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calimacI ventured down past Santa Cruz to a tiny church perched on a hilltop on the fringes of Aptos - a town that already consists mostly of fringes - for one of the quaint little events that this concert series specializes in. It turned out to be far better performed than the last time I heard this rubric over a decade ago, but then the personnel were entirely different.
Concert director Ivan Rosenblum, a pianist formerly an instructor at UCSC, had decided to put on a concert in celebration of the bassoon, an instrument that proverbially "don't get no respect." For a soloist he recruited Michelle Keem, the new principal bassoon with the Santa Cruz Symphony. She was an excellent performer, and made fewer breathy or grunting noises than any other woodwind player I've sat so close to - did I mention this was a tiny church? - at a concert.
Keem began with a bassoon arrangement of a C.P.E. Bach sonata for unaccompanied flute, and the rest of the bassoon music was trios for bassoon, clarinet, and piano, with Rosenblum on piano and local notable Erica Horn on clarinet. Glinka's Trio pathetique sounded more like Mozart or a bel canto operatic duet than like the echt-Russian music Glinka's better-known for. A trio by Bill Douglas, a jazz performer who also works the classical side, had no more than a touch of jazz and was very agreeable. One by Rosenblum himself, from his student days in the 60s, records his rebellion against the serialist hegemony of the day by placing counterpoint against dissonant piano chords but ending with a consonance. And Mendelssohn's fussy little Concert Piece No. 1 for clarinet and basset horn, with the latter arranged for bassoon.
Plus some tiny pieces for unaccompanied clarinet by Stravinsky, and a couple short piano pieces commenting on the program: a sad little elegy by Fanny Mendelssohn, which couldn't have been her response to her brother Felix's death because, pace Rosenblum, she died six months before him instead of the other way around; and one by C.P.E., who, again pace Rosenblum, wasn't J.S.'s eldest surviving son - that was W.F.
* * *
But that wasn't all. To give the bassoon its due respect, the concert began with an audience participation quiz. Keem played three solo passages from the bassoon's orchestral repertoire. If, after hearing them all, someone in the audience could identify all the works, they'd get a free ticket to one of next season's concerts.
I guess I was the only person to raise my hand, because I was called on, and everyone seemed very impressed that I got them all right. Rosenblum asked, "Are you by any chance a bassoonist?" and I replied "No, I've just been listening to classical music since I was shorter than that bassoon." (A bassoon is about 4 1/2 feet tall, if you're curious.)
And indeed, I could have identified these pieces as easily when I was 12 as I could today, though I didn't say that. I'd been expecting something like the bassoon melody that opens the finale of Shostakovich's Ninth, but the choices were, I thought, dead easy. But since everyone else was so impressed at my identification skill, I'm giving you a chance. I've managed to excerpt and strip the ID off recordings of the three, and here they are.First accurate reply in comments gets the star. (Comments screened in DW because I know how to do that here.)
I didn't drive all the way to Aptos just for this concert. I had another errand in the area and picked this day because it coincided with an agreeable concert. What else I was doing, I'll tell you later.
Concert director Ivan Rosenblum, a pianist formerly an instructor at UCSC, had decided to put on a concert in celebration of the bassoon, an instrument that proverbially "don't get no respect." For a soloist he recruited Michelle Keem, the new principal bassoon with the Santa Cruz Symphony. She was an excellent performer, and made fewer breathy or grunting noises than any other woodwind player I've sat so close to - did I mention this was a tiny church? - at a concert.
Keem began with a bassoon arrangement of a C.P.E. Bach sonata for unaccompanied flute, and the rest of the bassoon music was trios for bassoon, clarinet, and piano, with Rosenblum on piano and local notable Erica Horn on clarinet. Glinka's Trio pathetique sounded more like Mozart or a bel canto operatic duet than like the echt-Russian music Glinka's better-known for. A trio by Bill Douglas, a jazz performer who also works the classical side, had no more than a touch of jazz and was very agreeable. One by Rosenblum himself, from his student days in the 60s, records his rebellion against the serialist hegemony of the day by placing counterpoint against dissonant piano chords but ending with a consonance. And Mendelssohn's fussy little Concert Piece No. 1 for clarinet and basset horn, with the latter arranged for bassoon.
Plus some tiny pieces for unaccompanied clarinet by Stravinsky, and a couple short piano pieces commenting on the program: a sad little elegy by Fanny Mendelssohn, which couldn't have been her response to her brother Felix's death because, pace Rosenblum, she died six months before him instead of the other way around; and one by C.P.E., who, again pace Rosenblum, wasn't J.S.'s eldest surviving son - that was W.F.
* * *
But that wasn't all. To give the bassoon its due respect, the concert began with an audience participation quiz. Keem played three solo passages from the bassoon's orchestral repertoire. If, after hearing them all, someone in the audience could identify all the works, they'd get a free ticket to one of next season's concerts.
I guess I was the only person to raise my hand, because I was called on, and everyone seemed very impressed that I got them all right. Rosenblum asked, "Are you by any chance a bassoonist?" and I replied "No, I've just been listening to classical music since I was shorter than that bassoon." (A bassoon is about 4 1/2 feet tall, if you're curious.)
And indeed, I could have identified these pieces as easily when I was 12 as I could today, though I didn't say that. I'd been expecting something like the bassoon melody that opens the finale of Shostakovich's Ninth, but the choices were, I thought, dead easy. But since everyone else was so impressed at my identification skill, I'm giving you a chance. I've managed to excerpt and strip the ID off recordings of the three, and here they are.First accurate reply in comments gets the star. (Comments screened in DW because I know how to do that here.)
I didn't drive all the way to Aptos just for this concert. I had another errand in the area and picked this day because it coincided with an agreeable concert. What else I was doing, I'll tell you later.
