It will be available to try at IDRS 2019 in Tampa, July 14-18.
This year will be my first year attending an International Double Reed Society conference. I have always wanted to go to one but they have a been so far away. This year however, it is being hosted at the University of Redlands in Los Angeles from June 25-29. The schedule is packed with masterclasses, concerts, workshops and lectures from many of the biggest double reed artists currently active. I have already squirreled away a budget for the event and Im sure there will be many new products to try out.
I am particularly looking forward to Frank Morelli’s master class playing Sluka’s sonata, John Millers excerpt class, and the exhibit hall. There are events happening each day and a concert every evening. The two performances that I am looking forward to are Martin Kuuskmann performing Steve Paulson’s concerto for bassoon and Frank Morelli performing the Mozart.
This link contains all of the IDRS convention information for this year
Two weeks ago I acquired a French Bassoon. It was found in a middle school’s band room cabinet and had been neglected for many years. There is no manufacturer’s mark, the usual branding spot is the low D guard and this one has been removed. My best guess is either Selmer or Buffet. Also, my time with this instrument hasn’t been true to the period since it lacks a french bocal. Initially I could hardly get any sound to come out of it, I realized that some of the pads near the top of the tenor joint were leaking. So I did a temporary fix by wrapping the pads in plumber’s tape.
The fingering schematic of the lowest tritone is completely different from the German system bassoon. Luckily the Weissenborn method book comes with a full french bassoon fingering chart. After a bit of work, the layout of the low keys makes sense and it is just as fast as the German system. The one consistent problem is the transition from D flat to E flat. The rest of the instrument is very similar to the German system with slight modifications, especially in the highest notes.
I did some research into french bassoon reeds to try and create something that would work well for this system. Most of what I saw was a narrower shape with a longer blade and tube. What I decided to do was to use my regular Fox 2 shaper which is a bit narrow and leave a long blade. I found some great french bassoon reed images on the International Double Reed Society’s website under the “Reed Project” tab. There are reeds gathered from top double reed players from all around the world. I’m not sure if this link inly works from member but here it is.
The tone of the French bassoon is more muffled and nasal. It really reminds me of baroque bassoon tone but with less stability. The instrument doesn’t project as well, it seems stuffy without any “sparkle” to the sound. Also the half step isn’t clearly defined for most of the notes. The pitch center of the basson is very flexible and is stabilized with modified fingerings to bring the pitch up or bring the pitch down. My goal for this instrument is to eventually play the Saint Saens sonata on it and Daphnis and Chloe suite 2.