroque bassoon adventures across Europe on my 2015 Churchill Fellowship.

This took the form of lessons and discussions with some of the world’s leading specialists in historically informed performance practice in the Netherlands, UK, Switzerland, Italy and

Germany, as well as the opportunity to observe concerts presented by world-class period instrument ensembles.

This invaluable experience would not have been possible without the generous sponsorship of Mrs Patricia New in memory of her late husband Mr Gerald Frank New. My deepest appreciation and thanks also goes to the Winston Churchill Memorial Trust of Australia, and for the advice and support shown by friends and colleagues, Tasmanian based

Churchill fellows; Gemma Black, David Nuttall and Lloyd Hudson.

I was fortunate to have my partner and fellow musician, Martin Penicka accompany me on my Churchill journey. As well as being an incredible support, it was wonderful to be able to share in this unforgettable experience together.

Finally, thank you to my amazing family and friends.

3 Executive Summary Name: Simone Walters Address: 29 Gatehouse Street, Moonah TASMANIA 7009 Telephone: +61434 433 140 Occupation: Freelance Musician Project Description: The study of Baroque bassoon performance practice, reed making, and teaching approaches through private lessons, meetings and concert attendance in the Netherlands, UK, Switzerland, Italy, and Germany Highlights: Den Haag and Amsterdam, the Netherlands: • Benny Aghassi (Netherlands Bach Society, Freiburg Baroque Orchestra, historical bassoon teacher at Conservatorium van Amsterdam) • Netherlands Bach Society Edinburgh, Scotland: • Peter Whelan (Principal bassoon Scottish Chamber Orchestra, Ensemble Marsyas) Geneva, Switzerland: • Lorenzo Albert (teacher of historical bassoon at Haute École de Musique, Genève) Milan/ Mantua, Italy: • Alberto Grazzi (Ensemble Zefiro, Concentus Musicus Wien, The English Consort) Bonn, Germany: • Rebecca Mertens (Bassoonist in Bochum Symphoniker/freelance Baroque bassoonist) Berlin, Germany: • Adrian Rovatkay (freelance bassoonist/teacher) • Akademie für Alte Musik Berlin Kronach, Germany: • Wolf Holzbasinstrumente (makers of historical bassoons) Major lessons and conclusions: While far too numerous to mention, one of the most exciting conclusions I arrived at was an affirming appreciation of the way in which the exploration of historical music continues to challenge, stretch, and inspire me both personally and musically. I have acquired an immense array of techniques, sounds, ideas, and resources to integrate into my philosophies, practice, and performance. Many of the insights were for me new approaches, while others reinforced and stabilised aspects with which I was already familiar. It was exciting to discuss and consider the future of early music and the impact this movement is having on mainstream orchestras and ensembles worldwide. Dissemination and implementation: This will first and foremost take place through recital presentations and ensemble collaborations both here in Tasmania and interstate. Additionally, ideas will be shared through my private teaching practice, professional networks, reed making business, and through my work as a modern bassoonist with professional orchestras across Australia. I will also be publishing my discoveries in an article for the Australasian Double Reed Society’s November edition of their quarterly journal, ‘Reeding Matter’.

4 Program

NETHERLANDS Den Haag, 23 – 29 March 2016

• Private lessons with Benny Aghassi • Performance of Bach’s St Matthew Passion presented by the Netherlands Bach Society in Naarden, 26 March 2016 • Visit to the Mauritshuis

Amsterdam, 29 March – 5 April 2016

• Further lessons with Benny Aghassi at the Conservatorium van Amsterdam • Observation of lessons of other Baroque bassoonists in Benny’s class • Bassoon class concert at Conservatorium van Amsterdam, 4 April 2016 • Visit to the Rijksmuseum including it’s original Baroque instrument collection

SCOTLAND, UK Edinburgh, 5 – 10 April 2016

• Private lessons with Peter Whelan • Performance of Beethoven’s Fifth Symphony by the Scottish Chamber Orchestra at the Queen’s Hall, 7 April 2016

SWITZERLAND Geneva, 10 – 13 April 2016

• Lessons with Lorenzo Albert at the Haute École de Musique, Genève

ITALY Milan/Mantua, 13 – 16 April 2016

• Discussions and dulcian playing with bassoon maker, Vincenzo Onida • Private lesson with Alberto Grazzi in Mantua, 15 April 2016

