Piper at the Gates of Dawn. Bruce Haynes. Legendary Pioneer of the Hautboy

8/13/2019 Piper at the Gates of Dawn. Bruce Haynes. Legendary Pioneer of the Hautboy.

1/27

1

!"#"$% '( ()$ *'($+ ,- .'/01

!"#$% '()*%+, -%.%*/(") 012*%%" 23 4'% '(#4!2)' 234567893:7; (63? J$ ?71#* 68 1A* 5*4(1 ,#4(2 68 K7.L M#6-5 :%G=;>N$ K'6O7/76.,# 171#* P7O*. 4- &'()* +,-.*/ 16 3/+

45&+:Q,#* RKF JHHS>

It's gone! sighed the Rat, sinking back in his seat again.So beautiful and strange and new. Since it was to end sosoon, I almost wish I had never heard it. For it has roused alonging in me that is pain, and nothing seems worthwhile butjust to hear that sound once more and go on listening to it forever. No! There it is again! he cried, alert once more. En-tranced, he was silent for a long space, spellbound.

!""# % &'(")*)+, -./+/ 01/2 *# 345%#

!5678 '9:;8< =->6?;K5L9AB M6LN87B DO J9:B HPDDQ

T,/1 U,- 1A* 2(/7),# )622(.71- 26('.*5 1A* #6// 68&'()* +,-.*/F A,(146- 3#,-*' ,.5 ,(1A6' 68 /62* 681A* 26/1 7.8#(*.17,# '*/*,')A 6. 1A* 646* '*)*.1#-3(4#7/A*5$ M6' 1A* 3,/1 5*),5* &'()* /1'(PP#*5

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

/1,1* 1A,1 B,1* O,. \'5*. E7## /** 1A'6(PA 16 3(4#7),D176. 8'62 \]86'5 R.7O*'/71- K'*//$

X6 61A*' 2(/7)7,. 7. 1A* 1E*.17*1A )*.1('- *24',)*51A* A,(146- E71A 1A* /,2* 376.**'7.P /37'71F ,.5 4(7#1/()A , #*P*.5,'- '*3(1,176. ,/ 7./37',176.,# 3*'86'2*',.5 1*,)A*'F ,.5 3'6O6),17O* /)A6#,'$ ?A* /1'*,2 68+,-.*/0 7.8#(*.)* E7## #,/1 86' 2,.- -*,'/$ ?6 /62*F 717/ 1A* *26176.,# 7.1*./71- 68 A7/ 3#,-7.P 1A,1 /1,.5/6(1F 16 61A*'/ A7/ )6376(/ E'717.P^,/ 7.86'2,17O* ,/ 717/ 1A6(PA1D3'6O6L7.PF ,/ )'717),# ,/ 71 7/ 7./37'7.P^1A,1)6./171(1*/ A7/ 26/1 /7P.787),.1 )6.1'74(176.$

&'()*0/ 3#,-7.PF '*/*,')A ,.5 1*,)A7.P ,## '*8#*)1*5, L**. 7.1*'*/1 7. 2,L7.P /*./* 68 2(/7)_ , 56(4#-

,33'63'7,1* 2*1,3A6' 86' A7/ )A6/*. 4,'6`(* '*3*'D167'* E71A 71/ '7)A 'A*16'7),# 723#7),176./$ Y/ A* E'61*7. 3/+ !") &: !?9%$ @72*#$ a, /(4b*)1 #7L* 2(/7) 4*)L6./(/ 6.F 7.O717.P (/ 16 L**3 1'-7.PF 1A6(PA E* L.6E E*E7## *.5 (3 E71A 26'* `(*/176./ 1A,. ,./E*'/$ cde ",2 5*#7PA1*5 16 /A,'* 1A*/* 1A6(PA1/ E71A -6($ f71A#()L 1A*- 2,- 7./37'* -6(F 166F 16 E'71* 56E. -6('6E. :O77 g O777>$0 &'()* E,/ )6.17.(,##- 5',E. 16 3'64*1A* 2-/1*'7*/ 68 2(/7) ,.5 3*'86'2,.)*F 16 /*,')A 86',./E*'/$ Y1 4*/1F A* #*81 (/ E71A , /*./* 68 ,)A7*O*D


2/27

2

2*.1^6' ,/ A* 3(1 71F aA,337.*//0^1A,1 7/ a27]*5F262*.1,'-F ,.5 3'6O7/76.,#$0 &(1 ,.-6.* EA6 L.*EA72 E7## ,11*/1 1A,1 1A* A,337.*// A* P,O* E,/ (.D27]*5_ A* E,/ (11*'#- ,.5 (.86'P*11,4#- 7.1*##7P*.1,.5 ),'7.P ,/ 3,'*.1F 1*,)A*'F ,.5 )6##*,P(*$ M6' ,3'6b*)1*5 26.6P',3A 1A,1 575 .61 3'6)**5 3,/1 ,'6(PA /L*1)AF B?9?)*DE F&2.G H+#&"2.97#.*"D ./+ !%&0

67+". I&*#+F &'()* ,##6),1*5 1A* 86##6E7.P 26116D`(61,176. 8'62 WA,L*/3*,'* 1A,1 *371627h*/ A7/1A6(PA18(# 2*571,176. 6. 1A* 2(/7),# *]3*'7*.)*_

8'*.+ &: J?2/*&" %+. 2&E+ :+1 5+ :&7")

,/& =?%7+ 8+"2+ ?5&=+ ?" +E'.$ 8&7")A

fA*. &'()*0/ 261A*'F Y#7)* M6/1*' +*#2 :%GJHiGG>E,/ 3'*P.,.1 E71A A72F A*' A(/4,.5 ?A62,/ W1,.#*-+,-.*/ :%G%GiGJ> E,/ 6. 27#71,'- /*'O7)* 7. j('63*F,.5 E,/ 1A*. '*5*3#6-*5 16 [,3,. ,/ a3(.7/A2*.10 86',/L7.P 16 4*)62* , )6./)7*.176(/ 64b*)16'$ +* 6.#-'*1('.*5 EA*. &'()* E,/ 1A'** -*,'/ 6#5$ ?62 '*D1('.*5 8'62 E71.*//7.P 1A* ,81*'2,1A 68 +7'6/A72,E71A , 5**3 ,527',176. 86' [,3,.*/* )(#1('*F ,.5 ,5*1*'27.,176. 16 86##6E , 3,1A 68 .6.DO76#*.)*$ ?A*/*'*/6#(176./ ,88*)1*5 &'()*F EA6 5*O*#63*5 , #78*D#6.P8,/)7.,176. 86' [,3,.*/* )(#1('* ,.5 , /1'6.P )62D2712*.1 16 3*,)*8(# )6.8#7)1 '*/6#(176.$ &'()* A,51E6 /74#7.P/_ Y..*F 1A'** -*,'/ -6(.P*'F ,.5 9,O7546'. ,.61A*' /*O*. -*,'/ #,1*'$ ?A* 8,27#- 26O*5,'6(.5 , #61 EA*. 1A* L75/ E*'* /17## #711#*$ ?62 E,/5',E. 16 \b,7 @,#786'.7,F EA*'* 1A* 8,26(/ ".57,.P('( B'7/A.,2('17 A,5 4'6L*. A7/ E,'D172* /7#*.)*F,.5 ,11',)1*5 61A*'/ )622711*5 16 )(#17O,17.P A,'D26.- 68 /37'71F /*#8 ,.5 E6'#5$ M'62 1A*'*F 1A* 8,27#-/*11#*5 7. &*'L*#*-F @YF , 2*)), 86' #74*',##-D27.5*5A7337*/F ,#1*'.,17O* )(#1('*F ,.5 /6)7,# ,)17O7/2 5('7.P1A* k7*1.,2 *',$ Y/ , )A7#5F &'()* *]A7471*5 , ),3,)71-

16 3('/(* 2,1('* 7.1*'*/1/ 16 1A*7' )623#*176.$Y'6(.5 ,P* 1*.F A* E,/ 1A* /(4b*)1 68 , 3,3*' E'711*.4- , /1(5*.1 7. 1A* 3/-)A6#6P- 68 *5(),176.$ Y#1A6(PA.61 , 3'68*//76.,# 3/-)A6,.,#-/1F U*'#* @(''7.P16.86(.5 +,-.*/ /-/1*2,17)F ,.5 A7PA#- 2617O,1*5^*O*.5'7O*.F )A,',)1*'7/17)/ 1A,1 E6(#5 )*'1,7.#- A6#5 1'(*1A'6(PA6(1 A7/ #78*$

". %G


3/27

3

1A* U,.A,11,. W)A66# 68 U(/7) ,.5 7./1*,5 *.'6##*5,1 W,. M',.)7/)6 @,#$ W1,1*$ Y/ E*## ,/ 2(/7)F A* 166L ,)6('/* 6. [,3,.*/* @(#1(',# W1(57*/ 86' EA7)A A*E'61* ,. *//,- 6. +,7L( 36*1'-$ ?A'6(PA6(1 A7/ )6#D#*P* -*,'/F A* E,/ , 3'687)7*.1 6467/1$ &- ,P* JJ A*A,5 3#,-*5 )6.)*'16/ 4- U,')*##6F +,-5. :/6#6 646*,.5 W7.86.7, @6.)*'1,.1*>F &,'#6E ,*".+9M2 B?2.E71A

1A* &*'L*#*- +7PA W)A66# 6')A*/1',F /6#6/ E71A 1A*[(.76' &,)A M*/17O,#F ,.5 ,1 W,. M',.)7/)6 W1,1*V A*A,5 P7PP*5 E71A 9(/1nF ,.5 ,33*,'*5 ,1 R@i&*'L*#*-E71A Y#,. @('17/ ,.5 A,5 3#,-*5 '*)6'5*' 7. ,#1*'.,17O*&,-DY'*, O*.(*/ /()A ,/ 1A* k7. *1 M'62,P* ,.5 M#6'D*.17.* @,8n/$ +* E,/ ,#/6 86'1(.,1* 7. /*)('7.P 3'6D8*//76.,# *.P,P*2*.1/$ ". %G=%iJ A* E6'L*5 E71A 1A*W,. M',.)7/)6 &,##*1 ,.5 \3*', 6')A*/1',/F ,.5 86'86(' 26.1A/ 7. %G=J A* 3#,-*5 E71A 1A* \'`(*/1, W7.D86.7), 5* o,#,3,$ +* *.b6-*5 A7/ 172* 7. U*]7)6F 4(1EA*. 1A* )6.5()16' 5*2,.5*5 1A,1 A* '*26O* A7/4*,'5F &'()* '*8(/*5 ,.5 `(71p :W(/7* 6.#- *O*' /,E A7/)A7. 6.)*F ,.5 A7/ L75/ )#,72 16 A,O* .*O*' /**. 71 ,1,##p>

"##$ S +,-.*/ ^ 6467/1 ,1 &*'L*#*- +7PA$&'()* E,/ 68 5',81 ,P* 5('7.P 1A* k7*1.,2 f,'F

,.5 1A* &*'L*#*- +7337* )(#1('* E,/ , A614*5 68 '*/7/D1,.)*$ ". %G=J A* #65P*5 ,. ,33#7),176. 86' *]*231*56. 1A* P'6(.5/ 68 )6./)7*.176(/ 64b*)176.$ +* A,5,#'*,5- E'711*. , A7PAD/)A66# 3,3*' aC65 6' W1,1*_ Y.j//,- 6. @6./)7*.176(/ \4b*)176.0 :%GF ,.5 A7/ 2*D17)(#6(/ ,33#7),176. E,/ /(336'1*5 E71A P#6E7.P '*8D*'*.)*/ 5*8*.57.P A7/ )A,',)1*' ,/ , /*'76(/ -6(.P2,. 68 A7PA 26',#/$ 9'7O*. 4- 1A* *]3*'7*.)* 68 5*,#D

7.P E71A , 8,1A*' 86')74#- '*26O*5 86' .,176.,# /*'O7)*F&'()* 166L *O*'- 3'*),(176. 16 ,O675 )6./)'73176.A72/*#8$ W(4/*`(*.1 16 K'*/75*.1 B*..*5-0/ *]*)(17O*6'5*' *]*2317.P 2,''7*5 2*. 8'62 1A* 5',81 :7//(*5Y(P(/1F %G=N>F A* 2,''7*5 K*..- @,''F , 8,27#- 8'7*.5,.5 #*/47,. EA6 A,5 .6 `(,#2/ E71A A*#37.P 6(1$T*,O7.P 1A* )6(.1'- ,81*' )6##*P* E,/ ,#/6 ,. *88*)17O*

E,- 16 '*2,7. 6(1 68 '*,)A 68 R.)#* W,2$ ?A* +,-.*/'*2,7.*5 O7P7#,.1F ,.5 ,/ /66. ,/ 1A* .*E/ 4'6L* 7.Y(P(/1 %G=< 1A,1 K'*/75*.1 [6A./6. A,5 '*O6L*5 1A*2,''7,P* *]*23176.F 1A*- /*.5 &'()* 3'*// )#7337.P/16 Y2/1*'5,2F E,'.7.P A72 1A,1 A* 2,- -*1 4* *#7P7D4#* 86' )6./)'73176.$ X6 #6.P*' /*'O7.P 71/ 8(.)176.F&'()* ,.5 K*..- ,..(##*5 1A*7' 2,''7,P* 7. U,-F %G==$

9*/371* 64O76(/ 3'627/* ,/ , 3'68*//76.,# 6467/1F,.5 A7/ /7P.787),.1 6')A*/1',# *]3*'7*.)*F +,-.*/ a4*D),2* 57/7##(/76.*5 E71A 3'68*//76.,# 646* 3#,-7.PF0,.5 /1,'1*5 #66L7.P 86' ,. ,#1*'.,17O* ),'**' 7. 2(/7)$+* #,1*' /36L* ,46(1 A7/ 3*')*3176./ E71A T** U)l,*$aK'68*//76.,# /-23A6.- 3#,-*'/ ,'* ,#26/1 ,#E,-/O*'- (.A,33- 3*63#*$ ?A*- A,O* .6 )6.1'6# 6O*' EA,11A*- ,'* 567.PV /62*465- 7/ ,#E,-/ 1*##7.P 1A*2 EA,116 56^*/3*)7,##- ,46(1 1A7.P/ 1A,1 '*,##- )6(.1F #7L*A6E -6( 8**# ,46(1 3#,-7.P^1A*- E6'L O*'- A,'5 86'.61 O*'- 2()A 26.*-^,.5 71 b(/1 /**2*5 16 2* 1A,11A,1 E,/.01 EA,1 " E,.1*5 16 56 86' 1A* '*/1 68 2- #78*$W6 " E,/ P67.P 16 P7O* (3 2(/7)F ,.5 b(/1 /6'1 68 37)L*5(3 1A* '*)6'5*' 16 87## 7. 1A* P,3$01

?A7/ E,/ , 5*)7/7O* 26O* 1A,1 E6(#5 /*1 1A* 57'*)D176. 68 A7/ ),'**'$ Y#,. @('17/F EA6 ,1 1A* 172* E,/ ,2(/7) 3'68*//6' ,1 1A* R@i&*'L*#*-F *.)6(',P*5&'()* 16 4*)62* 26'* /*'76(/ ,46(1 1A* '*)6'5*'F,.5 367.1*5 A72 7. 1A* 57'*)176. 68 M',./ &'qPP*.EA62 @('17/ A,5 P61 16 L.6E 7. A7/ /1(5*.1 5,-/ 7.

