...if it were an air freshener, that's what it would smell like around the BYU-Idaho bassoon studio. Two students have purchased new bassoons with one more well on the way towards a purchase.
I couldn't be happier watching these students make a huge commitment, manage a challenging process, and secure beautiful instruments that will bring them joy for many years to come.
It has also prompted me to get more organized about presenting them with the resources they need to consider, where to go, and how to budget for this process.
Buying a bassoon is a lengthy but exciting process. It's best not to rush, playing on many bassoons will assist you in making the best decision. When trialing a bassoon, be sure you are scheduled for rehearsals, a lesson or listening session with a teacher/mentor/colleague, and have access to a recital/concert hall. It has been recommended by many to have another bassoonist play your bassoon and the one you are trialing while you listen from a distance. This may not always be possible which is why it's important to have a teacher/mentor/colleague whose ear and opinion you trust. You should also consider recording side-by-side comparisons to further assist you in hearing differences.
In addition to the cost of the instrument, you should also budget for:
- shipping minimum of $50 each way but can climb to $150
- repair work typically starts at $150 from your trusted local technician (if you are fortunate to have one) for very basic maintenance
- even if the instrument doesn't need "repair" always have the bassoon you are trialing checked by a technician for bore damage or other fatal flaws
- instrument insurance
- if this is your professional instrument you should check out Clarion for the IDRS group policy rate
- if this is a "hobby" instrument, you can add it to your homeowner's insurance
- likely a new bocal to match you and your reed style to your new instrument
- new bocals start around $750 and can easily be $1,200+
- Check this out to learn what all those letters and numbers mean
- used bocals run a wide spectrum of prices but are an excellent option
- https://www.forrestsmusic.com/used_bassoons.htm
- https://adamtrusselldoublereeds.com/product-category/instruments/bassoons/in-stock-bassoons/
- https://rdgwoodwinds.com/collections/used-bassoons
- https://charlesmusic.com/product-category/instruments-and-bocals/used-bassoons/
- https://www.brassandwinds.com/collections/bassoons
- https://www.bocalmajoritystore.com/instruments/bassoons/
- https://www.doublereed.co.uk/products/second-hand-bassoons/
- https://us.crookandstaple.com/collections/secondhand-bassoons
- https://www.kirkerbassoonrepair.com/Heckel%20Bassoons%20For%20Sale.htm
- https://www.ariadoublereeds.com/
- Bassoonists United https://www.facebook.com/groups/2204572575/
- https://www.musicalchairs.info/bassoon/sales
- https://www.idrs.org/forums/forum/classified-ads-and-non-doublereed-matters/classified-ads-postings-by-idrs-members-only/
- www.onthehilldoublereeds.com
- Miller Marketing
- https://www.mmimports.com/product-category/bassoon-instruments/used-bassoons/
I currently play on a Fox 601 paired with Heckel bocals - three that I have progressed through since 2014: CDE, BD1N, VCD0. I have been very satisfied with my set up thus far in my career. But that nagging question haunts me: can I capture the ever elusive Heckel sound which is so desired and successful in national orchestral auditions? Or will I just sound like me no matter what I play on? Having played a few Heckels this year, a 6000 and the brand new 16000, I suspect that might be my challenge. Granted I played both of those instruments for a combined total of 10 minutes - that's not a trial by any definition.
Much has been said/claimed about the great and mysterious Heckel sound. Check out this enlightening conversation surrounding the question I posted on Bassoonists United. It received great responses from well known players in the U.S. and Europe. Not sure it solved my query but it gave me a lot to contemplate.
Genuine question for the bassoon hive mind: who has won a
full-time, salaried orchestral gig playing on a Fox? I'm not interested in bashing
makers - I own a Fox and love it. I also love hearing pros playing on Heckels.
I am genuinely curious about the elusive Fox vs. Heckel sound in an audition
context.
Comments
Christopher Raymond Bill
Buchman - associate principal of the Chicago Symphony - his primary horn
is a 660.
Elizabeth Ball Crawford That's
what he plays now or has he always played on a Fox?
Christopher Raymond Its
his current instrument
Trent Jacobs He
didn't win his jobon it.
Christopher Raymond Darn!
Chad E Taylor He’s
not playing Fox all the time anymore either, he just recently bought
something else
James Roberson He
won playing an 11,000 series Heckel
Chad E Taylor That
is correct James
Robert Jordan Trent Jacobs He did
however make the finals of the LA Phil on a Fox 660.
