8ruce Euynes' stumu bused on lllustrutlon of oboe from lderot's. 'I almost wish I had never heard it. For it has roused a longing in me that is pain, and nothing seems worthwhile but just to hear that sound once more and go on listening to it forever'
Original Description:
Original Title
Piper at the Gates of Dawn. Bruce Haynes. Legendary Pioneer of the Hautboy.
8ruce Euynes' stumu bused on lllustrutlon of oboe from lderot's. 'I almost wish I had never heard it. For it has roused a longing in me that is pain, and nothing seems worthwhile but just to hear that sound once more and go on listening to it forever'
8ruce Euynes' stumu bused on lllustrutlon of oboe from lderot's. 'I almost wish I had never heard it. For it has roused a longing in me that is pain, and nothing seems worthwhile but just to hear that sound once more and go on listening to it forever'
lll. 8ruce Euynes' stum bused on lllustrutlon of oboe from Llderot's !"#$#%&'()*+ (,6)
"38?6 7> >9? *7>?B 4A .7CD, . 1ltle of Chuter , of lenneth Cruhume's chll dren's tule of woodlund unlmuls, ,*") *" ./+ ,*%0 %&12 (c8) z. 1ltle of the debut ulbum of Plnk lloyd (6,) . Provlslonul tltle glven by 8ruce Euynes to 3/+ 45&+ (Yule UP, zcc)
It's gone! sighed the Rat, sinking back in his seat again. So beautiful and strange and new. Since it was to end so soon, I almost wish I had never heard it. For it has roused a longing in me that is pain, and nothing seems worthwhile but just to hear that sound once more and go on listening to it for ever. No! There it is again! he cried, alert once more. En- tranced, he was silent for a long space, spellbound.
!""# % &'(")*)+, -./+/ 01/2 *# 345%# !5678 '9:;8< =->6?<@?AA8B C)B DE (F5?A DGEHI J>;K5L9AB M6LN87B DO J9:B HPDDQ Lust Muy the muslcul communlty mourned the loss of 8ruce Euynes, huutboy luyer und uuthor of some of the most lnfluentlul reseurch on the oboe recently ubllshed. lor the ust decude 8ruce struggled ugulnst the debllltutlng effects of Purklnson's dlseuse, hls deuth, however, wus the result of heurt fullure. Ee ls succeeded by celllst und gumblst Susle Nuer, hls urtner ln muslc und llfe for more thun thlrty yeurs, und thelr three chlldren Anuis, 1oby und 'uke. 8ruce wlll be remembered for hls loneerlng work ln the revlvul of the eurly oboe, hls thoroughly documented hlstory of the huutboy's flrst century ln 3/+ !%&67+". 45&+, reseurch on ltch (3/+ 8.&9$ &: ;) und contrlbu tlons to the <9&=+ >*#.*&"?9$ und Yule Muslcul lnstru ment Serles, us well us rovocutlve wrltlngs on musl cul uesthetlcs, notubly 3/+ !") &: !?9%$ @72*#A Els flnul book on rhetorlcul lnterretutlon und uffects, 3/+ B?./+.*#C @72*#*?", wus left ln u vlrtuully comlete stute thut lute vun Crden wlll see through to ubllcu tlon from Cxford Unlverslty Press. No other muslclun ln the twentleth century embruced the huutboy wlth the sume loneerlng slrlt, und bullt such u legendury reututlon us lnslrutlonul erformer und teucher, und rovocutlve scholur. 1he streum of Euynes' lnfluence wlll lust for muny yeurs. 1o some, lt ls the emotlonul lntenslty of hls luylng thut stunds out, to others hls colous wrltlngus lnformutlve us lt ls thoughtrovoklng, us crltlcul us lt ls lnslrlngthut constltutes hls most slgnlflcunt contrlbutlon. 