Stravinsky had a dudka in mind...he designed the opening solo to
depict the sounds of the graceful reed pipe that is most often
associated with music played by shepherds. "The orchestral
introduction is a swarm of spring pipes (dudki)" (Stravinsky 15
december, 1912).
The first solo in Sacre du Printemps was played by Abdon Laus. Robert
Craft mentions it in his monumental "Stravinsky in pictures and
document". Laus did receive his Ist prize from Paris Conservatory
ca. 1910, - later when Mr. Monteux had a first bassoon vacancy in
Boston, he received a phone call from a bassoon player who said,
"Maestro, I hear you are looking for a first bassoonist. I was your
first bassoonist in the Ballet Russe, and I would like to play for
you in Boston." Laus was given the job then and there. He was also
the solo saxophonist. If you can find a recording made before 1937
with the Boston symphony orchestra and Sacre, it is probably Abdon
Laus that play the solo.
Besides, Stravinsky preferred the beginning to sound "nice". But he
was also aware that it also could be played "frightful".
Ole Buck
On Jun 24, 2007, at 12:46 AM, Daniel Wolf wrote:
John Howell wrote:
"As Andrew kindly pointed out, that bassoon altissimo E was
possible on the bassoons of the time, but was hardly standard
usage!! "
I have a question about the bassoon in Le Sacre: does anyone have a
strong opinion as to whether the instrument Stravinsky had in mind
was a French or German-style instrument? My old Monteux recording
-- for all its faults, still the sonic image of Le Sacre I carry
around with me -- definitely has a French Basson, with its
characterist articulation and the contrasts between registers
rather more pronounced than on a German instrument. That said, is
this now a matter of historical performance practice? do some
players play both styles of bassoon, choosing the particular
instrument to fit the repertoire?
Daniel Wolf
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