Welcome, this is Terry Ewell.
1. In this video I provide some background on the Opus 8/2 Bassoon Studies and Weissenborn. Several years ago I recorded a performance and teaching on the 15th study; please refer to those videos separately. Here is a link to the two videos on the 15th study:
2. Christian Julius Weissenborn (April 13, 1837-April 21, 1888) came from a family of musicians. His father and brother were both bassoonists. He had a distinguished career as a principal bassoonist in the Leipzig Gewandhaus Orchestra. His appointment as professor at the Leipzig Conservatory led to the composition of many teaching materials for bassoon.
2。基督徒朱利叶斯.维斯伯恩（1837年4月13日 - 1888年4月21日），出生于一个音乐世家。他的父亲和哥哥都是巴松管演奏家。他事业卓著，曾是莱比锡布商大厦交响乐团的巴松管首席。作为莱比锡音乐学院的教授，他完成了许多巴松管教学资料。
3. The “Practical Bassoon School” and the two collections of studies in Opus 8 provide a solid foundation for the study of bassoon. Their importance as a collection is demonstrated by the fact that these studies are used around the world! No doubt you are watching this video now because you have a copy of the Bassoon Studies in your hands.
4. The Opus 8/2 studies should be performed with Weissenborn’s prior studies in mind. For instance, Weissenborn explains the performance of grace notes, trills, other ornaments, and articulations Opus 8/1.
5. William Waterhouse notes that Weissenborn originally conceived of the materials in Opus 8/2 as containing sixty studies. Decisions made prior to publication deleted roughly 48 pages of musical text. The thematic incipits of the ten lost studies are presented in a manuscript in a London collection. However, the complete music to the studies has not yet been recovered.
6. In addition to creating studies for the bassoon, Weissenborn composed orchestral, choral, and vocal works. Weissenborn also composed a famous work for three bassoons, which we will consider now.
7. Whoever lets only the dear God reign
and hopes in him at all times,
he will preserve in a marvelous way
in every cross and sadness.
Whoever trusts in almighty God
has not built upon sand.
(accessed 19 Feb., 2014, http://www.bach-cantatas.com/Texts/Chorale052-Eng3.htm)
8. This is a translation from the German poetry written by Georg Neumark. The reference to “cross” is to Jesus’ crucifixion (and the sacrifice of His followers). The reference to “sand” comes from the lecture that Jesus gave in what is called the “Sermon on the Mount.” The text for “sand” is found in Matthew 7:24-29. These are the words that accompanied the melody chosen by Weissenborn in the first movement of his Trio for Three Bassoons.
9. Georg Neumark provided evidence of his faith in God and Jesus’ teachings with this poetry and music. Many composers including J. S. Bach and Weissenborn were inspired to set the melody composed by Neumark to music.
10. Weissenborn quotes the melody in the “cantus firmus” parts in the trio. The first appearance is in the third bassoon part. Also the melody at the 4/4 tempo is related to the hymn tune.
11. Here is a portion of the section of the trio with the same hymn melody chosen by Weissenborn. You can listen to the entire trio by downloading the recording from the Wikipedia article on Weissenborn.
Arthur Grossman is one of the most widely recorded chamber and solo bassoonists in the USA. He has performed widely with the Soni Ventorum in the United States, as well as abroad for the State Department, and has recorded extensively both with the Quintet and as soloist. He was principal bassoon in the Indianapolis and Cincinnati Symphony Orchestras and a participating artist at the Marlboro Music Festival. During the 1977-78 season, Grossman was guest principal bassoon with the Israel Philharmonic, with which he made numerous recordings and international tours. In 1980, he was an invited artist in the first International Arts Festival of the Republic of China.
阿瑟.格罗斯曼是美国录制唱片最为广泛的室内乐和巴松管独奏音乐家之一。他曾与Soni Ventorum 在美国及世界各地进行了多次巡回演出，并录制了大量的五重奏和独奏唱片。他曾担任印第安纳波利斯和辛辛那提交响乐团的巴松管首席演奏家，并作为艺术家出席过万宝路音乐节。在1977-78音乐季，格罗斯曼作为以色列爱乐乐团的客座首席巴松管，与乐团一起进行了多次国际巡演并参与唱片录制。1980年，他作为特邀艺术家出席了中国首届国际艺术节。
Bruce Grainger became second bassoonist of the Seattle Symphony in 1978. Eight years later he became assistant principal bassoon of the Chicago Symphony Orchestra. He was also professor of bassoon at DePaul University and a member of the Chicago Chamber Musicians. He died in Chicago after a long illness at the age of 42.
Terry Ewell was principal bassoon of the Hong Kong Philharmonic (1979-1986), the Wheeling Symphony Orchestra (1992-1996), and the Mid-Atlantic Symphony Orchestra (2010-present).
Further information on Dr. Ewell is available at www.terryewell.com
特里.尤厄尔是香港管弦乐团（ 1979-1986 ）、美国惠灵交响乐团（ 1992-1996年）及中大西洋交响乐团（2010年至今）的首席巴松管。
Information on Weissenborn:
Julius Wiessenborn Fagott-Studien op. 8/2, William Waterhause, ed. Universal Edition 18122 (Wien: Universal Edition, 1987).
William Waterhouse, “New Light on the Weissenborn Family,” The Double Reed 30/2 (2007), 35-44.
Information on the Nuemark Hymn Melody:
R. Mark Rogers, ed. Six Trios for Three Bassoons by Julius Weissenborn, op. 4, second edition (San Antonio: Southern Music Company, 2003).
MUSICAL HERITAGE SOCIETY (MS 4919A) Weissenborn Trio with Arthur Grossman, Bruce Grainger, and Terry B. Ewell.