+6##,.5$ @('17/ ,75*5 &'()* 7. 641,7.7.P , +*'1h M*#D#6E/A73 16 8(.5 /1(5- ,1 1A* l6-,# @6./*'O,16'- 7.9*. +,,P %G=


4/27

4

French harpsichord music; Don Angle, a colleague in theDowd shop who later showed how adaptable the harpsi-chord is in repertoires other than the Baroque; and now,Bruce.

I first met Bruce in Amsterdam in 1965, when he,Virginia Kellogg (a baroque violinist from TX), HansVader (Dutch cellist), and I were formed into a chamber

ensemble to be coached by Gustav Leonhardt. This wasmy first experience playing chamber music, and Brucesknowledge and extraordinary musicianship on both re-corder and oboe had a huge impact on me. He was, inmany ways, our intellectual and musical leader. Ourquartet secured sponsorship from a Dutch charity underthe patronage of Princess Irene to perform in a variety ofinstitutional settings in Holland. I will never forget sittingon the stage while the residents of an asylum for alcohol-ics in Nijmegen filed past in single file, sat politely whilewe performed for about an hour, and then filed outsoundlessly afterwards. If memory serves, our group wasplaying on more-or-less modern instruments at A=440.At that time the Quadro Amsterdam was playing andrecording on modern instruments, which made some of

their path-breaking recordings all the more astounding. Iknow that Bruce was playing a Skowronek recordermade for him in return for a favor. But to be honest, Idont remember what oboe he played. In any case, Idon't remember any discussion with Bruce about reed-making, so I doubt that it had yet become an issue. Myexperience in this group contributed substantially to myown coaching of chamber ensembles during my laterteaching career at SUNYStony Brook, the University ofUtah, and Rutgers.

Although our paths crossed only a few times afterthat year in Amsterdamonce when he came to NewYork as a member of the Electric Circus, which was do-ing some collaborations with the Bernard Krainis Con-sort at the timeI followed his career and had the op-

portunity to put several aspiring baroque oboists in touchwith him for advice.

I offer my condolences to members of Bruces family;please know that he will live on in the fond memories of

many.

&'()* )6.17.(*5 16 3#,- @6./*'O,16'- 646*F 4(15('7.P A7/ /*)6.5 -*,' 7. +6##,.5F A* 3(')A,/*5 , #6ED371)A 4,'6`(* 646* 7. )6)646#6 E665 4- Kq)A.*'$ Y11A,1 172* 1A*'* E*'* 8*E 4,'6`(* 646*/ 8'62 EA7)A16 )A66/*$ \116 W1*7.L638 ,.5 +(4*'1 W)Aq)L 2,5*7./1'(2*.1/ 7. C*'2,.- ,.5 Y(/1'7,F &*#P7,. Y.5'*,/C#,11 A,5 2,5* , 8*E 646*/ 4- %G;HF ,.5 1A* 9(1)A4(7#5*' K*1*' 5* B6.7.PAF 4*11*' L.6E. 86' A7/ 4,/D/66./F E,/ b(/1 4*P7..7.P 16 2,L* 4,'6`(* 646*/$ ".

WE71h*'#,.5F &*'.,'5 W)A*'2*' ,#/6 2,5* A7/ 87'/1646*/ ,'6(.5 %G==D=; :7.717,##- 7. 1A* E6'L/A63 68 +$@$M*A' 7. mq'7)AF #,1*' 6. A7/ 6E. 7. &,/*#>$ \. 163 681A,1F 1A*'* E,/ 1A* 7//(* 68 '**5/$ &'()* A,5 A*,'5,46(1 1A* Y(/1'7,. 3#,-*' [q'P W)A,*81#*7. ,.5 A*3#,..*5 , 1'73 16 k7*.., 7. )6.b(.)176. E71A ,(5717.P'*)6'57.P /*//76./ EA*'* 9(1)A 3#,-*'/ 8'62 1A*T*6.A,'51 @6./6'1 E6(#5 4* )6##,46',17.P E71A @6.D)*.1(/ U(/7)(/ f7*.$ \. 1A* /1'*.P1A 68 1A,1 87'/12**17.PF A* 7.1*.5*5 16 *.'6## 86' 8('1A*' /1(5-F ,.5

'*`(*/1*5 ,. *]1*./76. 68 A7/ +*'1h 8*##6E/A73F 4(1 7.1A* *.5 A* '*1('.*5 16 1A* RW$

"##$< +,-.*/ /A6E7.P A7/ Kq)A.*' 646* 16 [6,.K,'1'75P*F %G=;$

"##$ = l**5/ 2,5* 4- [q'P W),A*81#*7.F %G=;$

Y.61A*' A,'3/7)A6'57/1 EA6 A,5 P6.* 16 /1(5- E71AT*6.A,'51 E,/ T7/, @',E86'5$ WA* E*.1 6. 16 1*,)A ,1\4*'#7. @6##*P* 86' 2,.- -*,'/F ,.5 /17## 1*,)A*/ ,1 1A*&,'6`(* K*'86'2,.)* "./171(1* :&K"> *,)A W(22*'$

I first met Bruce in Amsterdam in 1965 when I wasstudying with Gustav Leonhardt. I was renting a room atthe Quaker center on the Vondelstraat, and occasionally

I would go to a Friends meeting (out of curiosity, mostly).Bruce came to one of these and we discovered we wereboth early instrument players. I cant remember if we didany playing together that year, but after returning fromAmsterdam I lived in the Boston area for a number ofyears and we played together (Bruce on recorder!) in thelate 60s. Bruce was always a remarkable, gentle, warmand twinkling person with wonderful ideas. In 1976, hecame to teach at the BPI and stayed at our house. Satur-day had been designated Oboe Day, but it was also theday of the Oberlin tornado. Bruce left to go to the con-


5/27

5

servatory, and made it there before a crazy few minutesof circular wind blew our lawn furniture from the back tothe front of the house and twisted off the tops of severaltrees in town, downed trees and power lines etc. Justshows you the power of his oboe!

&'()* '*1('.*5 16 @,#786'.7, 86' O,),176./ 16 P7O*)6.)*'1/$ ". %G== A* ,33*,'*5 E71A 1A* &*'L*#*- &,D

'6`(* C'6(3 /36./6'*5 4- 1A* W,. M',.)7/)6 Y'*,@A,31*' 68 1A* Y2*'7),. l*)6'5*' W6)7*1-$ Y#,. @('17/'*2,7.*5 ,. 7236'1,.1 87P('* 7. +,-.*/0 5*O*#632*.1,.5 7.O71*5 A72 16 3#,- E71A 1A* Y23A76. j./*24#* 68&*'L*#*- :@('17/F A,'3/7)A6'5F l6.,#5 j'7)L/6.F 4,D'6`(* O76#7.F U,'- @-'F P,24,F M',.)*/), +6E* ,.5T*/#7* l*1,##7)L /63',.6/> ,.5 *,'#- '*)6'57.P/ 68M'*.)A &,'6`(* 63*',/ 4- l,2*,($ @('17/ ,#/6 O7/71*5+,-.*/ 7. +6##,.5F ,.5 16P*1A*' 1A*- O7/71*5 U,'17.WL6E'6.*L0/ E6'L/A63 7. &'*2*.$ ?A*'*F 86' 1A* 87'/1172*F &'()* 3#,-*5 , &,'6`(* '*)6'5*' )637*5 ,81*'1A* 6'7P7.,# 2*,/('*2*.1/F 7$*$ ,1 &,'6`(* 371)A_

It quite literally blew my mindI had never played an

instrument like that. And he quickly came to the conclu-sion that he was no longer satisfied with the modernrecorder. Low pitch became a passion, and he immedi-ately sought out instruments. It was this experience thatled to making his own oboes. Since making, he ex-plained to a couple of years later, is to me an extension

of playing, I make the instruments I like to play. 2

Now it passes on and I begin to lose it, he said presently.O Mole! the beauty of it! The merry bubble and joy, thethin, clear, happy call of the distant piping! Such music Inever dreamed of, and the call in it is stronger even than themusic is sweet! Rapt, transported, trembling, Rat was possessed in all his

senses by this new divine thing that caught up his helplesssoul and swung and dandled it, a powerless but happy infantin a strong sustaining grasp.

Y81*' 4*7.P ,E,'5*5 , G 6(1 68 %H 86' A7/ '*)6'5*'*],2 7. Y2/1*'5,2 7. %G=;F A7/ 1*,)A*' '*)62D2*.5*5 1A,1 A* 1',7. 7. 7./1'(2*.1 4(7#57.P E71A M'7*D5'7)A O6. +(*.* 7. &6/16.$ ". &'qPP*.0/ E6'5/F 1A7/C*'2,. '*#6),1*5 7. &6/16. E,/ a1A* 6.#- Y2*'7),.'*)6'5*' 3#,-*' EA6 A,/ '*,##- 1,L*. 1A* (126/1 )6.D/*`(*.)*/ 68 A7/16'- 4- 3#,-7.P 6. A7/16'7),# 7./1'(D2*.1/$0 k6. +(*.* '*2*24*'/ A*,1*5 57/)(//76./E71A +,-.*/ ,46(1 371)A$ R3 16 1A,1 172*F 1A* E6'LD/A63 A,5 3'65()*5 265*'.D371)A '*)6'5*'/ 4(1F

4,/*5 6. A7/ &'*2*. *373A,.-F &'()* 7./7/1*5 1A*-/1,'1 16 3'65()* 8,71A8(# '*3#7),/ ,1 1A* 6'7P7.,# 371)A#*O*#$ ". %G=I 1A*- 3'65()*5 1A*7' 87'/1 9*..*' '*D)6'5*' ,1 S%


6/27

6

Y'6(.5 8781- 646*/ E*'* 2,5*F 4(1 26/1 68 EA7)A/**2 16 A,O* O,.7/A*5 E71A6(1 , 1',)*$

&'()* #7O*5 7. &6/16. E71A A7/ A7PAD/)A66# /E**1DA*,'1 [6,. K,'1'75P* :%GS EA62 A* A,5 2,''7*5 7.%G=I$ [6,. E,/ , 3611*' ,.5 ),2* 8'62 , 8,27#- 688,26(/ @,#786'.7,. 3A616P',3A*'/ 7.)#(57.P A*' 8,1A*'l6.5,# K,'1'75P* EA6 A,5 4**. Y./*# Y5,2/0 ,//7/D1,.1 7. 1A* %GNH/$ ?A* )6(3#* 36/*5 86' , /*'7*/ 683A616/ 86' aY 9,- 7. 1A* #78* 68 +,-.*/ ,.5 K,'1'75P*F0,.5 l6.5,# ,#/6 166L 3(4#7)71- /A61/ 86' &'()*$

". &6/16.F &'()* ,#/6 2,5* 1A* ,)`(,7.1,.)* 68j(P*.* U,'1*.*-F ,. ,2,1*(' 6467/1 EA6 A,5 2,5* ,/2,## .(24*' 68 )637*/ 68 @#,//7),# 646*/F 7.)#(57.P+,7#3*'7.0/ U7#A6(/*$ +7/ )A67)* 68 #,1*' 7./1'(2*.1/E,/ 3'64,4#- 2617O,1*5 4- 1A* .**5 16 3#,- ,1 SSH +h$U,'1*.*- 56*/ .61 /**2 16 A,O* 4**. ,. *]3*'7*.)*5'**5 2,L*'F ,.5 A,5 &'()* 2,L* /62* 86' A72$ ?A*/*E*'* /17## *]3*'72*.1,# -*,'/F ,.5 EA7#* 1A*'* E*'*6'7P7.,# 646*/ ,O,7#,4#* 7. 1A* U(/*(2 68 M7.* Y'1/ 86'U,'1*.*- ,.5 +,-.*/ 16 2*,/('*F 1A* 6'7P7.,# '**5/

A,5 #6.P /7.)* 57/,33*,'*5$ W6 O7,4#* '**5/ A,5 16 4*2,5* 4*86'* 1,L7.P 1A* 87'/1 /1*3/ 68 P*117.P 1A* 6'7P7D.,#/ ,.5 )637*/ 16 3#,-$ Y/ ,. 6467/1F &'()* 166L 265D*'. '**5/ ,/ , /1,'17.P 367.1$ ?A7/ E,/F .,1(',##-F 6.#-3,'17,##- /())*//8(#$ f71A 1A* E'6.P 1-3* 68 '**5F 1A*6'7P7.,#/ 575 .61 8(.)176. )6''*)1#- ,.5 /6(.5*5 ,1 1A*E'6.P 371)A$ "1 E,/ /62* 172* 4*86'* A* 166L 1A*3#(.P* 16 )'*,1* 1A* 4'6,5 '**5/ 6. )(/162D2,5*/1,3#*/ 1A,1 E* .6E L.6EF 1A,.L/ 16 A7/ 723*)),4#*'*/*,')A 7/ )#6/*' 16 EA,1 *7PA1**.1AD)*.1('- 3#,-*'/(/*5$

"##$ I +,-.*/0 /L*1)A 68 '**5 (/*5 86' *]3*'72*.1/ ,11A* UMY$

Y/ A* )6.17.(*5 *]3*'72*.17.PF &'()* )6.17.(*516 3*'86'2 6. A7/ Kq)A.*' 4,'6`(* 646* ,.5 @66#/2,'*)6'5*'$ +* P,O* , '*)71,# 68 2(/7) 4- @6'*11*FU,',7/F KA7#756' ,.5 l,2*,( ,1 1A* "/,4*##, W1*E,'1C,'5.*' U(/*(2 7. %G=I E71A Y#*],.5*' W7#47P*' 6. ,A,'3/7)A6'5 4- 1A* &6/16. 2,L*'F f7##7,2 96E5 ,81*',. 6'7P7.,# 4- ?,/L7.F ,.5 C7,. T-2,. 6. O76#, 5,P,24,$ Y A7PA#7PA1 68 A7/ &6/16. 3*'765 E,/ A7/ 7.DO6#O*2*.1 E71A 1A* B',7.7/ j./*24#* :86(.5*5 4-'*)6'5*' 3#,-*' &*'.,'5 B',7.7/ ,.5 A,'3/7)A6'57/1 j'7)T*4*'> 7. ,. *)#*)17) 3A*.62*.6. ),##*5 ?A* j#*)1'7)

@7')(/$ Y5O*'17/*5 ,/ a1A* (#172,1* #*P,# *.1*'1,7.2*.1*]3*'7*.)*dF0 ?A* j#*)1'7) @7')(/ 16('*5 , aU*57,DU*#** 68 3'6b*)16'/F 3*'86'2*'/F )623(1*'/F ,.5 3*'D86'27.P ,'1/ 8*,1('7.P 2*57*O,# 2(/7)F '6)L 2(/7)F*#*)1'6.7) O74',176./F 6'7P7.,# 5,.)* )A6'*6P',3A7*/F87#2/F #6O*F ,.5 #7PA1/$0 ?A* 8(.L- *5P7.*// 68 1A* j#*)D1'7) @7')(/ b7O*5 E71A 1A* 3/-)A*5*#7) 26O*2*.1 EA7)AE,/ 7. 8(## /E7.PF ,.5 E,/ /62*1A7.P 68 ,. Y2*'7),.)6(.1*'3,'1 16 1A* &'717/A P'6(3 K7.L M#6-5 1A,1F b(/16.* -*,' 3'76'F A,5 '*#*,/*5 1A*7' 87'/1 ,#4(2^B*'+9 ?.