8ruce's luylng, reseurch und teuchlng ull reflected u keen lnterest ln muklng sense of muslc: u doubly urorlute metuhor for hls chosen buroque reer tolre wlth lts rlch rhetorlcul lmllcutlons. As he wrote ln 3/+ !") &: !?9%$ @72*#. 'u subject llke muslc beckons us on, lnvltlng us to kee trylng, though we know we wlll end u wlth more questlons thun unswers. [.| l um dellghted to shure these thoughts wlth you. vlth luck they muy lnslre you, too, to wrlte down your own (vll & vlll).' 8ruce wus contlnuully druwn to robe the mysterles of muslc und erformunce, to seurch for unswers. At best, he left us wlth u sense of uchleve 2 mentor us he ut lt, 'hulness'thut ls 'mlxed, momentury, und rovlslonul.' 8ut unyone who knew hlm wlll uttest thut the hulness he guve wus un mlxed: he wus utterly und unforgettubly lntelllgent und curlng us urent, teucher, und colleugue. lor u rojected monogruh thut dld not roceed ust u rough sketch, B?9?)*DE F&2.G H+#&"2.97#.*"D ./+ !%&0 67+". I&*#+, 8ruce ullocuted the followlng motto quotutlon from Shukeseure thut eltomlzes hls thoughtful medltutlon on the muslcul exerlence: 8'*.+ &: J?2/*&" %+. 2&E+ :+1 5+ :&7") ,/& =?%7+ 8+"2+ ?5&=+ ?" +E'.$ 8&7")A vhen 8ruce's mother, Allce loster Eelm (zc-) wus regnunt wlth hlm, her husbund 1homus Stunley Euynes (-z) wus on mllltury servlce ln Luroe, und wus then redeloyed to 'uun us 'unlshment' for usklng to become u consclentlous objector. Ee only returned when 8ruce wus three yeurs old. 1om re turned from wltnesslng the uftermuth of Elroshlmu wlth u dee udmlrutlon for 'uunese culture, und u determlnutlon to follow u uth of nonvlolence. 1hese resolutlons uffected 8ruce, who develoed u llfelong fusclnutlon for 'uunese culture und u strong com mltment to euceful confllct resolutlon. 8ruce hud two slbllngs: Anne, three yeurs younger, und Luvld born unother seven yeurs luter. 1he fumlly moved uround u lot when the klds were stlll llttle. 1om wus druwn to Cjul Cullfornlu, where the fumous lndlun guru lrlshnumurtl hud broken hls wurtlme sllence, und uttructed others commltted to cultlvutlng hur mony of slrlt, self und world. lrom there, the fumlly settled ln 8erkeley, CA, u meccu for llberullymlnded hlles, ulternutlve culture, und soclul uctlvlsm durlng the vletnum eru. As u chlld, 8ruce exhlblted u cuuclty to ursue muture lnterests to thelr comletlon. Around uge ten, he wus the subject of u uer wrltten by u student ln the sychology of educutlon. Although not u rofesslonul sychounulyst, Merle Currlngton found Euynes systemutlc, und hlghly motlvutedeven drlven, churucterlstlcs thut would certulnly hold true throughout hls llfe. ln 8ruce ucted ln the uwurdwlnnlng chll dren's 1v show K?'.?*" L0H& roduced by lRCv1v. As 'et, sldeklck to the Cutuln (luyed by Roy Steffens), 8ruce took urt ln futurlstlc Sclll udventures lnvolvlng tlme truvel where the churucters encountered fumous flgures, such us Leonurdo du vlnlcl und Cenghls lhun. 1hls Lr vho voortrekker develoed ln 8ruce u llfelong fusclnutlon for sclfl und, more lmortuntly, lt lunted seeds for hls future enterrlses ln hlstorlcul muslcul erformunce und reseurch. Ee wus 'reully lnto' 8.?9 ,?92 us soon us lt cume out ln the ',cs und, ln hls lust duys ufter sustulnlng u serles of strokes, hls fumlly wus reussured to dlscover thut he hud not lost hls sense of humor us he reeuted through un oxygen musk the lmmortul words of Lurth vuder: 'l.AM.YCUR. lA 1ELR.'