Christopher Raymond I
heard a crazy story that the 2nd bassoon seat for the LA Phil was
won on a renard 240!!
Sue Heineman Second
bassoon NSO was won ona 201. (He now plays a 9000 series
heckel)
Hans Peter Fronberg I’ve
heard about that as well, however I think the Renard was customized differently
than standard models
Adrián Fonseca Tellez 2nd
bassoon in LA Phil, Michele Grego, was my teacher in college. She
auditioned on her Heckel.
Christopher Raymond Dang
lol. I wanted to believe!
Mark Ortwein Alan
Goodman had a 240 that he played onaLA tour. He played a prototype
Yamaha normally, but I’m sure he won the jobon Heckel many years ago.
Jessi Vandagriff Hans Peter Fronberg, I
heard that Lori Wike won her first audition ona 240. Fact or fiction?
Hans Peter Fronberg Jessi Vandagriff I
do not know, but it would be possible, she plays a 240 for her
outdoor concerts at Deer Valley. You could always ask, she has a Facebook
account
Lori Wike Close! (It was a 220, not a 240).
I won my firstjob (1 yr position with
Louisville) when I was 20 on my 220.
And a year or two before that I was
runner up for 2nd in Rochester Phil on that
horn. I play a late 6000 series
Heckel now though I do in fact play on my 220 for many summer season
outdoor concerts. I sound almost, but not quite, like myself on the 220.
I know Andy Gott won Virginia on his Fox --I think a 201--not sure about St Louis. And Peter Kolkay won the Concert Artists Guild competition on his 601.
I know Andy Gott won Virginia on his Fox --I think a 201--not sure about St Louis. And Peter Kolkay won the Concert Artists Guild competition on his 601.
Hans Peter Fronberg Lori Wike oh my bad
Sue Heineman yeah
Steve played his 201 when he was principal in Virginia too
Jason Artz I
know Bob Williams in Detroit played on a Fox - might still do so.
Trent Jacobs He
does now, but won the job with a Heckel
Vincent Ellin In
the day that Bob won the job no one playedaFox though....
Trent Jacobs Yes
but the question is who has actually wonajob playing afox bassoon.
Not who won ajob and then switch to playing afox bassoon
after.
Vincent Ellin I
know Trent, but I think what you are playing at the moment is far less of a factor
then it used to be....aPuchner is being played in Vienna( and the audition was
wonona Puchner), and Foxes being used in Europe....whowould of thunk of
that!!!
Trent Jacobs Yes
but in Europe they're much more flexible with the kind of sound and the way of
playing I think. It's much more common to actually see puchner and fox being
used by lots of players. Even wolf is more popular in Europe than in the United
States. Honestly I have not ever heard of anyone in winning a major job in
the US on anything other than a Heckel bassoon. It's just
the way things are right now.
Trent Jacobs I
think the audition process in Europe is also considerably different than in
America but I could be wrong
Jason Artz Trent
Jacobs It might
be a chicken and egg thing. People
think you need a Heckel to win a big job,
so serious bassoonists in the US buy them, and from that group come a lot of the audition winners.
I’d think fewer musicians (and people in general) can afford Heckels in Europe.
Good question, though - interesting to think about.
I’d think fewer musicians (and people in general) can afford Heckels in Europe.
Good question, though - interesting to think about.
Vincent Ellin Well I won an audition for Marlboro in 1973 onan early Fox.
Sol Schoenbach was very skeptical about it but after my first summer
there....he phoned Alan Fox and told
him that he was convinced that someone could make great music with
them....although I did later switch to a Heckel for a long time. I was
also the runner-up for 2nd bassoon in the New York Philharmonic in 1971 with a
Fox.....although I admit Lenny Hindell won the position.....What I'm trying to
say is if they like your playing it really doesn't matter what you play.....you
can always change if it is a concern.
Izabela Musiał Jason
Artz here in
UK people love Heckels, but also orchestras sound differently than in any other
European country. For long time bassoonists used French system bassoons here.
Some bassoonists own more than just one Heckel, and they just hire them out, or take the second one on
tour. Yes, they love Heckels, but one of my teachers (Principal at the Royal
Opera House, Andrea di Flammineis) always says that your sound depends on what
you have in your head, and he sounds absolutely fantastic and he has his own
sound when he takes my Renard 240 (he plays on Heckel, not sure what series
exactly).Izabela Musiał Also,
it’s funny how people sometimes forget that as much as good instrument is
helpful it won’t do the jobuntil you practise! Lots of students have
better instrument than him - or at least that’s what he’s saying, and he always
puts lots of attention to the quality of sound and different colours. For him
it doesn’t matter what instrument you have, as long as it matches the section
etc.