./+


7/27

7

"##$ %H K,(#A,A. )637*/ 4- &+F )$ %G;H$

,33#7),176. E,/ (./())*//8(#F 1A* .*]1 -*,' A* E,//17## ,4#* 16 (.5*'1,L* , 26.(2*.1,# 16(' 68 j('63*,.)6##*)176./F *],27.7.PF 2*,/('7.P ,.5 3#,-7.P ,46(1;H 6'7P7.,# 646*/F %N 646*/ 50,26'*F J< 1*.6' 646*/F S26'* 68 *])*3176.,# /7h*/F S 9*(1/)A* W)A,#2*7*.F %I)#,'7.*1/F G 2(/*11*/F %% 1'*4#* '*)6'5*'/F = O67)*8#(1*/ ,.5 %S 61A*' 1-3*/ 68 '*)6'5*'/ 7. ?A* +,P(*F&'(//*#/F K,'7/F X('*24('PF W,#h4('P ,.5 k7*..,$ M*E4*86'* A72 6' /7.)* A,O* (.5*'1,L*. /()A ,. *]1*.D/7O* /('O*-$ Y1 1A,1 172*F 71 E,/ /17## '*#,17O*#- *,/- 16

P*1 ,))*// 16 1A*/* ','* 7./1'(2*.1/$ ?A* 7.86'2,176.A* )6##*)1*5 E6(#5 4* 7.O,#(,4#* .61 6.#- 86' A7/ 7.D/1'(2*.1 4(7#57.PF 4(1 86' 8(1('* '*/*,')A 7. 1A* A7/D16'- 68 371)A ,.5 1,]6.62- 68 646* 1-3*/$ +7/ (#17D2,1* )A67)* 8*## 6. ,. 646* 4- [,)64 9*..*' 7. X('D*24('P$ +7/ 2(/*(2 .61*/ 3'6O75* , O7O75 37)1('* 681A* *]3*'7*.)* 68 1'-7.P 6(1 1A'** 9*..*' 646*/$ Y/ 78A* )6(#5.01 4*#7*O* 1A,1 A* A,5 86(.5 A7/ +6#- C',7#F A*'*1('.*5 , /*)6.5 5,- 16 )6.87'2 A7/ 64/*'O,176./$

MIR371: This and the two following similar (usesame reed and wrapping.) Best oboe of trip so far. F#123 56 full 6 too low (add key?). Beautiful open sound.A joy to play. F# fine with 123 56. (All cross-fingeringsexcellent.) ! low, reed exp. 74.2 or 76. With this staple

g wants to drop. High notes like Paulhahn. This onenoticeably better than next two, on all reeds, in response,tone, feel. Also possibly even lower than ! tone low.Works well with any kind of reed; a sure model. Con-firmed next day.

MIR370: Heavier and redder box[wood] than oth-ers. Slightly higher than Bb=440 (?as above). Reed exp.73.1. Tone brighter than above. Lower notes speakbeautifully; higher have to be forced out (try to drop).Works better with another (red) reed. Using orange reed(soft) much improvement when shortened from 74.1 to

72.2. Easier blowing than 371. Next day no problemswith high register; pitch same as 371. Good low f# cross.Soft sound. Almost as good as 371.

MI89: Unsigned, but plays like the two above, turnedalmost identically to 371, and has same keys. Consider-able resistance in notes around d and e (right hand).Lower notes do not play, but overblow. Nice tone. Cross

fingerings good except for b-flat, which needs some ofthe RH. Reed exp. 74.3; pitch b=440, or (almost) awhole tone low. This with different reeds and staples.

Pitch confirmed next day.

K,(# +,7#3*'7. '*),##*5 &'()*0/ O7/71 ,.5 86##6ED(3_

When Bruce made a tour of European museums in 1971,he visited me in Sagberg, in the Wienerwald west of Vi-enna. We talked about the location of important oboesand about our early experience with the practical acous-tics of these old instruments.

Our next meeting later that year was memorable.Jrg Schaeftlein and I were on tour with Concentus Mu-sicus across the States, and we visited Bruces countryhouse in California. The weather was warm and mild,

the garden copious. It seemed such a fitting setting forBruce. He was working on his first series of Paulhahnoboes. They augured well for a future as an instrumentmaker.

We continued corresponding on oboes and whatmade them play. As his interests became more directedtoward musicology he would discuss pitch levels and theoboes appropriate for early works of Bach. It was in thiscontext that he suggested I copy an oboe at 392 Hz (lowFrench pitch, as we then imagined it). And with his ac-customed generosity he arrived one year at Christmaswith his original Naust oboe. He left the Naust with meso that I could get an unhurried impression of the in-strument and its playing qualities. How characteristic ofBruces generosity! Later we met in London to make aside-by-side comparison of the Naust and my copy. Itwas revealing, both of his intense interest and exactitude,and of the near impossibility of producing a moderncopy.

Bruce gave so much to the world of historic perform-ance practice, that it is hard to imagine that there is any-thing left to give back to him. I imagine he would bepleased if the word hautboy would come into generalusage. I regret so much that I myself haven't been able todo him this favor. When we met in 1969 the baroqueoboe was my chosen instrument and it still is. Habits canweigh heavily. But the world is always in motion, drivenon by the likes of Bruce Haynes, and maybe the nextgeneration will live on happily with the hautboy.

+,-.*/0 '*57/)6O*'- 68 1A* 646*0/ 4,'6`(* ,.)*/D16' ,.5 71/ 3#,-7.P 1*)A.7`(* #*5 A72 16 '*O*'/* 1A*265*'. A,471 68 #66L7.P 4,)L 8'62 1A* @6./*'O,167'*646* 16 /**7.P , 86'E,'5/ *O6#(176. 8'62 71/ 3'*)('D/6'/ ,.5 86' 1A7/ 3('36/* '*D7.1'65()*5 1A* 1*'2aA,(146-0 7. '*)6P.7176. 68 1A* 57/17.)1 5788*'*.)*/4*1E**. 3'*D.7.*1**.1AD)*.1('- 646*/ ,.5 1A* 3'*D/*.1D5,- 7./1'(2*.1$ W6 A,(146- 7/ 16 646* EA,1 7/86'1*37,.6 16 37,.6F ,.5 1',O*'/6 16 8#(1* 6' 5(#)7,. 7/16 4,//66.$


8/27

8

"##$ %% 9*..*' )63- 7. 7O6'- 4- &+$

Y))6'57.P 16 W(/7* X,33*'F &'()* 2,5* , 161,# 68J< 646*/$ +7/ 5*)7/76. 16 ,5631 1A* 9*..*' U"lN;%E,/ 5*)7/7O*F ,.5 /*1 , /1,.5,'5 86##6E*5 4- 2,.-61A*'/$ +* 3#,-*5 A7/ 6E. 9*..*' )63- 1A'6(PA 1A*a;H/F ,.5 ,81*' A* P,O* (3 A7/ 6E. E6'L/A63F A* )6#D#,46',1*5 E71A O6. +(*.* 6. 9*..*'/ 4- )623#*17.P1A* (.5*')(117.P ,.5 1(.7.P 6. 1A* E6'L/A63D1('.*5,.5 D46'*5 646*/$ ?A*/* E*'* 46(PA1 4- Y2*'7),.

)#7*.1/ ,.5 &'()*0/ j('63*,. /1(5*.1/$%G;J 2,'L*5 , 1('.7.P 367.1$ M',./ &'qPP*. ,3D

367.1*5 &'()* 16 '*3#,)* A72 EA7#* A* E,/ 1*,)A7.P ,1+,'O,'5 ,.5 &*'L*#*-$ &'()* E,/ ,#/6 688*'*5 , )6.D1',)1 8'62 ?*#*8(.L*. 16 3,'17)73,1* 7. 1A* 87'/1 )62D3#*1* )-)#* 68 &,)A ),.1,1,/ 6. *,'#- 7./1'(2*.1/F ,.561A*' /2,##*' 3'6b*)1/ 68 #*//*'DL.6E. '*3*'167'*^*./*24#* 2(/7) 4- +611*1*''*F ,.5 @6(3*'7.F ,.56')A*/1',# 2(/7) 4- T(##-$ T78* E,/ 75-##7) 7. 1A* &*'DL*#*- +7##/F 4(1 [6,.0/ ,.5 &'()*0/ A,.5D16D26(1A /(4D/7/1*.)* *]7/1*.)* 575 .61 4'7.P 7. *.6(PA 86' /,O7.PF/6 1A*- A,5 16 /)',24#* 16 87.5 8(.5/ 86' ,7'8,'*/ 16j('63*$ &'()* 3'76'717h*5 646* 4(7#57.P ,.5 A,5 16,36#6P*17),##- '*.*P* 6. ,. 688*' 16 '*/16'* ,. ,.D17`(* 2(/*11* 86' U(/*(2 68 M7.* Y'1/ 7. &6/16.$

Y/L*5 EA- A* 5*)75*5 16 ,'',.P* 86' +,-.*/ 16'*3#,)* A72 7. %G;JF &'qPP*. '*/36.5*5_

I find Bruce to be the proper figure to appear at theDutch scene, being a good combination of Baroque oboeand recorder, and also, if I am going to America [toserve as Erasmus Professor at Harvard, and Regentslecturer at UCBerkeley] it seems sensible that an

American comes to Holland by way of exchange. Also, itis good for Dutchmen to be confronted with a foreigner.Dutch people tend to be a bit bourgeois sometimes, to bea bit narrow-minded, especially those gifted people whoare aiming to become great instrumentalists; so it is goodthat they are treated once by someone who treats themin a different way, with a different approach and in an-other language. Bruce has a very particular, a very clearway to me to see things stylistically, historically, techni-cally. Also, partly because he is an oboe playerthatbrings a new flavor to it. He is extremely gifted. I thinkhis place in American recorder life is quite considerable.I consider him one of the very best American recorderplayers.3

". ,557176. 16 1*,)A7.P , #,'P* /1(576 68 '*)6'5*'3#,-*'/F &'()* *24,'L*5 6. /*'76(/ /1(5- 68 1A* 4,D'6`(* 646*$ Y.. U6'P,.F E756E 68 1A* '*.6E.*5Y(/1',#7,. '*)6'5*' 4(7#5*'F M'*5 U6'P,.F '*2*24*'/_

Dear Bruce! I hardly knew him really, except of coursehe was the bloke who insisted on writing something seri-

ous for the Fred Book.4 My first realisation that he ex-

isted was when Fred came back from Holland one timewhen Bruce was living in Frans Bruggens house. Fredhad a recording of him practising. I know that there arelots of good baroque players now, but this was suchsweetly nuanced playing and his character shonethrough. And then he was around when we lived in Hol-land. You would meet him on the street, and he had that

wonderful gift of making you feel that he really wanted tosee you particularly. Serious, but never off-putting. So

warm.

"1 E,/ .61 #6.P 4*86'* &'()* 5*O*#63*5 (126/13'687)7*.)- ,.5 A* E,/ , #*,57.P 87P('* 7. 1A* O71,#9(1)A j,'#- U(/7) /)*.*$ +7/ 57/17.)17O* 3#,-7.P 4*D),2* , L*- 8*,1('* 68 ,## 1A* #*,57.P &,'6`(* *./*2D4#*/$ U,] O6. jP26.5F 1A* 57/17.P(7/A*5 9(1)A 4,'7D16.* E,/ A7/ )6##*,P(* 6. 26'* 1A,. 6.* 6)),/76..61*5_

If there is any place besides North America, whereBruce'sAbschied caused a shock, it is The Low Countries.Amsterdam was his home for many creative years. Hisfriends there were numerous and faithful. The world has

lost a unique person and artist.


9/27

9

"##$ %J @,#786'.7, 3A616/A661F &+ E71A M',./ &'qPP*. 4- l6.5,# K,'1'75P*F %G;J$

M*##6E &,'6`(* 6467/1F B( j447.P* E,/ 6.* 68&'()*0/ )#6/*/1 )6##*,P(*/ 7. +6##,.5$ ?A*- /1(57*5 ,11A* /,2* 172*F ,.5 *.5*5 (3 E6'L7.P )#6/*#- 16P*1A*'

7. )6(.1#*// )6.)*'1/ ,.5 '*)6'57.P/$It is not difficult for me to recall my times with Bruce; thememories are still very sharp in my mind. The first con-tact with him was in the mid 1960s when he phoned meto tell me that he was living in the Netherlands andstudying recorder with Frans Brggen and playing thebaroque oboe. My situation was the same: I was a stu-dent at the Royal Conservatory in The Hague on oboeand recorder, and also studied recorder with Frans. Heknew that I already played with the Leonhardt Consortand wanted to introduce himself. In those days in theNetherlands it was unusual to present yourself like that,so I mistrusted him. I talked with Brggen, and he con-vinced me that Bruce was the best possible colleague Icould wish. And I soon discovered that he was right.

From then on, Bruce and I played many, many con-certs and recordings with the Leonhardt Consort, Mu-sica Antiqua Amsterdam, directed by Ton Koopman, LaPetite Bande (Sigiswald Kuijken), Frans Brggens Or-chestra of the 18th Century, and the Philidor Ensemble.In the Leonhard Consort, Before Bruce arrived in Hol-land, Jurg Schaeftlein came to record Bach with us. Thefirst disc of the complete Bach cantatas we played ontogether was vol. 9. This was in 1973 or 4, and the discswere released the next year. We were very much experi-menting as we went along, real pioneer work. The resultswe were headed towards were not always clear. I re-member one time during a recording session GustavLeonhardt remarked: When you think everything goeswell, it IS already wrong.