lll. 8E us 'et wlth Roy Steffens us Cutuln 2RoA As 'et, 8ruce suddenly becume the school heurt throb. At the tlme everyone wus cruzy ubout Llvls Presley, but 8ruce huted hls muslc. Ee told hls klds thut one tlme ln cluss the glrl slttlng ln front of hlm turned uround und sut out, 'l hute you, becuuse you hute Llvls.' Ee develoed u usslon for unts und be cume un exert collector, und ln , (uge ) he wrote u uer entltled '1he Lxternul Anutomy of Ants,' but shortly ufter guve u myrmecology us he couldn't brlng hlmself to klll uny more unts. 1hls wus ulso excellent trulnlng for hls luter cureer, und he never lost the collectlng bug und obsesslon for cutulogulng: lt wus just the thlngs thut he collected thut would chunge. 8ruce sturted luylng oboe ut uge thlrteen. Els fu ther, who luyed oboe und recorder, wus hls flrst teucher. Ee went on to study wlth Ruymond Luste who wus uble to orgunlze some lessons wlth 'ohn de Luncle when the Phlludelhlun wus vlsltlng hls fumlly ln Cullfornlu ln 6c. 1he 1ubuteuu school, und urtlcu lurly de Luncle, set u longlustlng tonul ldeul. Ee sturted hlgh school ut Eurry Elgh, und when hls futher got u job teuchlng muslc ut 8erkley Elgh, he wus uble to trunsfer. 1here were umle muslcul oortunltles ln the 8uy Areu for u young tulented obolst, und ufter gruduutlng from hlgh school ln 6, Euynes truveled uround Luroe wlth the Amerlcun vlnd Symhony, declurlng ln letters home thut the trl wus un oortunlty to leurn lndeendence. 1he long bus, lune und truln rldes guve hlm suce und tlme for soul seurchlng und to contemlute the dlrectlon he wunted hls llfe to tuke. Ee declded to forego u scholurshl to study ut 3 the Munhuttun School of Muslc und lnsteud enrolled ut Sun lrunclsco Cul. Stute. As well us muslc, he took u course on 'uunese Culturul Studles for whlch he wrote un essuy on Eulku oetry. 1hroughout hls col lege yeurs, he wus u roflclent obolst. 8y uge zz he hud luyed concertos by Murcello, Euydn (solo oboe und Slnfonlu Concertunte), 8urlow ,*".+9M2 B?2. wlth the 8erkeley Elgh School orchestru, solos wlth the 'unlor 8uch lestlvul, und ut Sun lrunclsco Stute, he hud glgged wlth Luste, und ueured ut UC-8erkeley wlth Alun Curtls und hud luyed recorder ln ulternutlve 8uyAreu venues such us the vln et lromuge und llor entlne Cufes. Ee wus ulso fortunute ln securlng ro fesslonul engugements. ln 6-z he worked wlth the Sun lrunclsco 8ullet und Ceru orchestrus, und for four months ln 6z he luyed wlth the Crquestu Sln fonlcu de uluu. Ee enjoyed hls tlme ln Mexlco, but when the conductor demunded thut he remove hls beurd, 8ruce refused und qult! (Susle only ever suw hls chln once, und hls klds clulm to huve never seen lt ut ull!)
