The Post-Camp Decline, Part 2: Machines

The last evening of the camp saw a presentation of a revolutionary gouging system and automated profiling machine by Greg James. The three-stage gouging system gave incredibly precise results: with good cane being gouged at an accuracy of plus or minus 0.01mms. The secret, Greg said, was the way the cane was clamped to the bed. Traditionally, this is done by clamping the cane end to end as it lays in the bed. The drawback of that system is that the cane cannot be gouged evenly unless it naturally conforms to the bed. Greg’s system clamps the cane on either side down along the length of the carriage, forcing it to conform to the bed’s diameter. Of course, the effectiveness of the process depends on how close in diameter the cane is to that of the bed, but the standard bed diameter of 25.4mm produced outstanding results for cane ranging from 23-27mm. That’s a huge window for accuracy without needing to reset the machine.

The Post-Camp Decline, Part 1

After eight days and seven nights at the Brooke Valley Bassoon Days, I was pretty much exhausted. With a schedule packed full of activities and presentations for both the budding and professional bassoonist, it was a very stimulating time for me and I was often the last to bed.

The bulk of the camp this year was made up of young bassoonists ranging from about 13-17 years old, but there were a number of older players as well. Two students from the University of Ottawa participated (one was more of an honorary camper as he had his wisdom teeth taken out the day the camp started), along with three amateur players, Sistema NB’s staff bassoonist, Kristin, as well as the newly minted second bassoonist of the Orchestre Métropolitain, Gabrièle.

#MyFirstMasterclass

Among the faculty this year was a real depth of bassoon-related knowledge – students had the chance to take private lessons and participate in masterclasses with Shane Wieler (Marcus/Wieler Bassoon Workshop), Jim Ewen (Skookum Reeds), Richard Hoenich (Brooke Valley Musician’s Retreat), Jo Ann Simpson (Conservatoire de Gatineau), Kathy McLean (Indiana University), and I. On top of the usual coaching opportunities, each faculty member brought a needed component to round out a bassoonist’s experience; Shane spoke on simple bassoon maintenance techniques which would extend the performance life of an instrument; Jim and Jo Ann did excellent work every evening teaching aspiring reed makers, Richard Hoenich conducted the “rackett”, Kathy did a workshop on improvisation, and I spoke about conceiving the action of performance.

The Rackett

From the numerous tips I picked up from Shane and Jim, to listening to the many conversations between my peers on a variety of subjects, there was plenty for me to take away for later thought and practice. Furthermore, I had the rare opportunity to give private lessons regularly to a variety of students (3 a day!), coach small ensembles, as well as give a masterclass.

What was most comforting to me was that, at least when it came to fundamental concepts on bassoon playing, I very much fit in. Over my travels I have met a number of bassoonists and I am sometimes dismayed at how different of an approach they take to playing their instrument. Conversely, at BVBD there were a few occasions where I had the conviction to spurt out an “amen!” It led me to realise that there is a Canadian or Eastern-Canadian school of bassoon playing, and I am a product of it.

Articulation

Over the past few weeks I have been collecting information to write a booklet for young modern bassoonists who are beginning to look at early repertoire for the instrument. I began work on this project when it was recently announced that I would be the historical bassoonist on staff at the Brooke Valley Bassoon Days in Lanark County, Ontario, this August (unfortunately, due to scheduling I wasn't able to get on the poster below...). It will be a great opportunity to talk to young musicians and shape their inquiry into the area of early music without the baggage which comes with learning a new instrument.