As I can remember, we never had a disagreement.We were very happy with each others playing, althoughwe knew that our ways were very different, but one thingwas that we both loved Chinese food.

In particularly I was always impressed by the wayBruce played French music. He was, for instance, one ofthe first to discover the ornament flattementand he used itin his playing. This was a completely new sound. Healso was very much aware of ingalit and used it inFrench music in a superb way: not as a rhythm but as a

result of the inequality of his tonguing that made theeffect.

At that time, the oboe players in La Petite Bandewere Bruce, Paul Dombrecht, Piet Dhont and myself.We had fantastic times together. Bruce knew everythingabout the history of the oboe, Paul was the most virtu-osic, Piet knew everything about staples and I playedwith too much vibrato (emotion).

"##$ %N U*24*'/ 68 1A* KA7#756' j./*24#*_ &+F l7),'56B,.b7F ,.5 B( j447.P*$

The most personal contacts we had in the PhilidorEnsemble. There was also our car accident. Bruce wasliving in Dedemsvaart, near my home, so we trav-eled back together after concerts in my car. We wereboth very glad that we survived the accident. Bruce asalways very cool, just asked me: Ku, are you OK? Thatwas the way he was. Always calm. I would already beworried about the concert for the hour before, but Bruce

would arrive five minutes before and decide on stagewhich reed he would use. That would have been anightmare for me I learned a lot since then. Bruce wasa great musician and a great scientist. As Sieuwert Ver-ster, the Dutch sound engineer and manager of the Or-chestra of the Eighteenth-century, said:

For those who have never met him:You have missed something.For those who knew him:We will miss him!

How very true these words are!


10/27

10

"##$ %S &'()* E71A [6,. 6. 1A*7' 8,'2$

+,-.*/0 9*..*' )63-F 4(7#1 7. %G;J E,/ A7/ '*P(#,'646*F 4(1 A7/ 5*),5* 7. 1A* T6E @6(.1'7*/ E,/ ,#/6 ,172* 68 *]3*'72*.1,176. E71A 5788*'*.1 265*#/$Y'6(.5 %G;I A* 4*P,. 3#,-7.P , )63- 68 ,. 646* 4-W1,.*/4- [' :.7)LD.,2*5 T6#71,> 4- ?6/A7 +,/*P,E,$?A7/ E,/ 265*#*5 ,81*' ,. 646* &'()* A,5 #6,.*58'62 1A* &,1* @6##*)176. :\]86'5> 7. %G;NF ,.5 E,/ 1A*646* A* (/*5 86' A7/ 8,26(/ '*)6'57.P 68 )6.)*'16/4- k7O,#57F K#,117 ,.5 U,')*##6$ ". Y3'7# 68 %GIJ A* 166L

5*#7O*'- 68 , 9*..*' )63- 4- ?6/A7 1A,1 E6(#5 '*3#,)*A7/ 6E.$ +* '*)6'5*5 6. 1A,1 646* 86' 1A* 87'/1 172* 7.

1A* ?*#*8(.L*. &,)A @,.1,1, )-)#* 1A* 86##6E7.P -*,'$5

%GIN A* E,/ 1'-7.P 6(1 , W1,.*/4- W' 265*# 4- 1A*M'*.)A 4(7#5*' \#7O7*' @611*1$

&'()*0/ 5*1*'27.,176. 16 */1,4#7/A S%< ,.5 NGJ371)A #*O*#/ ,.5 1'- 6(1 , O,'7*1- 68 5788*'*.1 646*5*/7P./ '*/(#1*5 7. 7.1*./* '**5 '*/*,')A$ &- %G;G A*A,5 ,4,.56.*5 265*'. /1,3#*/ ,.5 .,''6E '**5/ ,.5E,/ ,4#* 16 7/6#,1* 1A* ,)6(/17) 3'63*'17*/ 68 '**5/,.5 /1,3#*/ 16 3'6O75* , /-/1*2,17) /1(5-$

6

"##$ %< l**5 4#,5* 8'62 +,-.*/F )$ %G;G :)6('1*/- [,.W16)L7P1>$

W62* 172* #,1*' &'()* ,)`(7'*5 ,.61A*' 6'7P7.,#_,. 646* 3('36'17.P 16 4* 4- 9*..*' 8'62 M'7*5'7)AO6. +(*.*$ \.#- 1A* 163 ,.5 4*## E*'* /1,23*5 4- 1A**7PA1**.1AD)*.1('- 2,L*'F ,.5 1A* 2755#* b67.1 2,-

A,O* 4**. , #,1*' ,11*231 16 )6./1'()1 , 3#,-,4#*646* 8'62 1A*/* 1E6 37*)*/$ &'()* )6227//76.*5Y2*'7),. A,(146- 2,L*' ,.5 #6.PD172* 8'7*.5F W,.59,#16. 16 )6.87P('* 1E6 646*/ 8'62 1A* ,(1A*.17)/*)176./$

"##$ %= +,-.*/ E71A aT6#71,0 4- ?6/A7 +,/*P,E,F )$ %G;I$

9('7.P 1A* a;H/ +,-.*/ /17## 2,7.1,7.*5 )6.1,)1/ 7.1A* W1,1*/$ [(/1 1E6 -*,'/ ,81*' 26O7.P 4,)L 16 +6#D#,.5F A* 3#,-*5 E71A 1A* Y.. Y'46'i4,/*5 4,'6`(*6')A*/1', Y'/ U(/7),$ ?A* 3'6P',2 3'*/*.1*5 1E6)6.)*'16/_ ,. 6#5 8,O6'71*F 1A* U,')*##6F ,.5 [$W$ &,)A)6.)*'16 7. Y 2,b6' 86' 646* 50,26'* ,.5 /1'7.P/$ YP#6E7.P '*O7*E ,33*,'*5 7. 3/+ @*#/*D?" >?*%$ '7PA1,#6.P/75* 1A* ,..6(.)*2*.1 68 1A* &*,1#*/0 87'/1 RW)6.)*'1 7. @,'.*P7* +,##$ +6E 2,.- 6467/1/ ),. 46,/1, 3'*// 47##7.P #7L* 1A,1r

"##$ %; M'62 3/+ @*#/*D?" >?*%$F M*4$ %JF %G;S$


11/27

11

?A* a;H/ E,/ , P6#5*. *', 86' '*)6'57.P$ @623,D.7*/ A,5 /7P.787),.1 4(5P*1/ ,.5F #7L* 1A* 2(/7)7,./FE*'* *,P*' 16 /3*.5 71 6. 3(/A7.P 1A* 46(.5,'7*/ 68L.6E. '*3*'167'*$ &'()*0/ 87'/1 57/)/ E71A T*6.A,'51,.5 &'qPP*. 4'6(PA1 A7/ /1-#* 16 #7/1*.*'/ ,'6(.5 1A*E6'#5F ,.5 /66. ?A* +,P(* E,/ , U*)), 86' 7.1*'.,D176.,# /1(5*.1/ *,P*' 16 57/)6O*' 1A7/ .*E E,- 68 3#,-D

7.P 2(/7) 6. ,. 6#5 646*$ "1 E,/ 3,'17)(#,'#- [,3,.*/*3#,-*'/ EA6 E*'* ,11',)1*5 16 &'()*0/ '*O6#(176.,'-,33'6,)A 16 4,'6`(* ,.5 )#,//7),# 2(/7)^,. 7.1*'*/1D7.P 688D/37. 68 1A* ,11',)176. 1A,1F 7. 1A*7' A*,5- '(/A16 *)6.627) ,88#(*.)* 7. 1A* a=H/ ,.5 a;H/F 2,.-[,3,.*/* 8*#1 16 *#717/1 j('63*,. )(#1('*$ ?,L, B71,h,16'*36'1/ 6. 1A* '7P6'6(/ 5*2,.5/ &'()* 3#,)*5 6. A7//1(5*.1/ 7. 6'5*' 16 ,)A7*O* 1A* 1*)A.7),# )622,.5'*`(7'*5 16 1,L* 1A* 7.1*'3'*1,17O* '7/L/ *.)6(',P*54- 1A* 9(1)A *,'#- 2(/7) /1-#*V A7/ '*36'1 ,#/6 16()A*/6. 1A* 4'*,51A 68 )(#1(',# *]3*'7*.)*/ 1A,1 &'()*63*.*5 (3 16 A7/ /1(5*.1/$

The first time I heard Bruce was his recording ofHotteterres Suite in C. I was deeply moved, even shockedand, based on that experience, I decided to apply tostudy under him at the Royal Conservatory in TheHague. The only way for me to apply was to prepare amodern oboe entrance exam, but I really wanted tostudy baroque oboe instead because of this recording.

Lessons with Bruce comprised mostly technical stud-ies, duets and then 5-10 minutes musical study. He be-lieved scales and etudes were fundamental to masteringthe instrument and I have come to realize how true thatis. We had to play scales from C major up to four sharpsand flats accurately with the metronome and tuningmeter. We used a fingering program devised by the fluteplayer Ricardo Kanji as well as Bruce Haynes fingeringaccuracy program. We had to repeat these short exer-

cises as follows:8 x A, 8 x B , 8 x A , 8 x B = 32 times

Also each lesson Bruce also had us play one majorand one minor etude from J. Sellners Theortisch-PraktischeOboen Schule, 1825). For Duets we used F. J. GarniersMthode raisone pour l e hautboisc. 1798-1800.

Oboe Band. We had to memorize the pieces and

march as we played with Bruce. We played French musicfrom the collection compiled by Philidor, the famousmusic librarian to Louis XIV.

As well as practical instruction, there was a readingclass. All baroque oboists, violin players, traverso players,and harpsichordists had to read and discuss various 18th-century treatises by Quantz, Muffat, C.P.E .Bach.Quantz Essai dune mthode pour apprendre jouer de la FluteTraversire (Berlin, 1752) became our bible.

In the late 70s and early 80s, The Hague Conservatoryhad the UM performance diploma (Uitvoerend Musicus)(46 years) and the DM teaching diploma (Docent Mu-sicus) (4 years). There was also a two-year certificate forpostgraduate study. Many students came for the certifi-cate and others who studied baroque oboe alongsidemodern, but there were only four full-time baroque oboe

students who completed the UM diploma under BruceHaynes. These were:1. Douglas Steinkefirst student to finish baroque oboestudies, former 2nd oboist of Bruggens Orchestra of the18thcentury.2. Toshi Hasegawaactive baroque and classical oboemaker. He and Bruce visited the Gemeentemuseumtogether to measure original instruments and made theinstruments together.3. Jan Grimbergenoboe maker and player now activein Spain.4. Taka Kitazatooboist with Collegium VocaleGhent, Orchestre des Champs-Elyses.

Other wellknown oboists who worked with Bruce,but finished their studies with Ku Ebbinge, Bruces suc-

cessor at The Hague Conservatory, were Frank de Bru-ine (now baroque oboe teacher in The Hague) and Al-fredo Bernardini (oboe teacher in Amsterdam and Barce-lona), Geoffrey Burgess (living dictionary of historicaloboe, musicologist).

Bruce had a very close relationship with his Japanesestudents, particularly Masashi Honma who, as well asbeing the former first oboe in the Tokyo MetropolitanOrchestra, was a pioneer of the baroque oboe in Japan.Masashi played very similarly to Bruce. Two other Japa-nese players who studied with Bruce in Holland wereWataru Ohshima, of the Osaka Symphony Orchestraand Kazumi Maki, of the Kyoto Symphony Orchestra.Kazumi and Bruce enjoyed smoking pipes together.Sadly Kazumi died of lung cancer.

Looking back, I deeply appreciated all that I learnedfrom Bruce. If you make a pinprick in a big newspaper,and try to look through it from far away, you wont seeanything through it, but as you get closer, you graduallysee everything through that tiny hole. In the context ofEuropean history, art and so forth, the baroque oboeoccupies a tiny place and so is like this pinhole. But asyou understand baroque oboe more deeply, you come tosee all European culture and history through that lens. Ihave studied baroque oboe for more than thirty yearsand have learned so much about European culture, his-tory, painting, architecture, Greek and Roman history,etc. For me, this is the most important gift that I receivedfrom Bruce. He opened up so many subjects to mesubjects that I am still studying and enjoying. Thank

you, Bruce.

&'()* */1,4#7/A*5 3,'17)(#,'#- )#6/* 17*/ E71A [,3,D.*/* 2(/7)7,./F ,.5 1A7/ 8**5 6. A7/ #78*#6.P 7.1*'*/1 7.[,3,.*/* )(#1('*$ ". %GII U,/,/A7 +6.2, A*#3*5 /*1(3 , /*'7*/ 68 #*)1('*/ ,1 1A* ?6A6 U(/7) W)A66#$ \.1A,1 87'/1 O7/71 16 [,3,.F &'()* ,#/6 aA(.P 6(1 ,1 O,'76(/&(55A7/1 1*23#*/F0 ,.5 /A6'1#- ,81*' '*1('.7.PF '*D8#*)1*5 1A,1 1A* 1'73d


12/27

12

succeeded in being just what I wished: a fascinating ex-perience and the fulfillment of a lifetime dream. Asidefrom a natural affinity with the Japanese spirit, one of thethings that appeal to me about the country is its integralotherness. Its an alternative approach to society thatworks at least as well as our western one (the same kindof fascination with integral otherness makes me love

science fiction and baroque music). I had not realizedthat, in order to truly experience Japan, it is necessary tophysically be there. It was with some nostalgia that Iwatched Japan slip away during our return trip. Al-ready in the plane, of course, there was little left but thetranslations of announcements. And by the time westepped out of Vancouver Airport, Japan had evapo-rated away like the morning dew.

"##$ %I K(4#7)71- 86' [,3,. 16('F %GII$

?A,1 /*./* 68 O7'1(,# '*,#71- ,.5 3'*/*.)* E,/ O*'-7236'1,.1 7. &'()*0/ 1A7.L7.P$ ?A'6(PA A7/ 3*'86'2D,.)*/ ,.5 E'717.P/F A* 2,5* (/ ,E,'* 1A,1 &,'6`(*D#,.5 7/ ,/ *]617) ,/ [,3,. 4(1F (.#7L* [,3,.F E* ),..*O*' 3A-/7),##- O7/71 &,'6`(*#,.5$ f* A,O* P(75*466L/ :1'*,17/*/F 2*1A65/F ,.5 87.P*'7.P )A,'1/>F 2*D2*.16/ :7./1'(2*.1/ ,.5 /)6'*/>F ,.5 /62* /.,3D/A61/ :2(/7),# 7)6.6P',3A-F ,.5 2,.(/)'731/> 4(1 1A*'*,#71- 68 1A* )(#1(',# 5-.,27) ,.5 1A* /16'- 68 1A*

#,.5 7/ 6.* 1A,1 E* A,O* 16 37*)* 16P*1A*' #7L* , .6O*#D7/1 EA6 87##/ 7. 4#,.L/ 4*1E**. /('O7O7.P A7/16'7),# 2,D1*'7,# 16 )'*,1* , A7/16'7),# .6O*#F 6' , /)7*.)* 87)176.E'71*' EA6 4(7#5/ , /16'- ,'6(.5 8,.1,/7*/ 68 EA,1/)7*.)* 27PA1 4*)62* 7. 1A* 8(1('*$

M',.L 5* &'(7.*F EA6 166L 6O*' 8'62 B( j447.P*,/ /())*//6' ,/ 4,'6`(* 646* 3'68*//6' ,1 1A* l6-,#@6./*'O,16'- 7. ?A* +,P(*^1A* 36/1 )'*,1*5 86'+,-.*/ 86'1- -*,'/ ,P6F /(33#*2*.1/ B71,h,160/ )62D2*.1,'- 6. &'()*0/ 1*,)A7.P$

The first time I saw Bruce was when I went to listen toDanny Bonds baroque bassoon recital. I was in my firstyear as a modern oboe student at the Royal Conserva-tory and I had heard talk that this event promised to besomething special.