Victoria King Yes
Bob still plays aFox 601.
James Roberson Bob
played an 11,000 series Heckel at the time.
Vincent Ellin I
changed from a Heckel to a Fox. Frank Marcus said at a distance
there is little difference (I'd say the Foxes play a little lighter
which is not a bad thing) John Miller, Bob Williams, Arlen Fast,
Matheus Racz, Simon van Holen(just his Contra)and Hans Agreda (sp???) all play
Foxes BTW.
Trent Jacobs Did
any single one of those people actually win any of their jobs with
their Fox bassoons?
Jason Artz Trent Jacobs I
think strong, talented players like those could have won their jobs on
aFox or Heckel.
Vincent Ellin Jason Artz I agree
things have changed.....
Vincent Ellin Trent Jacobs Arlen
Fast might of won it withaFox Contra but I'm not sure.....
Wai Kit Leung Racz’s
main instrument is a Heckel though
Vincent Ellin Wai Kit Leung I've
wondered about that.....
Derek Cliff Crane Curious
to know... I'll be looking to get a better bassoon soon
Jonathan Zepp There are a number
of players who have won their jobs on Foxes,
Puchners, Bells, etc., and then there are anumber
that started on a Heckel and switched to another (the examples
I know switched to Fox, Bell, or Yamaha),
because they preferred it or because it made their job easier or both.
It's also common for people who win their jobs on a different horn than the rest of the section to be eventually persuaded to match for whatever reason.
Personally, I find the idea of a "Heckel sound" problematic and sort of just marketing material. I play a Heckel and love my horn, but there are also things it doesn't do as well as other brands' horns I've tried. There are aspects of the sound (evenness of scale tone color, timbre in the very low and high ranges, etc) which I love, but I don't think they're exclusive to the brand - they're a product of the way the instrument's been put together and the bocal/reeds/player as much as anything - and my horn's had enough work over its lifetime to certainly not match the sound fresh out of the factory.
Heckel is the defacto standard and makes generally fine instruments (this has not necessarily been true across all the serial number ranges, there has been significant variation over time), but they by no means have a monopoly on good tone or the best sound or performance characteristics.
It's also common for people who win their jobs on a different horn than the rest of the section to be eventually persuaded to match for whatever reason.
Personally, I find the idea of a "Heckel sound" problematic and sort of just marketing material. I play a Heckel and love my horn, but there are also things it doesn't do as well as other brands' horns I've tried. There are aspects of the sound (evenness of scale tone color, timbre in the very low and high ranges, etc) which I love, but I don't think they're exclusive to the brand - they're a product of the way the instrument's been put together and the bocal/reeds/player as much as anything - and my horn's had enough work over its lifetime to certainly not match the sound fresh out of the factory.
Heckel is the defacto standard and makes generally fine instruments (this has not necessarily been true across all the serial number ranges, there has been significant variation over time), but they by no means have a monopoly on good tone or the best sound or performance characteristics.
Ben Opp A quick
story on this. I studied briefly with the incredible Chris Millard.
In an early lesson he played my Heckel 12 (which he described as one of the
best instruments he ever played) and I played his favorite Bell. I sounded just
like me on his instrument and he sounded just like him on my
instrument. This underlined to me how the instrument is important but what the
player is doing with it is really what matters.
Joshua Luty I
know Mark Ortwein switched to a Yamaha thin wall for this very reason,
previously playing a Moenig thick wall which supposedly didn't match
the section.
Mark Ortwein I
could match just fine with the Monnig, but I'm playing a Yamaha 812
(thick wall) but with a thin bell now. It's a great playing
bassoon that really feels and sounds like my old Heckel (10k) but just more in
tune and great keywork.
Ben Opp Alex McCrory probably
has some actual data on this question
Joshua Luty Offhand
that's the only person I can think of...I'm sure there are more.
Ted Soluri That
is correct. I won Dallas on the 601 I play now and won principal in
Milwaukee on my old 101 which I have since sold.
Alfredo Cobo How
would you describe the differences working in reeds for a 101 and
then, for a 601?