GERMANY Bonn, 16 – 18 April 2016

5 • Discussions with bassoonist Rebecca Mertens • Performance of Händel’s Theodora by Bonnbarock, 17 April 2016

Berlin 18 – 24 April 2016

• Private lessons with Adrian Rovatkay • Berlin musical instrument museum at the Kulturforum, 20 April 2016 • Performance of opera Amor Vien dal Destino by Agustino Stefani presented by the Akademie für Alte Musik Berlin at the Staatsoper im Schiller Theatre, 23 April 2016 • Visit to the palace and grounds of Schloss Charlottenburg, 23 April 2016

Dresden/Kronach 24 – 26 April 2016

• Discussions, tour and instrument testing at Wolf Holzblasinstrumente in Kronach

6 Main Body

1. Netherlands

On the 21st March 2016, accompanied by my partner and fellow musician Martin Penicka, I departed Hobart to embark on what was to be a journey of deeply inspiring musical, historical and personal discovery.

After flying into Amsterdam, Martin and I spent a week in Den Haag where I had private lessons with Baroque bassoon and recorder extraordinaire Benny Aghassi. Benny regularly performs with the Netherlands Bach Society, Freiburg Baroque Orchestra, the Orchestra of the Eighteenth Century, Amsterdam Baroque Orchestra, and the Orchestre des champs

Elysées, as well as teaching the historical bassoon class at Conservatorium van Amsterdam.

I first met Benny when we worked together on a Canberra International Music Festival project with Elizabeth Wallfish a couple of years ago. At the time I had just purchased my

Baroque bassoon and Benny and I got along so well that the idea of travelling to Europe to have some lessons with him was planted. Needless to say it was a wonderful reunion and our lessons were tremendously informative, inspiring and encouraging.

On Good Friday we drove to the small town of Naarden to see Benny play a beautiful performance of Bach's St. Matthew Passion with the Netherlands Bach Society in a remarkable thirteenth century church. This was music making of the highest order.

Incredible grace, ease and mastery from all involved, presented with the utmost integrity in regards to authenticity of style and interpretation. It was great to hear Benny playing in the orchestra and putting much of what we had been working on together into practice. The entire ensemble; two orchestras, continuo, chorus and soloists performed with an abundance of lightness, joy and commitment. A performance I will never forget!

While in the Netherlands we also enjoyed seeing the amazing works of the Dutch masters at the Mauritshuis and the Rijksmuseum. This provided so much insight into the vast ranges of colour, shape and textures employed by baroque artists to arrive at the desired affect, emotion or mood of their subject. I was struck by the parallels between the techniques

7 employed by these visual artists of the Baroque era, and the ways in which we as musicians strive to give shape and life to music of a similar time in history.

We spent the following week in Amsterdam where I had further lessons with Benny at the

Conservatorium van Amsterdam where he teaches historical bassoon. I was able to meet the other students in his class and observe both their lessons and ensemble rehearsals. A class concert was held the night before we departed Amsterdam where I was invited to perform a movement of the Galliard sonata which I had been working on with Benny. A wonderful way to complete such an inspiring couple of weeks in the Netherlands.

Main conclusions from lessons

Benny spoke at length of the importance of using a larger volume of air but in an open and relaxed way. This has the effect of freeing the sound, aiding projection, and supporting and enhancing all other elements of bassoon playing. He encouraged me to relax the embouchure more and lower my air direction while being generous with the use of air. This helped me arrive at a full and resonant sound without using force.

We also worked on really allowing air support to drive the tongue when articulating, and striving for a relaxed tongue stroke that is light and agile.

Benny described the need for what he calls ‘active tongue’ when playing Baroque music. In the same way a string player uses the bow, this expressive approach to articulation enables one to develop a wide palette of different articulations in order to depict a limitless variety of affects, emotions, and musical styles. Active tongue is never static or the same but always alive and changing with the music. It is our means for text, speech and poetry through the instrument.

General considerations of French Baroque style were explored in relation to the Sonata no 2 in G major for bassoon and continuo by John Ernst Galliard (1733) that we worked through together. Regarding notes inégale, Benny brought to my attention the subtleties of this aspect of performance practice and how it too relates to the alive, active and expressive qualities of

Baroque music that we worked on highlighting through approaches to articulation.

8 He suggested variation and a less ‘égale’ approach to inégalite. We never say the same thing exactly the same way twice and our approach to music must also reflect this - no two notes are the same. We also worked on ways in which inégale can create tension and release, and can be used to highlight metrically or harmonically important notes or phrases.