lll. Euynes obolst ut 8erkeley Elgh. 8ruce wus of druft uge durlng the vletnum vur, und the 8erkeley Elle culture wus u hotbed of resls tunce. ln 6z he lodged un ullcutlon for exemted on the grounds of consclentlous objectlon. Ee hud ulreudy wrltten u hlghschool uer 'Cod or Stute: An Lssuy on Consclentlous Cbjectlon' (8), und hls me tlculous ullcutlon wus suorted wlth glowlng ref erences defendlng hls churucter us u serlous young mun of hlgh moruls. Lrlven by the exerlence of deul lng wlth u futher forclbly removed for nutlonul servlce, 8ruce took every recuutlon to uvold conscrltlon hlmself. Subsequent to Presldent lennedy's executlve order exemtlng murrled men from the druft (lssued August, 6), he murrled Penny Curr, u fumlly frlend und lesblun who hud no quulms wlth hellng out. Leuvlng the country ufter college wus ulso un effectlve wuy to remuln out of reuch of Uncle Sum. 1he Euynes remulned vlgllunt, und us soon us the news broke ln August 6 thut Presldent 'ohnson hud revoked the murrluge exemtlon, they send 8ruce ress clllngs to Amsterdum, wurnlng hlm thut he muy yet be ellgl ble for conscrltlon. No longer servlng lts functlon, 8ruce und Penny unnulled thelr murrluge ln Muy, 66. Leslte obvlous romlse us u rofesslonul obolst, und hls slgnlflcunt orchestrul exerlence, Euynes 'be cume dlslllusloned wlth rofesslonul oboe luylng,' und sturted looklng for un ulternutlve cureer ln muslc. Ee luter soke ubout hls ercetlons wlth Lee McRue. 'Professlonul symhony luyers ure ulmost ulwuys very unhuy eole. 1hey huve no control over whut they ure dolng, somebody ls ulwuys telllng them whut to doeseclully ubout thlngs thut reully count, llke how you feel ubout luylngthey work very hurd for not very much moneyund lt just seemed to me thut thut wusn't whut l wunted to do for the rest of my llfe. So l wus golng to glve u muslc, und just sort of lcked u the recorder to flll ln the gu.' 1
1hls wus u declslve move thut would set the dlrec tlon of hls cureer. Alun Curtls, who ut the tlme wus u muslc rofessor ut the UC-8erkeley, encouruged 8ruce to become more serlous ubout the recorder, und olnted hlm ln the dlrectlon of lruns 8ruggen whom Curtls hud got to know ln hls student duys ln Eollund. Curtls ulded 8ruce ln obtulnlng u Eertz lel lowshl to fund study ut the Royul Conservutory ln Len Euug 6-6,. As well us lessons wlth the legen dury Lutch recorder loneer, 8ruce ulso hud oboe lessons wlth lees vun der lruun of the Concertge bouw Crkest, und wus uble to sulement hls modest stlend wlth lncome from teuchlng. Ee mulntulned close tles to home, und wrote colous letters to hls fumlly und to hls glrlfrlend 'oun Purtrldge. ln them he descrlbed hls muslcul exerlences, und guve uccounts of u broud runge of lnterests, lncludlng un eclectlc llst of books from u blogruhy of Lebussy, Sherlock Eolmes und the collected works of 'ohn Lennon. Amerlcun hurslchordlsts Peter volf wus ulso ln Amsterdum ut the sume tlme to study wlth the futhers of the Lurly Muslc movement und wrote of thelr exe rlences studylng ulongslde 8ruce: It saddened me greatly when I learned a few days ago of Bruces death. Bruce is the latest of several friends and colleagues to depart, each seminal in my development as a musician during the 60s: William Dowd, to whom I apprenticed during the summers of 1964-65; Albert Fuller, whose recordings of Rameau on the Cambridge label first gave me an inkling of the incredible glories of 4 French harpsichord music; Don Angle, a colleague in the Dowd 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), Hans Vader (Dutch cellist), and I were formed into a chamber ensemble to be coached by Gustav Leonhardt. This was my first experience playing chamber music, and Bruces knowledge and extraordinary musicianship on both re- corder and oboe had a huge impact on me. He was, in many ways, our intellectual and musical leader. Our quartet secured sponsorship from a Dutch charity under the patronage of Princess Irene to perform in a variety of institutional settings in Holland. I will never forget sitting on the stage while the residents of an asylum for alcohol- ics in Nijmegen filed past in single file, sat politely while we performed for about an hour, and then filed out soundlessly afterwards. If memory serves, our group was playing on more-or-less modern instruments at A=440. At that time the Quadro Amsterdam was playing and recording on modern instruments, which made some of their path-breaking recordings all the more astounding. I know that Bruce was playing a Skowronek recorder made for him in return for a favor. But to be honest, I dont remember what oboe he played. In any case, I don't remember any discussion with Bruce about reed- making, so I doubt that it had yet become an issue. My experience in this group contributed substantially to my own coaching of chamber ensembles during my later teaching career at SUNYStony Brook, the University of Utah, and Rutgers. Although our paths crossed only a few times after that year in Amsterdamonce when he came to New York 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 touch with 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. 8ruce contlnued to luy Conservutory oboe, but durlng hls second yeur ln Eollund, he urchused u low ltch buroque oboe ln cocobolo wood by Puchner. At thut tlme there were few buroque oboes from whlch to choose. Ctto Stelnkof und Eubert Schuck mude lnstruments ln Cermuny und Austrlu, 8elglun Andreus Clutt hud mude u few oboes by ,c, und the Lutch bullder Peter de lonlngh, better known for hls bus soons, wus just beglnnlng to muke buroque oboes. ln Swltzerlund, 8ernurd Schermer ulso mude hls flrst oboes uround 666, (lnltlully ln the worksho of E.C. lehr ln 2urlch, luter on hls own ln 8usel). Cn to of thut, there wus the lssue of reeds. 8ruce hud heurd ubout the Austrlun luyer 'urg Schueftleln und he lunned u trl to vlennu ln conjunctlon wlth uudltlng recordlng sesslons where Lutch luyers from the Leonhurdt Consort would be colluborutlng wlth Con centus Muslcus vlen. Cn the strength of thut flrst meetlng, he lntended to enroll for further study, und requested un extenslon of hls Eertz fellowshl, but ln the end he returned to the US.