Vincent Ellin Yup
that's RIGHT!!!! There you go!!
Trent Jacobs Roger Soren won his
gig with a Moosmann bassoon and Mollenhauer contra, I know that one.
Leann Currie Did
the guy(s) who won Bergen Phil (Norway) win on a Fox (I
believe they’ve had two different bassoonists the last yearswho got the
2nd job.)? It’s possible both were playing Fox, since Per plays one.
Anyone know?
Trent Jacobs Yes, Jeff Marquardt plays a 601
if I remember right.
Jeff Marquardt Very
close, Trent Jacobs! I
play aFox 660 that I’ve had for almost five years. It’s the same
instrument I won my audition on. I’ve enjoyed playing it in the Bergen Philharmonic
for three seasons :)
Jon Halvor Lund Also
in Norway, the 2nd/contra players in Oslo Phil and Kristiansand both won
their jobson Foxes, and still play them. The former principal of the
Norwegian Radio also always played Fox. People have also got jobsonYamahas,
Moosmanns and Püchners in addition to Heckels.
Evan Troz I
think John Miller Jr's played on a fox, but I remember it had gold keys so
I'm sure it was more custom than it was stock. Probably wrong, but it's hard to
get a better endorsement than that if it's true.
David Saul I
own that instrument now. He didn’t win hisjobon it though. He had a heckel
before but he said he liked the fox much better so he switched.
Micahla Hendrix I
love my Heckel but I'd also consider a Leitzinger next time I'm in
the market
Joshua Luty The
Leitzinger bassoons on display at IDRS 2017 were some of the finest I
have tried of recent manufacture from any brand.
FOXPRODUCTS.COM
Trent Jacobs John
won the Minnesota Orchestra jobplaying a Heckel bassoon. He
switch to Fox bassoon later.
Richard Murry John
Miller was one, if not the primary professional performer, involved with the
development of theFox 601. He has owned several Fox 601s over
his career.
Evan Troz I've
sat next to him, and I've touched that bassoon. It was possibly one of the
coolest things I've ever done outside of my wife and child.
Trent Jacobs Fox made
serial number 40,000 for him. He has had several Fox bassoons over
the years all with black lacquer and gold key work in the same key work
options. They've all been Fox Model 601.
Evan Troz That's
awesome. I remember talking to him about it, but that was over 12 years ago.
Trent Jacobs I've
played at least two of his old bassoons. I think that fox does do
some voicing a little differently for his instruments than they do
for their standard stock but I can't ever verify such a thing.
Ruth E. Wilson My
601 was made for aFox artist to choose from, so I got a discount.
Wonder if it was made for him, and I love it. ❤️❤️❤️
Mark Ortwein Both
Sam Banks and I won our jobs in Indianapolis playing Fox 601's.
I had played a Heckel 10k for over 10 years prior to switching to the
601. After I got the job I wasn't happy with the 601 and switched
to a Yamaha 821 (thin wall) and was much happier playing
principal on the Yamaha. Now I'm playing an 812 (thick wall)
with a thin bell though. Sam now plays a newer Heckel in
Toronto.
Elizabeth Ball Crawford Mark Ortwein would
you be willing to elaborate in more detail why you made those switches?
Mark Ortwein The
601 didn't have the sweetness and focus up high and was just on the
darker/duller side. I wanted alivlier horn that could really sing (get
more of the older Heckel sound).
Daniel Nester I
won 2 full time gigs and one year’s replacement full time in Israel on my
660.
Schuyler Jackson I
won my job with the Baltimore Symphony on a fox 601.
Schuyler Jackson I
play on an 8,000 Heckel now, but played for 3 seasons on my
601.
Jeremiah Broom The
first two teachers I studied with won theirjobs on Fox 601’s
from the early 90’s.
Ruth E. Wilson Mine
is circa 1994
Richard Murry I
"won" my first bassoon position on a 01
Richard Murry fox 601
in 1992. I played on it until I got a FoxModel I with the
Weisberg system in 2010. Switched to a Heckel 4k with the Weisberg
system in 2012. I know it is more a reed and musicianship that makes
the sound work when using a Fox vs Heckel, because Foxes are
Heckel copies.
Alfredo Cobo Could
you go in more details Richard about your switching from a 601
to a model I please?
Richard Murry I
began playing the Weisberg System to have the security of playing the second
octave from a to d without flicking. The Fox Model I
instrument already had the system on it. I loved my 601 that I bought
new in 1991 at the IDRS conference in Towson, MD.