Benny had much to offer regarding tips on Baroque bassoon reed making. His advice mostly revolved around how to achieve greater resistance in my reeds such as changing from

0.6mm gauge wire to 0.7mm for a more robust reed, opening the reed’s aperture, and forming a longer tube.

In relation to various fingerings on the Baroque bassoon, Benny encouraged me to consider two different fingering systems: one for sharp keys, and another for flat keys. This mostly applies to fingerings for F#/Gb and G#/Ab and I was provided with many different fingering options for these notes and others.

Suggested resources:

- 66 Etudes in all major and minor keys by Anton Slama

- Weissenborn Studies (for working on consistency)

- Gambaro studies (classical bassoon)

- Methods and traités for basson by Ozi (classical bassoon)

Following the historical bassoon class concert at Conservatorium van Amsterdam, 04 April 2016

9 2. Edinburgh, UK

Next we flew to Edinburgh where I had arranged to meet and play for Peter Whelan, another of my favourite Baroque bassoonists who is Principal Bassoonist of the Scottish

Chamber Orchestra as well as founder, artistic director, and bassoonist with Baroque double reed outfit, Ensemble Marsyas.

We spent two long and in-depth lessons on sound production, reed making styles, working together through the sonatas, Vivaldi Concerto, and orchestral excerpts I'd prepared. In addition to this we discussed more general aspects of continuo playing, the importance of referring to the bass to inform musical decisions, and the influence that the historically informed performance movement is having on the current modern orchestral climate.

A highlight was hearing Peter play with the Scottish Chamber Orchestra in a very

Australian flavoured concert comprising of Beethoven’s Symphony No.5, 'Testament' by

Brett Dean, and Mussorgsky (Arr. James Ledger) 'Songs and Dances of Death'. It was assuring to see the influence of historical approaches to performance at work here with the orchestra’s use of natural trumpets, horns, and historical timpani.

Main conclusions from lessons

One of the main areas discussed was how to achieve variation in tone colour. Peter suggested practising long notes with crescendo and diminuendo while focusing on sound and allowing it to open, ‘spin’ and really resonate throughout the instrument. When experimenting with this he encouraged me to change the direction of my support and air speed and therefore direction of sound while remaining completely relaxed and open in embouchure and throat. This instantly gave me a greater variety of colours, shapes and sounds providing many more options in terms of musical expression.

Peter explained the importance of always considering the bass line of any given piece of music and allowing this to inform interpretive decisions relating to direction, harmony, and where time can be taken in the solo part. In regards to the Vivaldi Bassoon Concerto (RV

488) we worked on, he mentioned the significance of playing along with the bass parts in

10 ‘tutti’ sections when performing with an orchestra. This solo/bass duality is one of the features of bassoon concerti of the mid to late Baroque, and a reflection on the changing function of the bassoon from its role as a basso continuo instrument to a virtuosic solo voice.

Considering the main job of the bassoon throughout most of the Baroque era was supporting the bass line, we spent a good deal of time focusing on basso continuo playing.

Peter talked at length about some really helpful general rules to follow regarding articulation and note lengths when playing lines consisting of stepwise movement and those that are more disjointed or feature leaping patterns. He also explained the meaning and implied affect behind reoccurring gestures such as ascending and descending semitone patterns. I was reminded that it is our job as continuo players to choose and highlight what is important in the bass line, that not all notes are equal, and that its important to be long sighted in this respect.

Peter had some excellent advice concerning working with the instrument and its challenges rather than struggling against it. He encouraged me to surrender having to always be in control and listen to how the instrument wants to be played. Tuning into this teaches us a great deal and informs aspects of approach such as how much air, attack, and support needs to be given on various notes of the instrument.

Suggested resources:

- Bach’s Continuo Group by Laurence Dreyfus

3. Geneva, Switzerland

Following a couple of days of sight seeing in Edinburgh we flew to Geneva. Here I met with

Lorenzo Albert, an amazing pedagogue and performer who has been an influential figure to many of Europe’s historical bassoonists. Lorenzo's approach was different again and he offered some fantastic practical advice relating to technique as well as stylistic approaches to the Telemann Fantasia and Vivaldi Concerto I presented. Lorenzo was warm hearted and

11 incredibly generous, and his love and enthusiasm for teaching and early music in general was immediately apparent.

