# Question for bassoonists: Rite of Spring



## Aurelian

Any professional bassoonists here?

If so, what was your experience learning the beginning of The Rite of Spring?


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## Heck148

Aurelian said:


> Any professional bassoonists here?
> If so, what was your experience learning the beginning of The Rite of Spring?


Yes, professional bassoonist here, 40 years experience, held long time orchestra principal posts.

Re "Le Sacre" solo - of course known to all bassoonists young and old....I related my formal teaching of it on another thread - 
"Rhythmic v Metronomic", IIRC....
My teacher at the time required us to first play the solo absolutely straight rhythm, no rubato - not quasi recitativo - held notes/fermati would be held for a set number of measured beats in tempo 1/4 = 50 or so..once we could master the basic underlying rhythm and pulse [albeit slow] we could then add the espressivo, rubato components...
of course, this is required on virtually every orchestra audition - I remember once auditioning @ Boston SO, on Symphony Hall stage - that was a thrill...I played it really well, let the sound project right out into the famous hall...
Once at an audition for Blossom Festival, Robt. Marcellus [principal Clar/ClevelandOrch] was the auditioner - Cleveland had just recorded the work with Boulez, and he wanted the solo played in very reserved style - very straight, non espressivo - as in a primeval awakening....IMO - that is how George Goslee plays it on Boulez' excellent recording with Cleveland. I don't care for that approach, I think that it needs some _espressivo_, some passion, much more like a priest or celebrant invoking a service or ritual [which is what the work is]. 
For decades after it was written, this solo presented a considerable challenge to bassoonists, before High D keys became standard equipment - Sol Schoenbach related in an IDRS Journal interview that he feared the part, until he had to play it for the soundtrack of the original "Fantasia" [1940] Apparently there were repeated problems with the takes and/or timing - Schoenbach said he had to play the solo thru 37 times at the session!! before they finally got everything right....he was never again intimidated by it after that... 
My favorite renditions are by Bill Polisi [Bernstein/NYPO '58], and David McGill [Barenboim/CSO 2000] - Polisi had a great sound,and it is most passionate, consistent with the NYPO style at the time. McGill's playing is simply exquisite, so well-done..

Interesting article in IDRS Journal several years ago - the author had traced the "Sacre" Solo back to old Russian Folk tune material, which may have been played on a _dudka_, or _dudki_ - a 2ble reed folk instrument used in Russia & Eastern Europe. - Mussorgsky used it on occasion - in fact - at the end of "Night on Bald Mountain" - as night subsides into coming daylight - the Clarinet solo is the same tune!! with the rhythm slightly altered, the beats displaced, but same tune!! It was quite a fascinating article.


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## Aurelian

Wow, thanks for taking the time to write such a detailed response!


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