The first piece on the programme was Handels triosonata for 2 oboes and continuo in g-minor and the obo-

ists were Bruce and his student Doug Steinke. I wasdeeply impressed and also elated by the entire concertand I knew there and then that what I really wanted todo was to play the baroque oboe.

When I became Bruces student it was clear from thestart that he liked to do things methodically. He ex-plained that the only way to build a good technique wasto devote time daily to technical exercises. These came inthe form of long tones, a scale-based study programmefor woodwind designed by Ricardo Kanji and, later on, acollection of particularly nasty bits from the repertoirethat Bruce had cobbled together under the name fingertwisters. At first I was reluctant to comply (or just call melazy), but Bruce had a soft-spoken insistence about thesematters that left me no choice. And of course I am much

better for it.When it came to playing music, Bruces approach

was like nothing I had encountered until then. Music hadto tell a story, and a good story too, or it was not reallymusic at all. One memory that sticks in my mind is thefirst time I brought the Telemann a-minor sonata to alesson. For baroque oboists this is one of the first piecesof really good music that we get to play. At that time Iwas using an old cigarette tin (Balkan Sobranie) for areed case. To explain what was lacking in my playing,Bruce read the text printed on the tin (Made of thefinest Yenidye tobacco. etc. etc.) to me twice, once ina rather matter-of-fact way, and then in a way that madeit sound really interesting. I had no more questions, in asimple way he had made it all clear to me.

As a teacher, apart from giving individual lessons,Bruce organised lots of classes. I remember many classeswhere we discussed Quantz, oboe band classes, in whichwe would also practice our marching skills, others onresearch, on tuning systems, how to judge a perform-ance, recording and of course reed making which alsoincluded staple making, knife sharpening, even how tomake your own reed shaper.

As a class, we took part in some of the groundworkfor the first Music for Oboe catalogue. Each of us was as-signed a volume of RISM to plough through, looking forany music that included the oboe. I also have memoriesof all of us sitting around a big table trying to makemanuscript photocopies legible by typexing out all thesmudges. And then there were the many afternoons and

evenings that we performed for each other and Brucehimself would often participate in these.

What Bruce liked about playing early music was thesense of being a pioneer. He would talk in the lesson onhow the baroque oboe gave you the opportunity to rein-vent your own playing, to start almost from scratch againand to play in a way that you really liked, without anyobligation to a tradition. When early music itself becamemainstream, with established groups and an establishedvocabulary, it was a disappointment to him.


13/27

13

I was very fortunate to meet Bruce and have lessonswith him. For me, he was the teacher who changed eve-

rything.

And hark to the wind playing in the reeds!'It's like musicfar away music, said the Mole noddingdrowsily.

So I was thinking, murmured the Rat, dreamful and lan-guid. Dance-musicthe lilting sort that runs on without astopbut with words in it, tooit passes into words andout of them againI catch them at intervalsthen it isdance-music once more, and then nothing but the reeds softthin whispering.

?A* /16'-1*##7.P *#*2*.1 1A,1 &'()* 4'6(PA1 163#,-7.P 2(/7) E,/ , /1'7L7.P 8*,1('* 68 A7/ ,*/1A*17)$?6 A72 1A* .,'',17O*^6' 'A*16'7),#^*#*2*.1 E,/ L*-16 (.#6)L7.P 1A* /*)'*1 #,.P(,P* 68 &,'6`(* 2(/7)$f*## 4*86'* 71 4*),2* 1A* 86),# 367.1 68 A7/ E'717.P/ 7.A7/ #,/1 -*,'/F &'()*0/ a2(/7)L7.P0 E,/ ,#'*,5- 3,#3,4#-7.8*)176(/$ ?6/A7 +,E*P,E, '*),##/ A6E &'()*0/ 2(/7D),# 5*)7/76./ 7.8#(*.)*5 *O*'-6.* ,'6(.5 A72$

It was in 1975 when I enrolled at the Royal Conserva-tory in The Hague. I had already heard him on record-ings, but I had absolutely no idea what he was like as aperson or as a teacher. So, naturally, I was a little anx-ious when I first met him. But the anxiety vanished assoon as we greeted each other and I was welcomed witha warm and caring fatherly smile. He spoke softly andthere was no hint of the arrogance that you often en-counter in famous people. I felt at ease with him rightaway and it was the beginning of our long relationship asmentor and student, colleagues and friends. This firstimpression of him remained true throughout his life untilhis departure.

There are certain people who change the course ofones life. Bruce was clearly one of them in my life, sinceI am still making baroque oboes after all these years.

Originally, when I was studying modern oboe in Ja-pan, I had the intention of learning to build modernoboes. But, as the modern oboe seemed very complicatedand difficult, I was somewhat taken aback by the idea ofbecoming an apprentice in a factory. So, I asked myself:why not start with a simpler looking instrument, like theBaroque oboe. In that way, I could also learn about thehistory and development of the instrument. At the time,Bruce was teaching an instrument making class togetherwith Ricardo Kanji and late Fred Morgan. It seemed aperfect way to start.

Baroque oboe and music with authentic instruments

were, at the time, quite unfamiliar to me. WheneverBruce had a concert, I went to listen. And soon I startedto find this instrument something special; so rich insound and so much more convincing to my soul. I wasamazed at the music he could bring out of such a simple,primitive looking piece of wood. I realized how differentmusic can be from the music I was familiar with. Then Iknew I had been fortunate to come to the right teacher.

Bruces influence on me grew year by year and oneday I asked myself if I still wanted to move on to making

modern oboes as I had originally planned. I decided thenthat I would stick to the Baroque oboe for a while longer,at least until I felt the time had come to move to some-thing else. And now, 35 odd years later, I am still makingBaroque oboes (I have, in the meanwhile added the Clas-sical oboe and the Romantic oboe to my repertoire). Ithas been worth studying this instrument, in spite of all

the difficulties that go with mastering it. Knowing what itis capable of, I can understand why Bach used it so oftenin his cantatas.

Through all his performances and lessons, the mostvaluable message from Bruce was that musicking is akind of storytelling. His storytelling was different fromanyone elses I knew. He may not have had the besttechnique or the most perfect intonation all the time, butit was the wayhe told his stories that made all the differ-ence because it reached deeper into the heart. And Ibelieve that this is the essence of any art form.

Naturally, the way of his telling influenced my way oftelling. Although I searched for my own individual wayof playing, sometimes our ways got mixed, and it tookme a while to find out who was telling. Then I often

found out that it was Bruces story after all... One day,when I shook hands with my favourite bass-baritoneMax van Egmond, after having played Bachs cantata 82with him, he told me that my playing reminded him ofBruce OUCH! Afterwards, when I told Bruce aboutthis, he just smiled.

Unfortunately, after Bruce moved to Canada, we didnot have much chance to see each other any more, buthe would always visit whenever he came to The Nether-lands. His last visit was just a couple of months before hisdeath and we said good-bye hoping to meet again thefollowing year, which unfortunately is no longer possible.

Deep at night, surrounded by darkness and silence, Ihave often sat on my couch, tired and frustrated from mywork, and listened to Bruces recordings like Bachs Can-

tata 82 and his Couperin Concerts Royaux. Bruces playingalways makes me feel it is worthwhile going through allthe troubles and difficulties of building oboes and givesme renewed energy for the next day. That is the kind ofmusic he produced and that still resonates in my soul.

He was truly a special artist and a wonderful humanbeing and I am very honoured to have met him and

spent time with him.

jO*' /7.)* A7/ )A7#5A665 ,.1D)6##*)17.P 5,-/F &'()*E,/ ,. ,O75 )6##*)16'F ,.5 ,/ ,. ,5(#1 57'*)1*5 1A7/ 16),1,#6P(7.P ,.- 7.86'2,176. '*#,17.P 16 1A* 646*$ +7/*]A,(/17O* 5'7O* 16 )6##*)1 7/ *]*23#787*5 7. A7/ @,1,D#6P(* 68 @A,24*' U(/7) 86' \46* :EA7)A P'*E 8'62 ,GD3,P* 1-3*/)'731 7. %G;= 16 ,. 6.D#7.* '*/6(')* E71A

%HFHHH *.1'7*/>F 1A* 7)6.6P',3A- 68 1A* 646*F 2()A 68EA7)A 7/ )6##,1*5 7. 3/+ !%&67+". 45&+ EA7)A 7/ 1A**.)-)#63*57) ,.5 )623#*1* ,//*24#,P* 68 7.86'2,D176. 6. 646*/F 6467/1/F ,.5 3#,-7.P 1*)A.7`(*/ ,.-6.*A,/ *O*' ,11*231*5$ ?A*'* E*'* 26'* /3*)7,#7h*5/1(57*/F /()A ,/ A7/16'7),# 7.86'2,176. 6. '**52,L7.Pa\46* M7.P*'7.P @A,'1/0 :%G;I>F ,. *//*.17,# 87'/1 /1*386' ,.- 3#,-*' 68 *,'#- 646* 16 (.5*'1,L*$ M6' 2,.- 681A*/* 3'6b*)1/ &'()* 5'*E A7/ /1(5*.1/ 7.16 1A* )A,/*4- 7./17##7.P 7. 1A*2 1A* *])71*2*.1 68 .*E 87.5/$ jO*'


14/27

14

6. 1A* A(.1 86' .*E /6(')*/F &'()* E6(#5 1,L* 5*#7PA17. , .*E 87.5$ Y))#,72*5 )6'.*116 3#,-*'F &'()* 97)L*-'*)6(.1/ , '*#*O,.1 7.)75*.1_

Thirty years ago I purchased the 1744 treatise of JohannDaniel Berlin on all the musical instruments, because ithas a fingering chart for cornetto. It also contains a fin-gering chart for oboe, and on my copy just above the

picture of the oboe, to the left of the word puncteret, is anorange colored blob, just visible. This is a strawberrydaiquiri stain that Bruce made while looking at the fin-gering chart in my living room in about 1985. He was soshocked at what he had done, that he quickly closed thebook to protect it, producing an identical stain on theopposite page. I remember two things about this scene.One was his enthusiasm and joy at seeing a source on theoboe that he didnt know. The other was his horror athaving damaged, however little, my book. Both weretouching. I now consider this little stain to be a badge ofhonor, like a valuable signature, by which I remember afriend, who, while I didnt see too often, was always a joyto meet. He was always questioning. What a great qual-ity and what a great man he was!

"##$ %G \46* 4,.5F k*'/,7##*/F )$ %G;F U,')j)6)A,'5F 96(P W1*7.L*F 1,7##*/_ :461A (.75*.1787*5>F4,//66./_ B( j447.P* c/7)eF J (.75*.1787*5 3#,-*'/$

". 1A* %G;H/ +,-.*/ A,5 1A* A6.6' 68 4*7.P 1A*87'/1 16 '*D7.1'65()* 1A* A,(146- 7. M',.)* 7. , /*'7*/68 )A,24*' 2(/7) )6.)*'1/ 6'P,.7h*5 4- 1A* @62D1*//* 5* @,24('*$ U7)A*# +*.'- E,/ 6.* 68 1A* 87'/1M'*.)A 6467/1/ 7./37'*5 4- &'()* 16 3#,- 4,'6`(* 646*,.5F ,#1A6(PA .*O*' 6887)7,##- *.'6##*5 ,/ , /1(5*.1 ,1?A* +,P(*F 3,'17)73,1*5 7. 2,.- 3'6b*)1/ 1A*'*$ +7/'*36'1 *23A,/7h*/ +,-.*/0 '*2,'L,4#* ,47#71- 16 *.D)6(',P* )'*,17O* 8'**562 E71A7. /1'()1('*5 ,.5 A7PA#-57/)73#7.*5 .('1('7.P$

I met Bruce Haynes towards the end of the 70s, initiallyhearing him play the oboe on a recording of the Con-certs des Gots Runis by Franois Couperin whereBruce and Pol Dombrecht played with the Kuijkenbrothers. For me, attempting to play Baroque oboe inalmost total isolation, Bruces style was a true revela-tionthe discovery of a new universe of musical sound. Icontacted him and studied with him over the course ofseveral yearsfirstly privately, then as a guest student atThe Hague Conservatory.

They were unforgettable times. In addition toBruces teaching, which on several levels broadened myhorizons enormously, I had the opportunity to meetother exceptional personalities, like Douglas Steinke(regretfully no longer with us), who played for years inBrggens Eighteenth-Century Orchestra, Toshi Hase-gawa, who went on to become one of the most important

makers of early oboes today, and Masashi Honma, for-midable oboist from Tokyo. Despite their diversity,Bruce left on each of his students an indelible stamp.Many were not content just to play the instrument andbranched out into instrument making, or musicologicalresearch. In this way, Bruce put into practice what, yearslater in The End of Early Music, he would call musicking(a term he adapted from Christopher Small). During thattime, it was like we were exploring a new continentguided by a pioneer. I recall particularly a concert in theruins of Saline royales at Arc-et-Senans, in the East of

France,7 where Bruce formed an oboe band with all of

his students (Ku Ebbinge on bassoon, and Ricardo Kanjiplaying percussion!). The concert concluded with a hot-air balloon flight: for all of us, it was the opening onto a

world of discoveries, of mobility, and of liberal freedom.And Freedom and Liberty were above all the key

elements to Bruce Haynes teaching. As teacher he wasalways open to suggestions, and discussion. Rememberthat this was back in the 60s and 70s, when so many othe taboos and prejudices aligned with authority had(provisionally) been overturned. Furthermore, Bruce toldus repeatedly that the ultimate master from whom wecould really learn, was not the professor, but the instru-ment itself. But Bruces freedom was always framed, andwent hand-in-hand with numerous exigencies: exigenciesof research, rigor and lucidity. We needed to be con-scious of what we were aiming at in each different piecewe played. Under his direction supervision, we madetubes for the oboe that practically everyone played in the

late 70sinstruments modeled after J. Denner made byFriedrich von Huene and tuned by Bruce himself. Heinsisted on an almost maniacal level of precision. Whenone of the students challenged this ideal of precision,putting forward the claim that, for lack of accurate tools,such exacting measurement was not practicable in Den-ners day, Bruce replied simply that science, research andprecision were the only means for us to come closer totraditional knowledge that, before the nineteenth-centuryindustrial revolution, was transmitted orally in the work-shops and instrumentalists families.