Main conclusions from lessons

Lorenzo generously shared with me a variety of different fingerings to use on the Baroque bassoon according to specific performance scenarios or desired outcomes such as soft playing, clearer attacks, more effective trills, and achieving stability on problematic notes.

Regarding articulation, Lorenzo spoke at length of the importance of developing a variety of attacks, lengths, and dynamics. We talked about the effects of double tonguing on the

Baroque bassoon and the ways in which it enables even greater variation of articulation.

Lorenzo mentioned the various primary source treatises that discuss this and he encouraged me to persist with my own exploration and study of this important yet often overlooked aspect of Baroque bassoon technique.

We discussed approaches to note lengths and how in general notes were formerly played much shorter than the way in which we treat them today. He explained that it is a modern concept to play everything so sustained and related this to the qualities of dance, line, lightness and beat hierarchy inherent in Baroque music.

Suggested resources:

-Johann Joachim Quantz ‘On Playing the Flute’

-Classical and Romantic Performance Practice 1750 – 1900 by Clive Brown

-The Historical Performance of Music – An Introduction by Lawson and Stowell

-11 Capricci for Cello by Joseph Dall’Abaco

-Trattenimento musicale sopra il violincello by Domenico Galli

-Platti cello sonatas

-Music for a Mixed Taste by Steven Zohn

12 Lorenzo Alberto and I after a lesson at the Haute École de Musique, Genève, 12 April 2016

4. Milan, Italy

From Genève we caught the train through the beautiful snow covered Swiss Alps to Milan.

Here we stayed with renowned dulcian1 maker and bassoonist Vincenzo Onida and his family in their inner city apartment. Vincenzo and I spent most of our first day there comparing instruments and bocals2 and playing dulcian duos in his amazing attic space workshop. His knowledge of 17th century repertoire was astonishing and I gained some valuable advice that will come in handy, as after trying Vincenzo's instruments I commissioned him to make for me a bass dulcian of my own.

We were fortunate to enjoy an unseasonably warm and sunny day that we spent sightseeing and exploring Milan, stopping for espresso and gelati along the way. A highlight was visiting the spectacular il Duomo and we particularly loved stumbling across and marvelling at many of the city’s ancient, hidden churches.

1 A dulcian (or curtal) is the predecessor to the bassoon and was developed around 1550 and widely used until 2 The thin metal tube which connects the reed to the wind instrument (in this case the bassoon or dulcian)

13 On our last day in Italy we travelled by train to Mantua where I had a lesson with the highly regarded and respected Baroque bassoonist, Alberto Grazzi who plays with Ensemble

Zefiro, Concentus Musicus Wien and The English Consort, as well as teaching historical bassoon at the Conservatorio di Musica ‘Giuseppe Verdi’ di Milano.

Alberto collected Martin and I from the station, and after a quick tour of the beautiful historic town of Mantua we returned to his home for coffee, followed by a lengthy and incredibly detailed lesson. Alberto offered a wonderfully scholarly approach, referring to many of the primary sources and speaking at length and in great detail of the intricacies relating to Baroque style. We played a lot together which was both wonderfully demonstrative and deeply inspiring.

Main conclusions from lesson

Alberto reiterated the importance of allowing air to drive every aspect of bassoon playing. It must always come first. All other elements of technique are secondary. I was reminded of how much easier and more successful my playing is when I focus on air rather than finger technique.

Throughout the lesson Alberto referred constantly to the treatises on Baroque performance practice we have available to us, in particular Johann Joachim Quantz’s ‘On playing the

Flute’ of 1773. Alberto urged me to really study this text and apply it to everything I play from this era especially German repertoire. He suggested that doing so will enable me to learn and integrate in a personal way the general rules, exceptions and specifics of the various elements of Baroque performance practice.

Working through John Ernst Galliard’s Sonata for bassoon and continuo no. 2 allowed us to explore different approaches to agrément (French ornamentation), particularly trills, battement, and mordents. Alberto also shared his ideas regarding the appropriate use of embellishment at cadences, explaining that in eighteenth century music these should always be simple, short, slurred and generally on a weak part of the bar. We worked on beginning the ornament/cadenza from the preceding resonance or the dynamic in which the last phrase ended. I was again reminded to refer always to the bass part in order to see where and when time can be taken.

