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.

The UNCSA Bassoon Quartet performed as part of the emerging artist series at Watson Chamber Music Hall Feb. 24 on the campus of University of North Carolina Bassoon School of the Arts. UNCSA students Kristen Goguen, Sebastian Castellanos, K.C. Chai, and Juliana Mesa performed Le Phénix quartet for bassoons by Michel Corrette. Above is a photo taken during rehearsal.

For more information on Corrette’s Le Phénix, please see Ronald N. Bukoff’s article in the IDRS journal: Boismortier, Corrette, and Le Phénix: music for the French Baroque bassoon
Here is an excerpt:

Corrette’s great work for the bassoon, and the outstanding example of French Baroque bassoon music is Le phénix. Concerto pour quatre violoncelles, violes ou bassons… (1738 ). The scoring is not as outlandish as it first appears, for Le phénix shows great kinship with Boismortier’s concertos for five flutes. In both chamber concertos, the lowest voice is supplied with a figured bass, suggesting the possibility of employing a harpsichord. In neither case is the keyboard an absolute must. The title page to Le phénix also adds: “… ce concerto se peut jouer en trio, en obmettant le 3e violoncello.” (”this concerto can be played as a trio, omitting the 3rd violoncello.”) If this alternative is followed (not a recommended choice), a harpsichord must be added to fill out the missing chord tones.

Le phénix was published as a concerto for four bassoons (or violoncellos) but it should rightfully be regarded as a solo concerto for bassoon, aided by three additional bassoons. All of the melodic interest is written into the first part, while the second bassoon is treated as the continuo line which accompanies the soloist. The third and fourth bassoons (and harpsichord) function in lieu of the orchestra tutti. Echoes of the works of Vivaldi, which were popular in Paris, can be heard in Le phénix. Stylistic devices common to the Italian master are prevalent, both in this concerto and throughout the music of the newly-developing French concerto school. These characteristics (unison lines, rushing scales, arpeggios) are abundant in Le phénix.

William Ludwig, professor of bassoon at Indiana University – Bloomington, presented a master class and recital at the University of North Carolina School of the Arts in Winston-Salem, NC on Thursday, February 19th. The master class took place from 2:00-4:00pm in Hood Recital Hall in the Gray Building and the recital was in Watson Hall at 6:00pm. It was a great pleasure to have one of the foremost performers and teachers in the US at UNCSA. Photos from the event.

William Ludwig
William Ludwig joined the faculty of the IU Jacobs School of Music in August of 2007. Previous to this appointment he had been Professor of Bassoon at Louisiana State University since 1985. For the last seven summers he has been in residence at the Brevard Music Center as principal bassoon and artist faculty.

His orchestral experience includes principal bassoon with the Baton Rouge Symphony (1986-2007) and the Florida Orchestra (1980-1985). A noted chamber musician he has performed in a wide variety of settings in the United States and Europe, including at the Prague Spring International Music Festival and Highlands (NC) Chamber Music Festival and with the Orpheus Chamber Orchestra, Timm Wind Quintet and Ars Nova Wind Quintet. He was artist-in-residence at the State University of New York-Stony Brook Department of Music from 1989 to 1994 concurrently with his LSU appointment and taught at the University of South Florida from 1979 to 1985. He holds degrees from Louisiana State University and Yale School of Music and studied with John Patterson, Sol Schoenbach, Leonard Sharrow, Bernard Garfield and Arthur Weisberg.

Performance of Sofia Gubaidulina’s trio for bassoon, viola and piano Quasi Hoquetus with UNCSA faculty members, Sheila Browne, viola and Karen Beres, piano. The performance was part of a faculty concert at UNCSA on Valentine’s Day called “Ménage a Trios.” Its theme was trios of unusual instrumental combinations and included music by Bernstein, Nin, Turina, Hindemith, & John Harbison with Allison Gagnon, Joseph Genualdi, Janine Hawley, David Jolley, Eric Larsen, Kevin Lawrence, Robert Rocco, Judith Saxton, Taimur Sullivan and Brooks Whitehouse.

The University of North Carolina School of the Arts hosted a woodwind day December 6th from 9am until 5pm. The event included master classes, reed making seminars, clinics on performance anxiety and practice methods by myself and UNCSA faculty members John Ellis (oboe), Tadeu Coelho (flute), Taimur Sullivan (saxophone) and Igor Begelman (clarinet). That evening the woodwind faculty performed a recital in Watson Hall on the UNCSA campus including André Previn’s Sonata for Bassoon and Piano and Mendelssohn’s Concertpiece No. 2.

Schedule:

• 9:00am A performance of Stravinsky’s Octet for winds given by UNCSA graduate students
• 10:00am Clinics on improving practice habits and combating performance anxiety
• 12:00pm Lunch
• 1:00pm Individual master classes and reed making seminar given by UNCSA woodwind faculty including oboe professor John Ellis and bassoon professor Saxton Rose
• 3:00pm Open rehearsal of the UNCSA Wind Ensemble
• 7:30pm Performance by the UNCSA woodwind faculty: Saxton Rose, bassoon; John Ellis, oboe; Taimur Sullivan, saxophone; Igor Begelman, clarinet; Tadeu Colelho, flute

On October 21st I had the pleasure of performing Sofia Gubaidulina’s Duo Sonata, originally for two bassoons, with my UNCSA colleague Taimur Sullivan on Bari Sax. The piece works surprisingly well for this combination and I highly recommend it when planning a program with saxophone. There is a popular edition available for two baritone saxophones and playing from either part using this edition works well with only a few minor adjustments. The performance took place in Watson Music Hall on the UNCSA campus.