In short, it seems to me that systematic research, theconstant search for validating documentationin a wordthe scientific approachas a means, and freedom as anend sum up Bruces teaching. Naturally, all that would

be meaningless without recognizing before everythingelse his artistry that gave him a unique personality asoboist. Everyone who heard him, particularly live inconcert, will remember his exceptional tone production,his mastery of articulation, and his manner of command-ing and holding the audiences attention. Well before hewrote his principal book, The Eloquent Oboe, Bruce hadalready demonstrated in musical practice, just how elo-quent and speaking the oboe could be.

With Bruce Haynes passing, all of us who knew and


15/27

15

admired him are now orphans. The greatest homage wecould pay him is to continuously remain inspired by hisaudacity, his rigor, his absence of prejudice, his unyield-ing principles, his gentleness and, as much as we arecapable, his immense talent.

"##$ JH Y#8'*56 E71A &'()* ,.5 &7## f,1*'A6(/* ,1 1A*

l611*'5,2 "9lW )6.8*'*.)*F %GGF 2(/*11*/F 646*/ 50,26'* 4-\4*'#t.5*'F 646*/ 5, ),))7, ,81*' j7)A*.1638F ,.54,//66./ ,81*' ,. ,.6.-26(/ %I1AD)*.1('- 2,L*'_ ,.,247176(/ #7/1F 68 EA7)A 6.#- , 8*E P61 3,/1 1A* 3'616D1-3* /1,P*$ +* ,#/6 /16)L*5 '*)6'5*'/ 4- 1A* 9(1)A4(7#5*' @66#/2,$

j'7) +6*3'7)A E,/ 6.* 68 &'()*0/ '*)6'5*' /1(D5*.1/ EA6 1',7.*5 7. 1A* E6'L/A63 7. ?A* +,P(* ,.5F5*/371* 3('/(7.P , ),'**' 6. ,.61A*' 7./1'(2*.1F /17##'*)6P.7h*5 1A* 722*./71- 68 &'()*0/ 7.8#(*.)*$ Y /A7.D7.P *],23#* 68 &'()*0/ 7.8*)176(/ 7./37',176.F j'7) 7/ ,1'(* 376.**' 7. A7/ 6E. 87*#5$ +* 7/ .61 6.#- , 2,/1*'8(#

3*'86'2*' 6. 1A* *,'#- )#,'7.*1F 4(1 , E6'#5 ,(1A6'71-6. 1A* A7/16'- 68 A7/ 7./1'(2*.1 ,.5F #7L* &'()*F , )6.D1'74(16' 16 1A* Q,#* U(/7),# "./1'(2*.1 /*'7*/$

I think it was a moment in 1980, when Frank de Bruine,one of Bruces students at the time, said to me, Yourebecoming the Bruce Haynes of the clarinet, I realizedthat this was indeed exactly what I was aiming to do.(Perhaps one might also mix in a bit of wanting to be-come the Frans Brggen of the clarinet as wella sen-timent Bruce would have appreciated.) In Bruce Idfound the perfect role model in practically every way: wewere both from California and had come to this ratherdreary place called The Hague because it was possible todo what we wanted to do. In addition to being a wonder-

fully gifted musician, Bruce had made instruments. I toohad begun to make instruments (with his help and en-couragement), and it turned out we were both drawn tothe scholarly side of music as well. Years later, when wewere both invited to be authors of books in the Yale se-ries, this seemed to be a logical consequence, or maybeeven a culmination, of our mutual journey. His was al-ready replete with dozens of recordings, several books,many articles, a legacy of outstanding students as well asinternational respect and renown. My own journey, asever, lags quite some distance behind. We enjoyed each


16/27

16

others company by e-mail or in the occasional meeting.Sadly, our meeting this past February in Montrealturned out to be the last.

Despite the shock and the void that I think everyonewho knew him must feel, there was a marvelous, calmsteadiness and consistency in Bruce that I will never failto remember and will appreciate daily. As a companion,

he is still very much there, smiling, gently prodding withhis particular and unique style of analysis and humor. Isee him staring off across the room thinking about whatwas being said, already forming an opinion on the sub-ject at hand. That sense of openness and curiosity willcontinue to inspire for many years, and I expect it will

live on through dozens of others.

Y/ 2()A ,/ &'()* E,/ , '*O*'*5 1*,)A*'F '*D.6E.*5 86' 1A* P*.*'6/71- ,.5 ),'*8(# ,11*.176. A*3,75 16 A7/ /1(5*.1/F A* A,5 , #6O*iA,1* '*#,176./A73E71A 1*,)A7.P$ +7/ '*)'(717.P *886'1/ 86(.5 )#,//*/ 68,'6(.5 /7] /1(5*.1/F ,.5 A* /(33#*2*.1*5 A7/ /)A*5D(#* E71A '**5 )#,//*/F ,.5 /(3*'O7/76. 68 1A* @6./*'O,D16'-0/ E665E7.5 E6'L/A63$ W17##F 1A* .(24*' 68 646D

7/1/ )627.P 86' 8(##D172* /1(5- E,/ 57/,3367.17.P ,.5&'()* ,#/6 86(.5 1A* /1(5*.1/^*O*. ,1 EA,1 A,54*)62* 1A* 3'*27*' 7./171(176. 86' *,'#-D2(/7)/1(5-^.61 ,#E,-/ 68 1A* A7PA*/1 #*O*#$ +* /1'(PP#*586' /62* 172* 16 '*)6.)7#* A7/ 57O75*5 )622712*.1/16 3#,-7.PF '*/*,')A ,.5 1*,)A7.P$ Y/ ,#E,-/F A7/ '*,D/6.7.P E,/ A7PA#- 3A7#6/63A7),#$ Y'6(.5 %GIH A* A,5*.1*'*5 , 3A,/* EA*'* 71 E,/ .6 #6.P*' 68 7.1*'*/1 16A72 16 )622(.7),1* ,46(1 3#,-7.P O*'4,##-V 7./1*,5A* 3'*8*''*5 16 3(1 A7/ L.6E#*5P* 16 3',)17)*$ +**O*. E6.5*'*5 EA*1A*' A7/ /1(5*.1/ E6(#5 .61 4*4*11*' 688 E71A6(1 1A* 3/-)A6#6P7),# 5*3*.5*.)* 687./1'()176.F #*81 16 E6'L 1A7.P/ 6(1 6. 1A*7' 6E.$ &'()*2(##*5 6O*' 1A*/* '*/*'O,176./ 86' 26.1A/F 1A*. 7.

%GIJ A* 87.,##- '*/6#O*5 1A,1 A* E6(#5 '*17'* 8'62 1A*B6.7.L#7bL @6./*'O,16'- 1A* 86##6E7.P -*,'$ Y/ , '*/(#168 1A,1 5*)7/76.F " b(/1 27//*5 6(1 6. /1(5-7.P E71A&'()* 7. ?A* +,P(*F 4(1 6(' 3,1A/ )'6//*5 8'*`(*.1#-7. /(4/*`(*.1 -*,'/_ 87'/1#- ,/ , P'6(37* ,1 A7/ )6.D)*'1/F 1A*. ,/ , 3(37#F ,.5 #,1*' ,/ , )6##*,P(* 7. 3*'D86'2,.)* ,.5 '*/*,')A$

In 1983, I was granted a Dutch Government scholarshipto study with Haynes, but instead worked with his suc-cessor Ku Ebbinge. After two years there, I had a gener-ous offering of professional engagements, and I moved toLondon, but still felt the need for more lessons. Whobetter to study with than the man that I had originallysought out? So, in the Fall of 1986 I ventured over the

Channel to Ty Napper, Bruce and Susies Brittanyretreat where they were living temporarily.

Lessons with Bruce were never measured in hoursand minutes: they were always rambling dialogues thatstarted with studies and solos, duet reading, and mergedinto discussions on research dreams, future projects, andinstrument building, all flowing naturally into simple butdelicious lunches prepared by Susie. I came from anintensive two years of study in Holland, and was as-tounded that Bruce, despite the seminal role he played increating that style, was already questioning it. He chal-

lenged me to re-evaluate my vibrato, which he recog-nized as too much like my former teachers, and he rea-soned could easily become a mannerism. He demandedattention to detail, and thinking in smaller phrase unitsaround calculated climaxes. We addressed breathing as ameans of articulating phrases. He recommended takingseparate in and out breaths, and starting phrases with-

out taking in air to reduce tension and maintain accurateintonation. It was particularly the way Bruce taughtFrench music that was revelatory. In this style it is so easyto play in an emotionally detached way, but Bruce in-sisted on an honest emotional engagement. We exploredvarying the length of ports de voix to avoid sameness andalso to propel the music according to its harmonic direc-tion. He noted that tempo markings in this music oftenrefer to mood rather than speed: affetuesement, for in-stance, should not be taken too slowly to obscure its fun-damental dance character. We explored changing articu-lation patterns in Telemann Fantasies, and in Ich willbei meinem Jesu from the St Matthew Passion, we lookedat the slurs as indicators of the syllabification of the textin the singers part, and how to give the long notes more

life. In the big Bach g minor sonata, he suggested usinga question and answer formula to better understand themusical rhetoric. I must have been impetuous in myenthusiasm for this piece, but Bruce brought me back toearth. He was always even tempered and taught quietconscious self-observation as a means to overcome eventhe most challenging technical demands.

It was the most delightful time combining playing,intellectual discussions (well, at least nerdy oboe stuff!)and simply enjoying Bruce's company. He was a wonder-ful mentor to so many, and I count myself incrediblyfortunate to have come under his guidance.

He was a model not just as an oboist and scholar, butas a compassionate human. For me, his interest in Japa-nese culture manifested in his personality that resembled

a Zen master who is always equipped with a searchingquestion that he asks with poised wisdom and a mischie-vous glint in the eye.

There was always something new to discover withBruce. A true pioneer, one inevitably got the feeling thathe had already been there in so many ways. I count theperiod from about 1995-2004 when we worked togetheron the Oboe entries for Grove and MGG, and on theYale book as a real gift. We developed a discursiverhythm of writing and reading and critiquing eachothers drafts, rewriting and rereading. Bruce was alwayshonest in his criticism, and always maintined compassionand patience. There was no question that Bruce wasafter the truth of the matter, but his remarkable capacity

was to show you that the truth was never predictable.

". A7/ #,/1 -*,'/ 7. +6##,.5F M',./ &'qPP*. 7.O71*5&'()* 16 4* , 86(.57.P 2*24*' 1A* \'L*/1 O,. 5*'Y)A1**.5* j*(E :\')A*/1', 68 1A* j7PA1**.1A @*.D1('->F E71A A7/ /1(5*.1 96(P W1*7.L* 3#,-7.P /*)6.5$+,-.*/ 3#,-*5 7. )6.)*'1/ (3 16 %GIJF EA*. A* 4*P,.16 A,O* '*/*'O,176./ ,46(1 86##6E7.P A7/ 86'2*'1*,)A*'0/ O*.1('*/ 7.16 @#,//7),# '*3*'167'* E71A 1A*)6''*/36.57.P '7/* 7. 371)A ,.5 5788*'*.1 7./1'(2*.1/1A,1 1A7/ '*`(7'*5$ M6' &**1A6O*. ,.5 U6h,'1F +,-.*/


17/27

17

E,/ 3#,-7.P , C'*./*' )63- 4- A7/ /1(5*.1 96(P W1*D7.L*F 4(1 1A* 265*# E,/ .61 /1,4#*F ,.5 1A* ,'471','-5*/7P.,176. 68 @#,//7),# 371)A ,1 SNH+h E,/ E*## ,46O*EA,1 A,5 4*)62* &'()*0/ .*E 75*,#_ M'*.)A &,'6`(*371)A ,1 NGJ :, 8(## /1*3 4*#6E SSH+h>$

"##$ J% &'()* +,-.*/3#,-7.P @#,//7),# 646*

W6F 7./1*,5 68 26O7.P 16 #,1*' 646*/ 16 3#,- 26'*8,27#7,' '*3*'167'*F A* 166L 1A* #*//i)A,'1*5 '6(1* 68#6E 371)A ,.5 *,'#7*' 2(/7)$ +7/ .*E 57'*)176. E,/ O*'-

)#*,'F ,.5 1-37),# 68 A7/ P*.*'6/71-F &'()* 1('.*5 A7/5*)7/76. 16 '*17'* 8'62 1A* \')A*/1', 68 1A* j7PA1D**.1A @*.1('- 7.16 ,. ,5O,.1,P* 86' 61A*'/$ +* ,'D',.P*5 86' U,/,/A7 +6.2, ,.5 ?6/A7 +,/*P,E, 16'*3#,)* A72 7. 1A* %GIJiN /*,/6./$ WA6'1#- ,81*' B(j447.P* /1*33*5 7. ,/ 3'7.)73,# 646*$ Y#1A6(PA 1A7//7P.,#*5 ,. *.5 16 &'()*0/ )6##,46',176./ E71A 1A*8,26(/ 9(1)A '*)6'5*' 3#,-*'F &'qPP*. .*O*' #6/1 A7/'*/3*)1 86' A7/ 3'61nPn0/ ,'17/1'-$ ". , #*11*' 5,1*5 N'5Y(PF %GIGF E'61*_

Bruce: I listened to Cantata 187, recognized you imme-diately and was moved to tears. Never heard such satanicand angelic oboe playing. Also felt some father-likeproudness [sic.], may I? Bravissimo!

