MUSIC ON THE WIND

New Zealand Listener, Volume 37, Issue 939, 9 August 1957, Page 17

MUSIC ON THE WIND

WOODWIND INSTRUMENTS AND THEIR HISTORY, by Anthony Baines; Faber and Faber, English price 42/-. ERE is a general, technical and historical background to the study of wind instruments written by a former bassoon player in the London Philharmonic who is both an enthusiast and an innovator. The book is divided into two parts. In the first section the instruments are discussed in great detailsuch topics as fingering, breathing, embouchure and "the merciless capriciousness of reed-making." In the second, the history: of the instruments from the primitive flute world to the present day is told. At the end can be found notes on maintenance and a comprehensive bibliography. Woodwind manufacture and the composer’s use of instruments in the orchestra lie beyond the book’s scope. The author’s interest in the possibilities of woodwind sound lead him to make several interesting suggestions, among which are proposals for the revival of some older instruments. He thinks the treble recorder should be redesigned so that it can be played in a modern orchestra. He would like to see the ancient shawm come back, outside if not in. "The sound of these shawms is unbelievably exciting. Their effect is of tremendously loud, full throated oboes . . . great would be the day if ever they came to be tried in the northern countries to add their fiery glow to the rather pallid hues of our military bands." He hits out at the present lopsided concentration on descant recorders in schools and suggests combining: recorders with the 16th Century crumhorn, an easily blown reed instrument. It will be interesting to see whether Mr Dolmetsch’s lathes ever become diverted to crumhorns. He gives insight into the growth of distinctive national styles of playing in Europe and wil] tell you why the wind section ‘of the Vienna Philharmonic sounds differently from those of Soxtigh (continued on next page)

BOOKS (continued from previous page)

and French orchestras. Incidentally, he considers the French style to be epitomised in the Orchestre de la Suisse Romande under Ansermet. His encyclopaedic observations range from notes on walking stick and umbrella flutes to the flute bands of Belfast which can still be heard on Sunday mornings making a sound of "celestial brilliance." "If any person who loves wind instruments has any query or difficulty in connection with them," he writes in his introduction, "let him not hesitate to accost a professional wind player, no matter how celebrated| he may be nor from what, pag of the world he may come, for there are no more kindly and understandings peonle in the world."

National Orchestra-beware! _

J.M.

T.