14 Concerning articulation, Alberto suggested I work on achieving a softer, more malleable tongue stroke; one that is less clear, short, and hard. Using the syllables te-de rather than ta-ta proved effective in achieving this. So too did leaving things more ‘in the air’ and ethereal, rather than trying to make the articulation so clear and defined. Alberto recommended approaching articulation and dynamics separately so one can be completely independent of the other, enabling one to be more in control as a performer.

Similarly, he suggested I always practise difficult passages in forte dynamic. This way the brain registers the passage in question as strong and confident. The first thing we do when we are unsure is back off on dynamic, air and sound. Practise in a way that is solid, safe and sure and this will translate into performance.

To ensure correct phrase shaping, Alberto reminded me to always think of the simple melodic line and approach the phrase as you would an accompanying long note or bass line.

He also demonstrated how placing different emphasis on smaller note groupings helps enhance and outline harmonic progression or movement. Regarding breathing, Alberto advised I always take care and plan places to breathe in the music both physically and musically. The action of taking a breath stops the music, as there is no longer air moving through the instrument. Make sure breathing is staggered when playing with others, especially singers, and be aware and supportive of the upper line when playing continuo.

To end the lesson, we played through the Orchestral Suite No.4 of J. S Bach (BWV 1069) where Alberto imparted a depth of knowledge regarding approaches to playing the various dance movements of the Baroque suite. We focused mostly on the Gavotte and the Menuet, working on the subtleties of movement and direction required to bring about what Alberto described as a ‘swinging pendulum like motion’. With Alberto’s help I was really able to get a sense of this, which enabled me to realize how strongly this idea applies to all of music.

Never stagnant but always alive and moving.

Suggested resources:

- Johann Joachim Quantz’s 1752 treaties ‘On Playing the Flute’

15 Alberto Grazzi and I following our lesson in Mantua, 15 April 2016

5. Bonn, Germany

From Italy we flew to Düsseldorf on the 16th of April and caught the train to our accommodation in Cologne. The following day we ventured to the historic town of Bonn to meet and discuss Baroque bassoon with a friend of mine and fellow bassoonist Rebecca

Mertens, and to see her play in a beautiful performance of Handel's Theodora with period ensemble and choir, BonnBarock.

Rebecca and I met when we performed in a ballet season together with the Queensland

Symphony Orchestra back in 2008 and have remained friends ever since. More recently

Rebecca has worked as principal bassoon with London’s Royal Philharmonic Orchestra, and the City of Birmingham Symphony Orchestra before returning to Germany to her position as principal bassoon in the Bochumer Symphoniker. Also an accomplished historical bassoonist, Rebecca studied Baroque bassoon with Christian Beuse at the Hochschule für

Künste, Bremen, and regularly works as a historical bassoonist across Europe.

16 Conclusions from discussion

Over coffee and some delicious pastries, Rebecca and I discussed at length the challenges related to combining a career in modern and historical bassoon playing. These included effectively managing a practice schedule for modern bassoon as well as Baroque and

Classical instruments, and becoming accustomed to switching between A=415, 430, and

440Hz.3 We also compared notes about the major differences in embouchure and air support required for each instrument and how to reconcile these challenges effectively and efficiently.

Rebecca shared many tips on Baroque bassoon reed making, reliable cane sources, and recommendations regarding commercial reed makers around Europe. We also discussed the pros and cons of historical vs ‘modern’ style Baroque bassoon reeds and related our experiences playing each type in both solo and ensemble situations.

We talked about the different types of Baroque bassoons on the market at the moment and

Rebecca told of her experiences with some of these. I mentioned my wish to find more resistance and therefore flexibility in my set up, and the combination of a darker sound that also projects well. These were some of the reasons Rebecca recently swapped from the Wolf

HKICW that I also play to an ‘Eichentopf’ copy by Dutch maker, Peter de Koningh.

6. Berlin, Germany

Berlin presented us with a wealth of exploration. Two wonderful lessons with Baroque bassoon specialist and acclaimed dulcian player, Adrian Rovatkay proved an exciting and insightful end to the magnitude of lessons I received through the fellowship. Adrian was warm and encouraging and his approach was fresh, informed and profoundly imaginative - he would have to be one of the most creative bassoonists I've ever met. Our lessons really inspired me to reach beyond the instrument’s difficulties for a musical approach that is

3 Standard modern pitch is A=440Hz. Baroque pitch can be anywhere from A=392Hz. – 440 but the standard for most repertoire is A=415 (close to a semitone lower than A=440). Classical pitch is generally A=430Hz.