lll. Euynes showlng hls Puchner oboe to 'oun Purtrldge, 6,.
lll. 6 Reeds mude by 'urg Scuheftleln, 6,. Another hurslchordlst who hud gone to study wlth Leonhurdt wus Llsu Cruwford. She went on to teuch ut Cberlln College for muny yeurs, und stlll teuches ut the 8uroque Performunce lnstltute (8Pl) euch Summer. I first met Bruce in Amsterdam in 1965 when I was studying with Gustav Leonhardt. I was renting a room at the 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 were both early instrument players. I cant remember if we did any playing together that year, but after returning from Amsterdam I lived in the Boston area for a number of years and we played together (Bruce on recorder!) in the late 60s. Bruce was always a remarkable, gentle, warm and twinkling person with wonderful ideas. In 1976, he came to teach at the BPI and stayed at our house. Satur- day had been designated Oboe Day, but it was also the day of the Oberlin tornado. Bruce left to go to the con- 5 servatory, and made it there before a crazy few minutes of circular wind blew our lawn furniture from the back to the front of the house and twisted off the tops of several trees in town, downed trees and power lines etc. Just shows you the power of his oboe! 8ruce returned to Cullfornlu for vucutlons to glve concerts. ln 66 he ueured wlth the 8erkeley 8u roque Crou sonsored by the Sun lrunclsco Areu Chuter of the Amerlcun Recorder Soclety. Alun Curtls remulned un lmortunt flgure ln Euynes' develoment und lnvlted hlm to luy wlth the Amhlon Lnsemble of 8erkeley (Curtls, hurslchord, Ronuld Lrlckson, bu roque vlolln, Mury Cyr, gumbu, lruncescu Eowe und Leslle Retulllck sorunos) und eurly recordlngs of lrench 8uroque oerus by Rumeuu. Curtls ulso vlslted Euynes ln Eollund, und together they vlslted Murtln Skowronek's worksho ln 8remen. 1here, for the flrst tlme, 8ruce luyed u 8uroque recorder coled ufter the orlglnul meusurements, l.e. ut 8uroque ltch: 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 modern recorder. Low pitch became a passion, and he immedi- ately sought out instruments. It was this experience that led 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, the thin, clear, happy call of the distant piping! Such music I never dreamed of, and the call in it is stronger even than the music is sweet! Rapt, transported, trembling, Rat was possessed in all his senses by this new divine thing that caught up his helpless soul and swung and dandled it, a powerless but happy infant in a strong sustaining grasp.