The following is Saxton Rose’s performance and event schedule for the 2008/2009 season. It is subject to change so if you have questions about attending an event, please contact me.
Map to University of North Carolina School of the Arts.

September 18, 20, 21 and 22:

Performances with the Winston-Salem Symphony of Strauss’ Ein Heldenleben.

October 11:

Performance with the Puerto Rico Symphony Orchestra of Ravel’s Piano Concerto in G major, Roberto Sierra’s Fandangos and Beethoven’s Symphony no. 3; José Ramos Santana, piano; Maximiano Valdés, conducting. 8pm Centro de Bellas Artes, San Juan, Puerto Rico

October 21:

Performance of Gubaidulina’s Duo Sonata with UNCSA faculty member Taimur Sullivan on baritone saxophone. 7:30 p.m., Watson Chamber Music Hall at UNCSA

November 22:

Performance with the Puerto Rico Symphony Orchestra of Smetana’s Overture to The Bartered Bride, Debussy’s La Mer and Brahms’ Violin Concerto with Sarah Chang, violin; Luis Biava, conducting. 8pm Centro de Bellas Artes, San Juan, Puerto Rico

December 6:

Woodwind Day at UNCSA. Bassoon master class, reed making seminar, bassoon ensemble concert and a performance with the UNCSA woodwind faculty including André Previn’s Sonata for Bassoon and Piano and Mendelssohn’s Concertpiece No. 2 with clarinetist Igor Belgelman and pianist Alex Maynegre.

December 18, 19:

Performances with the Winston-Salem Symphony of Handel’s Messiah

January 19:

Performance with Rafael Frühbeck de Burgos conducting the Puerto Rico Symphony Orchestra of a program including Stravinsky’s The Firebird and Respighi’s Fountains of Rome. 8pm Centro de Bellas Artes, San Juan, Puerto Rico

January 24:

Performances with the Winston-Salem Symphony of Prokofiev’s Peter and the Wolf

January 27:

Performance with UNCSA faculty of Mozart’s Quintet in E flat major for Piano and Winds. 7:30pm in Watson Chamber Music Hall

January 29:

Bassoonist Charles McCracken recital and master class at UNCSA.

February 7, 8 and 10:

Performance as soloist with the Winston-Salem Symphony of Mozart’s Sinfonia concertante, K 297b; Robert Moody, conductor. Also on the program is Bartok’s Concerto for Orchestra. More information

February 14:

Performance of Gubaidulina’s Quasi Hoquetus for viola, bassoon and piano with UNCSA faculty members, Sheila Browne and Karen Beres. 7:30 p.m., Watson Chamber Music Hall at UNCSA

February 16:

Recital and master class at the University of South Carolina hosted by Professor Peter Kolkay. For more information, email Peter Kolkay at pkolkay@mozart.sc.edu

February 19:

William Ludwig, professor of bassoon at Indiana University – Bloomington, will present a master class and recital at UNCSA. The master class will take place from 2:00-4:00pm and the recital is in Watson Hall at 6:00pm. More information.

March 6, 8, 10:

Performances with the Winston-Salem Symphony and JoAnn Falletta of Schumann’s Manfred Overture and Brahms’ Symphony No. 2 in D Major. More information

March 31:

Performance of Elliott Carter’s Au Quai for viola and bassoon with UNCSA faculty member Sheila Browne. 7:30 p.m., Watson Chamber Music Hall at UNCSA

April 3, 5, 7:

Performances with Piedmont Opera of The Marriage of Figaro, More information

April 4:

Chamber music concert with UNCSA flutist, Tadeu Coelho, harpsichordist Eric Larsen including Villa-Lobos’ Bachianas Brasileiras No.6 for flute and bassoon. 7:30 p.m., Watson Chamber Music Hall at UNCSA

April 18, 19, 21:

Performances with the Winston-Salem Symphony of Ravel’s Bolero and music of Turina, de Falla and Rodrigo. More information.

May 16, 17, 19:

Performances with the Winston-Salem Symphony of Beethoven’s Symphony No. 9 in D minor

May 29:

Performance with the Puerto Rico Symphony Orchestra of Ravel’s Rapsodia española and Rimsky-Korsakov’s Shéhérazade. Maximiano Valdés, conducting. 8pm Centro de Bellas Artes, San Juan, Puerto Rico

June 21 – July 4:

Teaching at the UNCSA Summer music program. Learn more

July 12, 13:

Performances as part of the Highlands-Cashiers Chamber Music Festival in Highlands and Cashiers North Carolina. Solo and chamber music concerts including the Villa-Lobos and Francaix trios for oboe, clarinet and bassoon with Laura Ardan, clarinet and John Dee, oboe; and TBD solo repertoire. More information

July 21-25:

Solo and chamber music recitals as invited guest at the International Double Reed Society Conference in Birmingham, England. Solo recital to include music of Jacob Ter Veldhuis, Brian Ebert and Telemann.

I have recently accepted a new position at the University of North Carolina School of the Arts in Winston-Salem, North Carolina to begin September of 2008. This is a full-time position requiring me and my emergent family to move from our home in Puerto Rico. This is an exciting new opportunity giving me the chance to teach in a supportive environment, one that strongly encourages its faculty to perform. I look forward to working and performing with the exceptional world-class faculty at UNCSA.

Leaving Puerto Rico was a difficult decision as my work with the symphony and the conservatory was extremely rewarding. We will greatly miss our dear friends and colleagues and the beautiful island we called home for 4 1/2 years.