17 always considered and never compromised. Adrian plays the same make of baroque bassoon as I do (a copy after HKICW from the late 17th century by Guntram Wolf) so it was invaluable to be able to talk with him about set up (reeds and bocals), as well as technicalities pertaining to this particular instrument. We covered so much in only two lessons including approach and specifics of sound production, as well as ways in which to effectively portray musical and extra-musical ideas. I feel as though there are now infinite possibilities within my reach.

Other highlights in Berlin included a visit to the Baroque palace ‘Schloss Charlottenburg’, where we marvelled at the historical perspective the building’s well preserved/restored rooms and Versailles style gardens offer. In the eighteenth century the palace was home to

Prussian King Frederick (II) the Great – an accomplished flautist and composer who employed at his court composers including Carl Philipp Emanuel Bach, Johann Joachim

Quantz, and Karl Heinrich Graun.4 Standing in those elaborate rooms (especially the music parlor) and imagining the events of some three hundred years ago was an incredibly powerful experience.

Also worth a mention is the afternoon we spent at the Berlin Musikinstrumenten-museum on the Kulturforum precinct. This vast collection boasts over 3,500 instruments dating from the sixteenth century to the present day. Highlights included viewing and hearing sound samples via the audio guide of an original ‘Denner’ bassoon from the eighteenth century, and the seventeenth century bass dulcian after which my newly commissioned instrument is made. A harpsichord that possibly belonged to J. S Bach was on display, so too were a number of flutes owned by Frederick the Great, and a rare portable harpsichord once owned by Prussian Queen Sophie Charlotte.

Our final night in Berlin was spent at the Staatsoper im Schiller Theatre enjoying what proved to be the concert highlight of the trip. Amor Vien dal Destino (when love falls from the sky), an obscure and forgotten Baroque comic opera by Agostino Stefani was masterfully revived by Renè Jacobs, the Akademie für Alte Musik Berlin and a stellar cast of soloists in a

4 E. Eugene Helm and Derek McCulloch. "Frederick II, King of Prussia." Grove Music Online. Oxford Music Online. Oxford University Press, accessed June 26, 2016,http://www.oxfordmusiconline.com/subscriber/article/grove/music/10176.

18 colorful and light hearted production directed by Ingo Kerkhof. Most memorable for me where the stunning contributions from oboist Xenia Löffler, bassoonist Christian Beuse (who even made an onstage appearance), and the remarkable Serbian contralto Katarina Bradic. It was incredibly inspiring to hear this ensemble whom I have long admired and I feel I have gained a great deal from witnessing first hand the finesse, commitment, passion and energy that exudes from this group when they play.

Main conclusions from lessons

In our two wonderful lessons, Adrian Rovatkay offered a great deal of advice concerning sound production and really getting the most out of the instrument. He believes strongly in the importance of posture on sound, delivery and oration, explaining that our whole being especially eyes, shoulders, and feet should be centred forming one straight line. If we are grounded in this way, looking straight ahead or slightly upwards as though looking to the horizon, the positive effects on our playing are immediately apparent. Adrian suggests opening the chest and leaning back on weight for a balanced and open posture. He recommended a way to experience this is to practise while standing in a doorway and leaning against the frame. This has the effect of releasing the air and creating more space in the upper body. We can then bring the experience of this space to all aspects of bassoon playing, solo and continuo. Extremes of dynamics become a lot easier when given space in this way as they are no longer tight, squeezed, or forced.

With regard to projection, Adrian encouraged me to direct my sound, really fill the space, and had me imagine I was in a cathedral to help me project to a bigger distance. We also experimented with positioning the bassoon higher for better contact with the embouchure.

This resulted in greater freedom of air, support, and a more open sound.

We considered ways to go about finding a more open sound with more volume and Adrian agreed that my set up needs more resistance to be able to create more tonal variation and flexibility. In the upper register Adrian advised me not to push the sound but to sing like a tenor in a relaxed, open, resonant way using lots of support.

19 He suggested thinking in terms of tonal colours and to decide when and where I can bring variations of brightness or darkness to a given phrase, movement or piece according to the required affect.

I gained so much from observing Adrian’s vivid and imaginative approach to playing the bassoon. He demonstrated the creative ways in which he uses images, stories, emotions or ideas to gain a personal representation of whatever he is trying to depict. I was able to experience first hand how useful and effective this is; if I have a clear idea of exactly what I am trying to say, so too will my audience. Adrian urged me to ‘be relentless in your search to portray exactly what you are trying to say through the music. Tell the story!’