". %GI%F +,-.*/ *]3'*//*5 , /727#,' #,)L 68 7.1*'D*/1 7. 3#,-7.P @#,//7),# '*3*'167'* 16 T, K*171* &,.5*57'*)16' W7P7/E,#5 B(7bL*.$ a&*),(/* 1A*- ,'* 1*)A.7D),##- /6 5*2,.57.PF "02 '*#()1,.1 16 7.O*/1 1A* 172*,.5 *.*'P- .**5*5 16 #*,'. , .*E 7./1'(2*.1 86' /6#711#* 3*'/6.,# '*E,'5$08

&'()* 4*P,. /*,')A7.P 86' M'*.)AD371)A 7./1'(D2*.1/^'*)6'5*'/ 8'62 O6. +(*.* ,.5 646*/ 8'62+,''- O,/ 97,/F K,(# +,7#3*'7.F \#7O7*' @611*1F ,.5 61AD

*'/F 4(1 /*O*',# -*,'/ #,1*' , 5'*,2 ),2* 1'(*$ ". %GI;FA* A,5 1A* 6336'1(.71- 16 3(')A,/* ,. 6'7P7.,# /*O*.D1**.1AD)*.1('- M'*.)A 646*$ ?A7/ 7./1'(2*.1 4- X,(/1'*3#,)*5 , )63- 68 ,. 646* 7. 1A* @A,'#*/ &7h*- 646*7. 1A* UMY :)$%;SH> 4- U,'- B7'L3,1'7)L$ "1 E,/ 6.* 68&'()*0/ 26/1 O,#(*5 1'*,/('*/F ,.5 6.* 68 1A* 2(/17.8#(*.17,# 646*/ 7. 1A* '*/171(176. 68 M'*.)A &,'6`(*

/1-#*$ X61 6.#- E,/ ,. 646* 68 1A7/ ,P* ,.5 3'6O*D.,.)* *])*3176.,##- ','*F 1A* X,(/10/ /1,4#* )6.57176.2,5* 71 722*57,1*#- (/,4#* 7. 3*'86'2,.)*$ ". 1A*87'/1 26.1A/ 68 6E.7.P 71F &'()* 8*,1('*5 71 7. .(2*'D6(/ 3*'86'2,.)*/ 7.)#(57.PF 7. /62* 7./1,.)*/ A7/1',./)'73176. 68 &,)A0/ "1,#7,. @6.)*'16$ ?A* X,(/1P,O* +,-.*/ 1A* 7.717,17O* 16 1'- 6(1 1A* 3(hh#7.P /A6'1163D.61* 87.P*'7.P/ 86(.5 7. 1A* 6#5 87.P*'7.P )A,'1/1A,1F (3 16 1A,1 367.1F 26/1 3#,-*'/ A,5 ,O675*5 7.8,O6' 68 1A* 26/1 /1,4#* A,'26.7) 87.P*'7.P/$ ?A*X,(/1 .*)*//71,1*5 8('1A*' *]3*'72*.1,176.$ "./37'*54- U,') j)6)A,'5F A* 1'7*5 , )623#*1*#- .*E '**5/-/1*2$ ". %GI; A* E'61* 16 2* 5*/)'747.P *]3*'7D2*.1/ (/7.P , 46),# ,.5 /2,## /1,3#*D#*// '**5/ #7L*

27.7D4,//66. '**5/$

?A* *,'#- aIH/ ,#/6 2,'L*5 , E,1*'/A*5 7. A7/3*'/6.,# #78*$ +7/ 2,''7,P* E71A [6,. 4*P,. 16 5*1*'76D',1* ,.5F /66. ,81*'F A* 2*1 W(/7* X,33*'F EA6 8'621A,1 367.1 4*),2* A7/ #78*D3,'1.*'$ W(/7* ,.5 &'()*`(7)L#- 4*),2* , 2(/7),# (.71 )6##,46',17.P 7. )6.D)*'1/ 7. j('63*F 1A* W1,1*/ ,.5 7. 26'* 8,'D8#(.P3#,)*/ #7L* "/',*#G,.5 X*E m*,#,.5$

"##$ JJ W(/7* ,.5 &'()* 7. , #7PA1*' 262*.1 7. , 3A616/A661 ,'6(.5 %GIH$

Y'6(.5 1A* /,2* 172* 1A,1 &'qPP*. 86'2*5 A7/\')A*/1',F T,('*11* C6#54*'P */1,4#7/A*5 KA7#A,'26D.7, &,'6`(* 7. 1A* &,- Y'*,$ WA* A,5 L.6E. &'()*8'62 A7/ 5,-/ 3#,-7.P 7. 1A* [(.76' &,)A M*/17O,# ,.5

/A*F 166F A,5 O*.1('*5 16 Y2/1*'5,2 16 /1(5- A,'3/7D)A6'5 E71A T*6.A,'51 7. %G==$ M'62 71/ 7./17P,176. 7.%GI%F T,('*11*F &'()* ,.5 W(/7* E*'* )*.1',# 16 1A*KA7#A,'26.7,0/ ,'17/17) 57'*)176.$ &'()* 3#,-*5 2*26D',4#* 3*'86'2,.)*/ 68 [$W$ &,)A0/ f*557.P @,.1,1,&fk JHJ ,1 1A* 7.,(P(',# )6.)*'1/$ K'*/*.1 ,1 *,'#-)6.)*'1/F U,'- @,/E*## '*),##/_ a&'()* 3#,-*5 4*,(17D8(##-F E,/ E,'2F *.P,P*5F 7.8*)176(/#- *.1A(/7,/17)F,.5 " '*,##- 27//*5 A72 ,.5 W(/7* EA*. 1A*- #*81 KA7#DA,'26.7,$0


18/27

18

"##$ JN KA616 8'62 KA7#A,'26.7, &,'6`(*0/ 3(4#7)71- 86'1A* %GI= /*,/6.$ M'6.1 '6E 8'62 6(1/75*_ &+F 96(PW1*7.L*F W(/7* X,33*'F 4,//66._ l647. +6E*##V A,'3/7D)A6'5_ T,('*11* C6#54*'P$

?A* '(31('* E71A KA7#A,'26.7, 2,'L*5 , 57/1'*//D7.P 1('. 68 8,1*$ ?A7/ 6'P,.7h,176.F 7.16 EA7)A &'()*A,5 36('*5 2()A 3*'/6.,# 7.O*/12*.1F (#172,1*#-1('.*5 ,P,7./1 A72$ T*P*.5,'- A6'. 3#,-*' T6E*##C'**' '*),##/_

The passing of the great oboist and musicologist BruceHaynes strikes at the hearts of all who knew him, heardhim play, or read his superb books. I first met Bruce inSan Francisco in Philharmonia Baroque, and was imme-diately struck by the kindliness and gentleness of hisspirit. Chatting with Bruce was like knowing Moses.Somehow there was history, weight, and sensibility to histhoughts. Bruces playing was just like his speech: com-pletely natural. There was no attempt to conform toanother sound or pre-existing tone quality. As a result, itwas quite therapeutic to hear him play, even for non-oboists.

I recall Bruce in many rolesplayer, mentor, andsection leaderbut I keep returning to one aspect ofBruce's personality that really encapsulates the concept ofcollegiality. We might chat about makers, repertoire,

fingerings, treatises, etc, in mutual benefit, but I dontbelieve Ive ever met anyone more helpful or embracingthan Bruce in this regard. He always seemed to knowhow one needed to proceed to locate true north in mu-sic, and he could articulate it in terms that built up acolleague rather than putting them down. I consider hima mentor, par excellence, to all musicians, not just obo-ists.

He was dedicated to mastering the skills of his in-struments, building up ensemble skills, in order to bringthe music of past masters to life. There was a brother-

hood, or (if I may still use that term in todays world) afraternal bond between Bruce and those with whom heshared the concert platform. He always kept the bigpicture in view, sometimes abdicating for the benefit ofothers. He divided the labor in the oboes to allow bothparticipation and repose of all. I recall specifically himpassing on playing oboe in the Second Brandenberg

Concerto, so that Douglas Steinke might play it.

10

Hisgracious and thoughtful manner was manifest in everyverbal exchange heard in those early days of Philharmo-nia, and even the short-tempered were shamed intocourtesy!

We stayed in far too infrequent communication, sohis sense of loss is based on the fireside chat we neverhad, as well as the severance of past ties. I recall Bruceand Susies departure from Philharmonia Baroque Or-chestra. It was a stark reminder that those behind thescene, who give nothing to the identity of the ensemble,could ignore the charisma and soul of an ensemble andredefine it overnight, forcing it into a new formation. Asa playing member of groups, Ive never been able toaccept the fundamental wrongness of that aspect of mu-

sical life, and it has bitten me on the tuckas, as well. Noone is indispensable, except those who make no sound atall.

The Orthodox have an expression, May his memorybe eternal. The more lofty the artist, the more we as-cribe to them a demi-god stature, presuming that theywill live for centuries, if not forever. But it is only theresidual merit of their work that endures. Happy we areto have had the fruits of Bruces labors. His was a life ofmeaning and significance.

k76#7.7/1 U7)A,*# W,.5F ,.61A*' 86(.57.P 2*24*'68 KA7#A,'26.7,F ,887'2/ A6E 2()A &'()* P,O* ,/ ,3#,-*'$

Everybody who knew Bruce will probably say the same

thing: I never heard him play without learning some-thing about the music. But Id like to share one othermemory that says something about his kindness. Therewas a period when I was suffering from a sort of per-formance anxiety where I would lose my place in themusic if I ever took my eyes off the page. This happenedto me during a concert we were playing together in theJerusalem Music Center: I looked away from the musicand lost my place. Bruce knew about my problem andsaw that I was having trouble. Without skipping a beat,he jumped from his part and played a few notes ofmineenough to cue me back in. It was typical of hisperceptivity that he was immediately aware I was in diffi-culties and knew what to do about it. I was extremelygrateful to him for rescuing meI thought it a very com-

radely actionand Im still grateful now, and for theopportunity I had to know Bruce and be his colleague.

Y81*' #*,O7.P +6##,.5 ,.5 P7O7.P (3 A7/ 8,'2F &'()*,.5 W(/7* /1,'1*5 #66L7.P 86' , .*E A62* 4,/*$ W(/7*A,5 1A* (/* 68 A*' 3,'*.10/ A6(/* 6. 1A* *]A7#,',17.P)6,/1 68 &'711,.-F 4(1 71 E,/ O*'- 57/1,.1 8'62 ,.-D1A7.P_ 1A* )#6/*/1 2,b6' )*.1*'F K,'7/F E,/ /17## .6DEA*'* .*,' 1A* *,'#- 2(/7) )*.1'* 71 A,/ /7.)* 4*D)62*$ ?A*- ,#/6 A,5 , )#*,' 7.1*.176. 16 4'7.P 1A*7'


19/27

19

)A7#5'*. (3 7. , 47#7.P(,# *.O7'6.2*.1$ U6.1'n,# E,/1A* 64O76(/ )A67)* 8'62 1A7/ 367.1 68 O7*E ,.5F /71(D,1*5 A,#8 E,- 4*1E**. j('63* ,.5 @,#786'.7,F 71 E,/75*,# ,/ , 4,/* 86' 1A*7' 1',./D)6.17.*.1,# #78*/1-#*$ ".1A*7' 87'/1 -*,'/F &'()* 86(.5 A72/*#8 6.)* 26'* , 376D.**' ,.5 P(757.P #7PA1 7. , 8#*5P#7.P 4,'6`(* 2(/7)/)*.*$ ". %GIG A* '*36'1*5 1A,1 aO*'- 8*E )6.)*'1/ ,'*

A,33*.7.P$ K6//74#- /62* &,)A ),.1,1,/ .*]1 -*,' ,.51A* 655 )6.)*'1 E71A , P665 )A67'$ ?A*'* ,'* P6652(/7)7,./ A*'* :*/3*)7,##- /7.P*'/> ,.5 /62* /(336'18'62 @&@ ,.5 P6O*'.2*.1F 4(1 6.* A,/ 16 7.717,1*

*O*'-1A7.P$011

?A* 86)(/ 68 A7/ 7.1*'*/1 A,5 ,#'*,5-/A781*5 16 '*/*,')A$ Y1 1A* ,P* 68 F ,.5 7. JHHN E,/.,2*5 W*.76' M*##6E 68 1A* @,.,5, @6(.)7#$ +* A,/1,(PA1 ,/ '9&:+22+79 ?22*( ,1 U)C7## R.7O*'/71- EA*'*A* A,/ 4**. '*/36./74#* 86' 1A* K*'86'2,.)* K',)17)*

/*27.,'$ &'()* )6.17.(*5 P,O* /3*)7,# E6'L/A63/ 7.W3, :&*#P7(2> ,.5 k,.)6(O*'F '*1('.*5 16 +6##,.5 6.1A* 7.O71,176. 68 Y#8'*56 &*'.,'57.7 ,.5 A* E,/ ,#/6 ,L*- 2*24*' 68 1A* 6')A*/1', 86' 1A* &6/16. j,'#-U(/7) M*/17O,# %GGGiJHH%$

&(1 &'()* E,/ .61 6.* 16 P7O* (3 3#,-7.P /6 *,/7#-$+* E*#)62*5 7.O71,176./ 16 3,'17)73,1* 7. , E75* ',.P*68 3'6P',2/ 7. @,.,5, ,.5 1A* W1,1*/$ ". %GG< " 5,'*516 7.O71* A72 16 3#,- 1A* W1 U,11A*E K,//76. 7. l6)AD*/1*'F XQ$ f* A,5 , P'*,1 172* 1,27.P 1A* 1A'**DA*,5*5 4*,/1/ 68 646*F 646* 50,26'* ,.5 646* 5,),))7,$ WA6'1#- ,81*'F 1A* 9,-16. &,)A W6)7*1- 3*'D86'2*5 1A* /,2* E6'LF ,.5 E* ,P,7. 2,5* (3 1A*

/*)176. 68 1A* 87'/1 6')A*/1',$ ?A,1 E,/ 1A* 87'/1 68/*O*',# P7P/ 7. \A76 EA*'* " A,5 1A* P'*,1 86'1(.* 16#*,'. 26'* 68 &'()*0/ ,'1$ 9,-16. ,#/6 A6/1*5 57/)(/D/76./ 1A,1 E6(#5F 6O*' 172*F 2,1*'7,#7h* 7.16 6(' 466L A&'()*0/ 3'*/*.)* E,/ 8*#1 4- 2,.- 68 6(' )6##*,P(*/$9,O75 f7#/6. #*5 1A* O76#7. /*)176.$

I first met Bruce in 1994, at a St. Matthew Passion per-formance in Dayton, OH. I had never heard the baroqueoboe played so beautifullythe sound Bruce madefloored me. In the years that followed, I would especiallylook forward to gigs when I knew Bruce would be play-ing.

A casual conversation several years later revealedthat Bruce had done a great deal of work on historical

pitch levels, and when I told him that I was planning todevote a short chapter of my Muffat book to pitch levels,he mailed me a copy of his dissertation as soon as he gothome from the gig. I read it with great interest, relied onit heavily for that chapter of my book, and have con-sulted it many times since then.

Once I was in a position of contracting baroque or-chestras, I was able to bring him to the Bay area a coupletimes for choir gigs. I remember thinking that the choirshad no idea they were getting to make music with a leg-end. What I remember about Bruce Haynes was his

gorgeous playing, his intelligence, his kindness, and hisgood nature.

Goodbye, Brucewell miss you.