Robert Jordan Andrew
Gott won his position with the Saint Louis Symphony on a Fox.
Mark Ortwein I
think he still plays the 201.
Christopher Weait Won
two full time orchestral positions on my Polisi bassoon back in the
1960's.
Hugh Ponnuthurai I
won my first two positions on a Fox101 from the early 1980’s. I went on to
have a Moosmann, Puchner and 2 Heckels! I play ona late
series 9 Heckel now.
Kevin Fuller Wow, Mark... That's just too
weird! MY first bassoon was a Polisi!!!!
Jim Schaeffer As
was mine. #862 and I still have it. Won principal jobs with Va Beach,
Cambridge (UK) and Montgomery orchestras with this.
Christoph Wichert I
won my job on a 601. a fantastic instrument, that
got me through university and the start of my career. After 18 years on the
instrument I switched though to a Püchner.
Mark Ortwein I
like the new Püchners too.
Jacqui Hopkins What
made you want to switch to the Puchner?
Christoph Wichert Jacqui Hopkins After
18 years I felt that my instrument lost a bit of strength, yet we
play in a big hall and have a strong playing wood wind section.
And with my Püchner antique finish I found an instrument that has astrong,
flexible, yet very singing voice which I really love.
Jacqui Hopkins Did
you have to change your reed style at all?
Christoph Wichert Jacqui Hopkins yes,
the reeds need to be a bit heavier in the back, but it was an easy
Marc Weyl BWBQ
Used to be half Fox and half Heckel. They are now all Fox. I
actually like them a bit better when they were mixed.
Giuseppe Lo Curcio I
play fox ( cagliari teatro lirico, first bassoon)
Vincenzo Menghini Ho
provato strumento(fagotti))di tutte le marche!l Heckel e il migliore in
assoluto suono legato facilita d emissione intonazione eccc....km meglio del
meglio kaaaa
Brian L Hicks My
father owns a 7××× series Heckel, one night took my 601 cold to a performance,
no one knew, and he didn't have any difficulty. Heckels are great. Foxes are
great.
Victoria King Won
my position on an 11K Heckel and played it for 20 years, then
switched to a Fox 601 13 years ago. Both work great for playing
second. Both are thick wall resistant horns.
Bob Martin I
have played heckles, and puchners.....
I have a 1948 Thiboville now, with custom network.......
I have never seen another one like it....
Neither has anyone I have ever shown it to.......
It has a beautiful dark sonorous sound......
I use a # 2 heckle german silver bocal......
I have a 1948 Thiboville now, with custom network.......
I have never seen another one like it....
Neither has anyone I have ever shown it to.......
It has a beautiful dark sonorous sound......
I use a # 2 heckle german silver bocal......
Bob Martin Key
work
Robert Williams This is a very
interesting thread. I have been playing on a Fox 601
(definitely not a 680 or 685!!!!) since 1993. I"m on my 6th or 7th
generation 601, #55555 that was made just before Mike Trentacosti retired
and Barry Trent started redesigning the Fox pro horn line. I have never
regretted my decision to change from the Heckel to the Fox 601 ( not 680 or
685!!!). As far as auditions I did make the finals in the Cleveland
Principal audition on my 601. The first classical concert the Detroit
Symphony played in the 1993 season was the Strauss "Alpine Symphony". This
starts with a three octave Bb minor scale doubled in the 1st bassoon and
lower strings. The first rehearsal I used my Heckel #11534 and was having
a very hard time matching the pitch of the strings and just getting the
horn to respond cleanly with the descending scale. I had been to the Fox
Factory a week before and played a "Pops" concert on the 601 and though it
played nicely I thought it was nothing special. There is not really much
exposed bassoon in Pops concerts. I asked Alan Fox if I could keep the
horn for another week, thinking my thoughts would not change but at least I
could play it in a situation where it could be heard. The second time
through the "Alpine" I used the Fox 601 and was frankly amazed at how much
easier it was to match pitch and how it responded to the slurs going down
the scale. I thought it had a great sound and played the concert on it.
Ted Oien, our Principal Clarinet also commented on how he found it easier
to match pitch and only said good things about the Fox, a very important
thing when you are playing in an orchestra. I sent the horn back to the
factory to have all the extras I had on my Heckel added and have played on
601's (not 680's or 685's!!!) since.
