Andrew Stiller wrote: Just remember this: the often-demanding flute, recorder, oboe, and oboe da caccia parts in all (well, most) of Bach's Leipzig cantatas were written for a single pair of woodwind players who were expected to perform on every treble woodwind at the highest professional standards.
Uh, Andrew, we're in the 21st Century, not the 17th.I think Bach would have been amazed at the virtuosity of today's musicians. This nonsense about first-desk winds refusing to double was unheard of before the advent of musicians' unions. Such specialization is of course in the financial interest of the players, but if it were a matter of *musical* importance, one would expect composers, conductors, and patrons to have cared about it too, but there is no evidence that they ever did. Unions have little to do with it. It's the collecting bargaining agreement, most of which is done in spite of the union rather than because of it. When I was in my early teens I studied clarinet w. Sydney Forrest, at that time 2nd cl. w. the Baltimore Symphony. When I remarked to him that I was considering playing bcl. in my HS band, he told me that if I did it would "ruin my embouchure" and that he would refuse to teach me any further. When a few months later I decided to take up the *bassoon,* I didn't even bother him w. it but simply discontinued my lessons with him. Well, now at least we know where you're coming from. Ronald M. Krentzman R&M Music Preparation -- _______________________________________________ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
