Performances with the Winston-Salem Symphony on November 22, 24, 2009 including Russell Peck’s tone poem, Peace Overture, which was inspired by the struggle for peace in the Middle East. Brahms’ melancholy Schicksalslied (Song of Fate) for chorus and orchestra expresses mankind’s timeless struggle between destiny and fate. Andrew Lloyd Webber’s Requiem. Robert Moody, conductor

I had the pleasure of performing solo recitals, giving master classes and teaching lessons at the University of Illinois at Urbana-Champaign and Ball State University in Muncie, Indiana last week. I had a terrific time working with both bassoon studios and with Professors Keith Sweger and Timothy McGovern. These are two very strong programs. The recital programs inlcuded:

• Vivaldi: Concerto for bassoon in d minor, F.VIII, No. 5
• Telemann: Fantasie for solo bassoon No. 1 in C major, No. 2 in d minor and No. 3 in d minor
• Hersant: Hopi for solo bassoon
• Hersant: Niggun for solo bassoon
• Mozart: Sonata, K. 292 for two bassoons

On September 12th, 13th and 15th I performed as principal bassoon of the Winston-Salem Symphony a program which included Theofanidis’ Rainbow Body, Tchaikovsky’s Suite from Swan Lake and Rachmaninoff’s Piano Concerto no. 3. Robert Moody conducted and the piano soloist was Terrence Wilson. Read the review here.

From July 19-26 I visited Birmingham, England to attend the International Double Reed Conference. The IDRS conference is held during the summer once a year, each time in a different location throughout the world. This year’s event in Birmingham marked the first conference in the UK for 20 years and was a terrific success. In addition to performing at this year’s conference, I assisted in the videography of performances and master classes for publication on IDRS.org, the website of the International Double Reed Society for which I serve as assistant editor. Look for the new videos soon at http://www.idrs.org/multimedia/.

On July 12th and 13th I performed as part of the Highlands-Cashiers Chamber Music Festival in the beautiful mountains of southwestern North Carolina. The festival, in its 28th season, is a terrific music festival with top-notch performers in a gorgeous setting. Along with Laura Ardan (principal clarinetist of the Atlanta Symphony), oboist John Dee (professor at University of Illinois) and pianist Will Ransom (director of the festival), I performed the Villa-Lobos trio for oboe, clarinet and bassoon; Poulenc’s trio for oboe, bassoon and piano; and a set of solo Fantasie by Telemann.

On May 29 I performed as principal bassoonist with the Puerto Rico Symphony Orchestra on the final concert of the 2008/2009 season. The program included Ginastera’s Estancia: Cuatro danzas, Op. 8; Ravel’s Rapsodia española and Rimsky-Korsakov’s Shéhérazade. Maximiano Valdés, the music director of the PRSO conducted. The concert took place in Sala Festivales at Centro de Bellas Artes in what hopefully will be the last season concert in the old symphony hall. Performances are scheduled to begin next season in the newly inaugurated La Sala Sinfónica Pablo Casals.

On May 16, 17 and 18 I performed Beethoven’s Symphony No. 9 as principal bassoonist with the Winston-Salem Symphony. The concert also included Barber’s Adagio for Strings. The concerts took place at the Stevens Center in Winston-Salem with Bob Moody conducting; Lisa Saffer, soprano; Rita Litchfield, mezzo-soprano; Tony Stevenson, tenor; Patrick Carfizzi, baritone.

Over this last weekend I performed concerts as principal bassoonist with the Winston-Salem Symphony that included de Falla’s El sombrero de tres picos (The Three-Cornered Hat), Rodrigo’s Concierto Andaluz, Turina’s Danzas fantásticas, op. 22 and Ravel’s Boléro. The soloists in the Rodrigo were Joe Pecoraro, Colin Fullerton, Ryan Layton, and Andrew Motten. Bob Moody conducted. The concerts took place April 17, 19, and 21st at the Stevens Center in Winston-Salem.
See the review

I recently performed Bachianas Brasileiras No. 6 For Flute and Bassoon by Heitor Villa-Lobos with flutist Tadeu Coelho. This beautiful and challenging work was a joy to rehearse and perform with my colleague Tadeu. The performance was part of professor Coelho’s recital on the campus of UNCSA in Watson Recital Hall. Also on the program was a Vivaldi sonata for flute performed by myself playing basso continuo with David Winkelman on harpsichord.

On March 30th I performed Elliott Carter’s Au Quai for Bassoon and Viola with my colleague Sheila Browne, viola teacher at UNCSA. Carter wrote this about the piece’s origin:

The title of this piece was suggested by Arnold Schoenberg’s short story “To the Wharfs” in which he describes the mounting anxiety of the members of a French fishing village as the boats and the sea-bound fisherman failed to appear after a storm and several days’ absence. When they were suddenly sighted all shouted “to the wharfs, aux quais, O.K!”

Au quai (’to the quay’) was supposedly used by French-speaking cotton pickers around New Orleans to signal that the cotton was packed and ready to send down to the docks for transport.

There is certainly no conclusion as to the origin of the phrase OK. There is no shortage however of explanations, some more likely than others.

• The oldest written references to ‘OK’ result from its adoption as a slogan by the Democratic party during the American Presidential election of 1840. Their candidate, President Martin Van Buren, was nicknamed ‘Old Kinderhook’ (after his birthplace in New York State), and his supporters formed the ‘OK Club’.
• During the American Civil War, soldiers relied on a biscuit called Orrin Kendall for rations and a port in Haiti called Aux Cayes was famous among American soldiers for its rum, known as ‘OK rum’.
• There lived a popular native American chief called Old Keokuk who signed all his treaties by using only his initials.
• It derives from the Scots expression ‘och aye’, the Greek ola kala (’it is good’), the Choctaw Indian oke or okeh (’it is so’), the French aux Cayes (’from Cayes’, a port in Haiti with a reputation for good rum), or the initials of a railway freight agent called Obediah Kelly who is said to have written them on lading documents he had checked.
• When box cars would be loaded and locked up, the shift boss would then write on the side of the car: OK, signifying it had been checked and was correct. But in fact, when that custom first began, the guy who wrote the letters couldn’t spell and thought the words were spelled Oll Korrect. Legend has it he was german and the words reflected what ‘all correct’ would have been in that language.
• It was a telegraphic signal meaning “open key,” that is, ready to receive. Others say OK was used for “all right” because A and R had already been appropriated for other purposes. Big problem with this theory: the first telegraph message was transmitted in 1844, five years after OK appeared
• It stands for O. Kendall & Sons, a supplier of army biscuits that stamped its initials on its product.