(definitely not a 680 or 685!!!!) since 1993. I"m on my 6th or 7th
generation 601, #55555 that was made just before Mike Trentacosti retired
and Barry Trent started redesigning the Fox pro horn line. I have never
regretted my decision to change from the Heckel to the Fox 601 ( not 680 or
685!!!). As far as auditions I did make the finals in the Cleveland
Principal audition on my 601. The first classical concert the Detroit
Symphony played in the 1993 season was the Strauss "Alpine Symphony". This
starts with a three octave Bb minor scale doubled in the 1st bassoon and
lower strings. The first rehearsal I used my Heckel #11534 and was having
a very hard time matching the pitch of the strings and just getting the
horn to respond cleanly with the descending scale. I had been to the Fox
Factory a week before and played a "Pops" concert on the 601 and though it
played nicely I thought it was nothing special. There is not really much
exposed bassoon in Pops concerts. I asked Alan Fox if I could keep the
horn for another week, thinking my thoughts would not change but at least I
could play it in a situation where it could be heard. The second time
through the "Alpine" I used the Fox 601 and was frankly amazed at how much
easier it was to match pitch and how it responded to the slurs going down
the scale. I thought it had a great sound and played the concert on it.
Ted Oien, our Principal Clarinet also commented on how he found it easier
to match pitch and only said good things about the Fox, a very important
thing when you are playing in an orchestra. I sent the horn back to the
factory to have all the extras I had on my Heckel added and have played on
601's (not 680's or 685's!!!) since.
Trent Jacobs Bob,
tell us how you feel about the 680 and the 685! LOL!
Mark Ortwein I’ve
tried the new ones ( a couple for a whole month each) and felt the acoustics
were weird with the new tone hole placements. In sound tests close up and in
the hall they lost every time to Heckels, Mönnigs and Yamahas.
Elizabeth Ball Crawford Robert Williams thank
you for adding your detailed experience!
Vincent Ellin And
thanks to Bob and John Miller who both recommended I try the then new Foxes....I
was playing a late model 12,000 Heckel and frankly liked it until I tried to
get more from it....and it wasn't cooperating with me at all....I tried a 601
and it actually responded quickly with reliable attacks, and intonation.....I
sold my Heckel eventually and got a Fox.
Vincent Ellin I
was much more comfortable when I played the Joilivet Concerto with the Fox 601,
then I would of ever been on a Heckel (or at least my Heckel)......
Roger Soren Bob,
your John Williams sounds incredible!!!!
Roger Soren The way we all sound our best is to play on
what bassoon is the most comfortable for our particular playing style and
reeds. I’ve been a full time member of 4 ICSOM orchestras and have used Heckels
7, 10, 12k, Fox 601 and 201, and Moos 222ap, 200e and currently 150e. So
many makers are making better bassoons than ever. It’s exciting to await which
brand will make another break through. I played as a guest recently in a
section with 2 Bell bassoons, that were a great match in their hall. I keep
hearing about people loving their Puchners and Leitzingers. Its a good time to
be a bassoonist!!
Jim Kirker You
the man Bob!!
April Brennan Not
to mention it's a gorgeous bassoon with gold keys! I'm now a believer in Fox
bassoons because of your model.
Erkki Suomalainen Very
much agree with what Roger Soren says.
IMHO the importance of having a certain (whatever brand) instrument is often
being highlighted a little bit too much. I am sure we have all heard some great
player pick up almost any instrument/reed and in ju…See More
Janet Harris Won
Huntsville Symphony 2nd Bsn audition many years ago on a Renard!
Two weeks later I won the 2nd Bsn audition in Florida West Coast Symphony now
called Sarasota Orchestra onthe same Fox Renard. Everyone always
thought I played on aHeckel.
Leigh Muñoz This
is an interesting thread indeed! My 9xxx series Heckel was damaged this past
week so I have been performing onmy backup, a 240. In a week
packed with performances it has exceeded my expectations in color, ease,
projection. It is nice to live in a place with so many awesome
choices to find exactly what works for us!
Gareth Newman Won
three principal positions in the UK on Foxes - 201 then 601. Play the
601 and a 10,000 Heckel now in the London Phil. Happy with both!
James Roberson Amanda
Swain won the Principal bassoon Houston Grand Opera/2nd bassoon Houston
Ballet on a Fox 601. She has been a finalist at several
recent auditions and is amarvelous mysician.
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