He suggested I don’t always have to show the structure of the piece quite so obviously – that often this is self-explanatory. Express through the music that I have something to say not something to explain.

In our discussions regarding set up (reeds and bocals), Adrian mentioned I might like to look for a Wolf PX bocal. This variety offers more overtones and greater complexity of sound than the one on which I am currently playing. He suggested this might enable me to achieve a wider range of colours, projection, and greater flexibility and freedom of expression.

We also went into a lot of detail relating to reeds and talked about various measurements, cane types, shapes, and reed styles and their resultant qualities and effects. Adrian recommended inside scrape historical reeds for a more vibrant, brighter sound. With modern style reeds he advised I leave more cane on the back for support and ease in the high resister, and perhaps experiment with a slightly shorter blade for stability of intonation in the tenor register.

Suggested resources:

- Telemann Fantasias for solo violin no. 7

- Wolf PX bocal length 338 or 335

20

Adrian Rovatkay, Martin and I after my final lesson in Berlin, 21 April 2016

7. Kronach, Germany

Finally, my Churchill experience drew to an end with a train ride through the Bavarian countryside to Wolf Holzblasinstrumente in Kronach, the factory where my Baroque bassoon was made.

It was great to meet Peter Wolf and his sister Claudia who have inherited the family business. They were warm, welcoming and generous with their time and I enjoyed learning about the history and lineage of my own Baroque bassoon which belonged to the late Jim

Stockigt, and was one of the first instruments after HKICW that Wolf produced back in 1995.

Peter also took us on a tour of the impressive factory, introducing us to his workers and explaining the various stages of production.

In their show room Wolf have hundreds of instruments on display, not only historical bassoons, contrabassoons, oboes, and clarinets, but also their modern equivalents as well as

21 innovative instruments such as the contraforte and the lupophone (developments Wolf have made of the contrabassoon and bass oboe). Many of the historical instruments are originals from the seventeenth, eighteenth and nineteenth centuries on which they base their reproductions.

I was able to try many of the different copies and was extremely impressed with their ease of playing, effortless response, warm, dark sound, and beautiful craftsmanship.

I also tried a number of bocals and purchased two of different lengths that really compliment and improve the stability, clarity of articulation, and intonation of my bassoon.

This will make an enormous difference to the outcome of future performances and will enable me to more effectively integrate all I have learnt throughout my fellowship.

22 Conclusions and Recommendations

Words don't come close to describing just how enriching, eye opening, and transformative this fellowship has been. I have made invaluable contacts, formed precious friendships, and received a wealth of knowledge that I can now assimilate into my own approaches to historical performance practice.

I have a new appreciation of the imperative importance of not only referring to the treatises and other forms of primary source material, but working with and applying these ideas to my own playing, to arrive at a personal conviction and clear understanding of the intricacies relating to the various elements of Baroque performance practice.

In terms of Baroque bassoon technique, I feel encouraged to use my air much more generously to drive and support all other elements of technique. Additionally, I plan to continue working to develop a broader palette of expressive articulation in order to really bring to life what I am trying to say through this element of language and speech.

Another realization that has instilled in me a great sense of courage and determination is the importance of never allowing the challenges of the instrument to dictate my approach, but to strive for a musical interpretation that is always considered and never compromised.

I'm very much looking forward to sharing these discoveries through future solo recitals, my private teaching practice and reed making business, a report on my experiences in the

November edition of the Australasian Double Reed Society’s quarterly journal, and through performances in Hobart and Melbourne with my Baroque ensemble ‘The Early Birds’.

I also hope to positively influence musicians of modern instruments who are not familiar with historically informed performance practice when performing works of the Baroque era in my work as a bassoonist and contrabassoonist with many of Australia’s professional symphony orchestras and ensembles. The dialogue between early music specialists and professional orchestras is in my opinion an imperative step towards assimilating the depth of understanding arrived at through decades of scholarship, and a way in which to serve music of the past with greater authenticity and integrity.

23 Once again, my deepest gratitude to the Churchill Trust and particularly to Mrs Patricia

New for the generous sponsorship of my fellowship. This trip has been the opportunity of a lifetime and one that will continue to resonate and bring benefit for many years to come.

24