9,O75 T,/6)L7F 7.1*'.,176.,##-D'*P,'5*5 ,(1A6'71-6. 1A* '*)6'5*' ,.5 71/ '*3*'167'*F ,11*.5*5 6.* 681A* \A76 3*'86'2,.)*/F ,.5 E'61* 7. '*/36./* 169,O75 f7#/6._

I heard Bruce in 1996, performing in the Bach B-minorMass, and had the same experience. Tears poured downmy cheeks. That was the only time I heard him play live,although I knew some of his recordings. I admired himmost for his multi-pronged attack on research about hisbeloved instrument, the hautboy. Somewhere, years ago,I read his research agenda for the instrument which in-spired and overlapped with my own on the recorder. Hesaw that any comprehensive view of the history of suchinstruments must begin with basic research tools and goon to create history from this informed position. So hedid brilliant work on a bibliography of the music (whichwent through several editions), listings and studies ofsurviving reeds, iconography, performers, pitch (much

expanded into a general book), and performance practice(reconceived as a book on the meaning of Early Music).As a person, I found him generous and well centered. Iwill miss him greatly.

T7L* 61A*' #7O7.P #*P*.5/F 71 /**2*5 7236//74#* 16*O*' P#723/* 26'* 1A,. 3,'1 68 &'()*0/ 1,#*.1$ K#,-7.P.*]1 16 A72^EA*1A*' 71 4* 7. 1A* & 27.6' 2,//F T(##-5,.)*/F 6' 7. , 5(*1 '*,57.P /*//76.^E,/ ,#E,-/ ,8,/)7.,17.P *]3*'7*.)*$ \.* E,/ 5',E. 16 A7/ 3#,-7.PF,.5 )623*##*5 16 *2(#,1* 71$ &(1F #7L* P',7./ 68 /,.5/#7337.P 1A'6(PA -6(' 87.P*'/F ,/ /66. ,/ -6( 8*#1 #7L*-6( aP610 EA,1 &'()* E,/ 567.P ,.5 )6(#5 ,./E*' A72F1A*'* E,/ , .*E P*/1('*F , .*E 3A',/7.P 1A,1 E,/ b(/1,/ 7.1'7P(7.PF ,.5 b(/1 ,/ 7.7271,4#*$ W,',A 9,O6#F X*E

Q6'L 8'**#,.)*' ,.5 )6236/*' E'61* ,46(1 1A* )A,'2D7.P#- /36.1,.*6(/ .,1('* 68 A*' 2(/7),# ,.5 /6)7,#7.1*',)176./ E71A &'()*_

I feel so fortunate to have studied with Bruce Haynes. Atrue mentor in that he generously shared his vast knowl-edge about the oboe and Baroque music, but also en-couraged me to have an individual voice as a musician. Iremember in particular one tour of Acis & Galatea thatwas so magical that I still recall it years later. At eachconcert hall Bruce had different and more delightfulornaments in the beautiful slow movement, and besideslistening to his wonderfully warm sound, his kind soulwould open up, and the audience and I would be in tearsnight after night. Suzie Leblanc was the soprano, and shewould sing an answer to his ornaments beautifully. As wewarmed up in each venue Bruce would decide whichornaments to play, so I would have a prelude to his crea-tivity, but I would never be prepared for its effect on me.

Staying in Bruce and Susies house was to be em-braced by a family. Sitting around the kitchen table wediscussed everything from Baroque composers and ico-nography to how amazing his sons snow fort was in theback yard. He often spoke of his admiration for Susieslovely gamba playing, and we were entertained by vi-


20/27

20

gnettes from Jake, Anais, and Tobias while drinking teaand sampling Susies wonderful cooking.

When someone so kind and special as Bruce passeson, it takes a long time to synthesize his departure, butIm left with the feeling of how lucky I am to have had

him in my life.

Mole st opped rowing as the liquid run of that glad piping broke onhim like a wave, caught him up, and possessed him utterly. He sawthe tears on his comrades cheeks, and bowed his head and under-stood. For a space they hung there, brushed by the purple loose-strifethat fringed the bank; then the clear imperious summons thatmarched hand-in-hand with the intoxicating melody imposed itswill on Mole... And the light grew steadily stronger, but no birdssang as they were wont to do at the approach of dawn; and but forthe heavenly music all was marvelously still.

?A* +,-.*/DX,33*' A6(/*A6#5 8*## 7.16 , 3,11*'.68 /3*.57.P M,## 16 W3'7.P 7. U6.1'n,# ,.5 1A* W(2D2*'/ 7. &'711,.-$ Y/ 1A* E6'5 P61 6(1 1A,1 &'()* E,/#7O7.P 6. 1A* Y2*'7),. )6.17.*.1F 3#,-*'/ 3,//*5

1A'6(PA 86' #*//6./F 6' b(/1 16 A,.P 6(1 E71A A72 ,.5)6##*)1 EA,1 )'(24/ 68 E7/562 1A*- )6(#5 7. L71)A*.)6.O*'/,176.$ ?A'** '*2,'L,4#* -6(.P ,'17/1/^U,11A*E [*..*b6A.F @A'7/ K,#,2*1, ,.5 B,'72 X,/'^1',7.*5 (.5*' &'()*0/ P(75,.)* ,.5 3#,-*5 (3 U6.D1'n,# 7.16 1A* 1A'7O7.P ,.5 O71,# j,'#- U(/7) /)*.* 1A,171 .6E 7/$ ". JHHJ W(/7* ,55*5 ,.61A*' 8*,1A*' 16 A*'),3 ,/ ),1,#-/1 86' *,'#- 2(/7) 7. U6.1'n,#F 4- */1,4D#7/A7.P 1A* M*/17O,# U6.1'n,# &,'6`(*$

?A* 3,1A/ 68 )6(.1#*// 61A*' 2(/7)7,./ )'6//*5E71A &'()*0/ ,.5F *O*. 78 #*// 8'*`(*.1#-F E*'* b(/1 ,//1'6.P ,.5 *.5('7.P$ U7)A,*# U)@',EF 4,//66.7/1 ,.597'*)16' 68 1A* j,'#- U(/7) "./171(1* ,1 ".57,., R.7O*'D

/71-F A,5 A*,'5 &'()*0/ '*)6'57.P/F ,.5 2*1 A72 7.3*'/6. 7. 1A* *,'#- aIH/ ,1 , )6.)*'1 7. C*'2,.-$

Both hearing his oboe playing and talking with him afterthe concert were truly inspiring. I so loved reconnectingafter we both moved to Canada. All of us who play earlymusic, especially wind players, owe this man a huge debt.

@A'7/163A*' B'(*P*'F 8#(1* 3#,-*' E71A 1A* +,.5*#g +,-5. W6)7*1- 7. &6/16. E'61*_

I only worked with Bruce for one concert, although Ihave been influenced by him immeasurably through hiswritings and through his influence on others. What Iremember is a fabulous musician without agenda, withthe simple contagious idea that every musician should beas open and as inquisitive as possible; that musiciansshould do whatever is possible to open imaginativefloodgates, that individual ideas are always worth consid-eration, and that the best music making comes from allof the above. He reached an enormous constituency inthese regards!

Thank you Bruce!

M6' l*.,7//,.)*D2,. &-'6. l,L71h7/ :8#(17/1F 646D7/1F 4,//66.7/1 ,.5 O76#7.7/1>F &'()* E,/ 461A 265*#,.5 7./37',176.$

I only met Bruce on a couple of occasions but I wasdeeply impressed by his wit, intelligence and deep loveand knowledge of life and music. Truly larger than life.

I listened to his recordings in the 80s, and they wereone of the influences that drew me into early music in thefirst place. His recent history of the early music move-ment was just as radical a statement, and Im very grate-

ful to have been able to meet and get to know Bruce alittle bit in the last few years.

U()A 26'* 1A,. b(/1 ,. 646* P('(F &'()* E,/ ,2,P.*1 86' /)A6#,'/ 68 ,## /6'1/^,.-6.* )('76(/,46(1 2(/7)F 3*'86'2,.)*F ,.5 EA,1 2(/7),# A7/16'-2*,./ 16 (/ 165,-$ +7/ E'717.P 3'6)*// E,/ 6.* 68/A,'7.P 2,1*'7,# ,.5 7.O717.P 57,#6P(*$ ?A6/* EA6/1665 7. ,E* 68 &'()*0/ ,)A7*O*2*.1/F )6(#5 ,#/6 4*,/16(.5*5 4- A7/ 265*/1-$ l,1A*' 1A,. 1A* 87.,# E6'56. 1A* /(4b*)1F A* #7L*5 16 5*/)'74* A7/ E6'L ,/ b(/1 1A*/1,'17.P 367.1F *.)6(',P7.P 61A*'/ 16 P6 8('1A*'$ ".D5**5F *O*'-1A7.P E,/ 63*. 16 '*)6./75*',176.F ,.5'*E6'L7.P$ ?A7/ 2*,.1 1A,1 *,)A 68 A7/ 466L/ E,/ 7. ,)6./1,.1 /1,1* 68 8#(] (.17# 71 87.,##- '*,)A*5 1A*

3'7.1*'F , 3'6)*// 1A,1 5*26./1',1*5 A7/ )6(',P* 16*]36/* A7/ a',E0 75*,/ 16 1A* 2(/7),# )622(.71-$ \O*'1A* -*,'/F A* E6(#5 /*.5 6(1 )623#*1* 466L 5',81/ 86')6##*,P(*/ ,.5 /1(5*.1/ 16 2(## 6O*'F 16 /*'O* ,/367.1/ 68 5*3,'1('* 86' )6.O*'/,176. ,.5 57,#6P(* 1A,1E6(#5 P6 6. *O*. 3,/1 3(4#7),176.$ ?A* 7./)'73176. 7.2- )63- 68 3/+ !") &: !?9%$ @72*#'*,5/ aM6' C*688'*-F\88 7.16 1A* E7#5 4#(* -6.5*'d0^, '*27.5*' 1A,1F 86'A72F *O*. 1A* 3(4#7),176. 68 , 466L E,/ .61 1A* *.5F4(1 , /172(#(/ 86' )6.17.(*5 )622*.1,'-F 57/)(//76.F,.5 5*4,1*$ ". 1A* /,2* E,-F A7/ #,/1 ,.5 36/1A(26(/466LF 3/+ B?./+.*#C @72*#*?"F E*.1 1A'6(PA O,'76(/7.),'.,176./$ &'()* 6.#- 4*P,. 16 87.* 1(.* 1A* 6'5*'68 1A* )A,31*'/ ,.5 1A* 8#6E 68 75*,/ ,81*' A* A,5

1,(PA1 1A* 2,1*'7,# 7. , /*27.,' ,1 U)C7##F ,.5 A,57.)6'36',1*5 5*1,7#*5 '*36'1/ 8'62 #*,5*'/ 7. 1A* 87*#568 2(/7),# 3*'86'2,.)* ,.5 'A*16'7)$ :?A7/ 466LFEA7)A 3'627/*/ 16 4* , /172(#,17.PF 8'*/A ,33'6,)A 16&,'6`(* 2(/7)F E7## 4* 3(4#7/A*5 4- \]86'5 R.7O*'/71-K'*// 7. 1A* .*,' 8(1('*$>

C7O*. 1A* E,- A* E6'L*5F 1A*'* E,/ .*O*' , `(*/D176. 1A,1 &'()* 5*2,.5*5 1A* (.)6.57176.,# ,))*3D1,.)* 68 A7/ 75*,/$ ?6 ,''7O* ,1 1'(1A^#7L* 87.57.P3*,)*^E,/ 86' A72 , 3'6)*// '*`(7'7.P 1E6DE,- 57,D#6P(*$ jO*'-6.* EA6 P61 16 L.6E &'()* E*## E6(#5F,1 /62* 367.1F 87.5 1A*2/*#O*/ #6)L*5 7. ,27),4#*,'P(2*.1 E71A A72$ ?A*/* 57/)(//76./ E*'* .61 2617DO,1*5 4- *P6 ,/ , /36'1F 4(1 8'62 , 5**3 5*/7'* 16#*,'.$ Y.5 #*,'. E* ,## 575$

f71A &'()*F 1A*'* E,/ .*O*' 57/)'727.,176. 4*D1E**. 3'68*//76.,# ,.5 ,2,1*('F *]3*'1F 6' /1(5*.1$@,1A*'7.* U61(hF /,)L4(1 3#,-*' ,.5 2(/7)6#6P- /1(D5*.1 ,1 U)C7## 87'/1 2*1 &'()* ,46(1 1*. -*,'/ ,P6EA*. /A* E,/ ,//7/17.P W(/7* 6'P,.7h7.P 1A* 87'/1 M*/D17O,# &,'6`(* 5* U6.1'n,#$ +*' 4#6PF E'711*. b(/1 ,)6(3#* 68 E**L/ ,81*' &'()*0/ 3,//7.PF 7##(27.,1*/ A6E*])71*5 &'()* )6(#5 4* 16 87.5 , L7.5'*5 /37'71 EA6/A,'*5 A7/ 3,//76./ ,.5 7.1*'*/1/$


21/27

21

Monday, 30 May 2011I recently re-read an email that I wrote in 2008, describ-ing sitting in Susie and Bruce's kitchen. I think its safe tosay that its my favourite room in the world. Its beautifulfor one, with a great wooden counter, shelves coveredwith motley teacups, and a pinboard full of family pho-tos. As if to nourish the creativity and the exchange of

ideas that their kitchen has always hosted, there alwaysseems to be a freshly baked creation of Susies to munchon. This kitchen wasand will always bea vortex forearly music: festivals, concerts, recordings and books gotplanned there, and many people met there for the firsttime; others got to know each other better on returnvisits. As I write, the memories of conversations withBruce come backauthenticity in performance (Bruceintroduced me to the ideas of Diderot on whether sincer-ity is required in acting), and disagreements about sub-tlety versus the exaggeration of gestures in recordings(there was a stereo on shelf under the sugar to help usillustrate our points). One day during the germination ofThe End of Early Music, we disagreed about whether mod-ern musicians should write in period style. We were both

vehement and it lasted for seven delightful hours. Wehad to order a pizza and open a bottle of wine and no,even then we never quite agreed, but it was a deliciousdisagreement.

My second favourite room in the world is probablyBruce's office. It's right above Susie's music room, whereI heard Ste-Colombe performed for the first time, wherewe rehearsed much of Orfeo in 2007, where I evesdropped on David Greenberg, David McGuinness andothers in the middle of creating the CD La Mer JoliewhileI worked quietly in the corner in 2004. So as you canperhaps imagine, Bruces office just above is a vastspacevery warm, but vast enough that theres space topace and move about, and room to step back a bit fromeven very complicated ideas. Last time I was there, we

talked about the affects of Bach Cantata movements.Bruce had gone through each cantata and assigned toeach movement what he thought the affec

Documents

Piper at the Gates of Dawn. Bruce Haynes. Legendary Pioneer of the Hautboy