After belng uwurded u out of c for hls recorder exum ln Amsterdum ln 6,, hls teucher recom mended thut he truln ln lnstrument bulldlng wlth lrle drlch von Euene ln 8oston. ln 8ruggen's words, thls Cermun relocuted ln 8oston wus 'the only Amerlcun recorder luyer who hus reully tuken the utmost con sequences of hlstory by luylng on hlstorlcul lnstru ments.' von Euene remembers heuted dlscusslons wlth Euynes ubout ltch. U to thut tlme, the work sho hud roduced modernltch recorders but, bused on hls 8remen elhuny, 8ruce lnslsted they sturt to roduce fulthful rellcus ut the orlglnul ltch level. ln 68 they roduced thelr flrst Lenner re corder ut . 1hls murked u turnlng olnt for the worksho, leudlng to thelr resent stutus us the re emlnent roducer of hlstorlc rellcus of recorders ln North Amerlcu. 1he worksho set un lntentlon to ro duce buroque oboes. 1hls took some tlme und drew on exertlse from u number of luyers und mukers. Puul Eullerln, unother Amerlcun studylng ln Luroe, met 8ruce ut the von Euene worksho ln the Summer of '6. Bruce Haynes had a big, round, friendly face surrounded by bushy hair and beard. His beatific smile that radiated good will and serenity and a keen interest in his inter- locutor was an integral part of the von Huene workshop as I got to know it in the summer of 1969. I had started my studies at the Schola Cantorum Basiliensis in fall 1967, playing a Milhouse model oboe built by the American Eugene Marteney. My teacher, Michel Piguet and I wanted a copy of a real baroque oboe, as opposed to the narrow-bore classical models that were in widespread use at the time. Michel chose a Schlegel oboe in the Basel collection and arranged to have it copied by the firm H.C. Fehr, in the person of foreman Bernhard Schermer. The first Schlegel oboes were finished shortly after I started my studies. Piguet himself, though, was playing a Rottenburg and Friedrich von Huene got the idea of making an oboe based, to some extent at least, on this design. Friedrich needed someone at the shop to try out the new instruments and so in 1969 I spent my summer vacation at his Brookline workshop. Progress was slow and when I left the shop the oboes were still not ready for playing. However, I did come away with a generous pile of measurements from Friedrich, and had started a lifelong friendship with Bruce Haynes.
lll. , Euynes ln the von Euene worksho, 8oston, 6,. von Euene ersevered wlth the Rottenburgs wlth usslstunce from unother obolst, len Roth. 1hls model wus von Euene's ulternute cEz buroque oboe. 6 Around flfty oboes were mude, but most of whlch seem to huve vunlshed wlthout u truce. 8ruce llved ln 8oston wlth hls hlghschool sweet heurt 'oun Purtrldge ( ) whom he hud murrled ln 68. 'oun wus u otter und cume from u fumlly of fumous Cullfornlun hotogruhers lncludlng her futher Rondul Purtrldge who hud been Ansel Adums' ussls tunt ln the cs. 1he coule osed for u serles of hotos for 'A Luy ln the llfe of Euynes und Purtrldge,' und Rondul ulso took ubllclty shots for 8ruce. ln 8oston, 8ruce ulso mude the ucquulntunce of Lugene Murteney, un umuteur obolst who hud mude u smull number of coles of Clusslcul oboes, lncludlng Eullerln's Mllhouse. Els cholce of luter lnstruments wus robubly motlvuted by the need to luy ut c Ez. Murteney does not seem to huve been un exerlenced reed muker, und hud 8ruce muke some for hlm. 1hese were stlll exerlmentul yeurs, und whlle there were orlglnul oboes uvulluble ln the Museum of llne Arts for Murteney und Euynes to meusure, the orlglnul reeds hud long slnce dlsueured. So vluble reeds hud to be mude before tuklng the flrst stes of gettlng the orlgl nuls und coles to luy. As un obolst, 8ruce took mod ern reeds us u sturtlng olnt. 1hls wus, nuturully, only urtlully successful. vlth the wrong tye of reed, the orlglnuls dld not functlon correctly und sounded ut the wrong ltch. lt wus some tlme before he took the lunge to creute the broud reeds on custommude stules thut we now know, thunks to hls lmeccuble reseurch ls closer to whut elghteenthcentury luyers used.
lll. 8 Euynes' sketch of reed used for exerlments ut the MlA. As he contlnued exerlmentlng, 8ruce contlnued to erform on hls Puchner buroque oboe und Coolsmu recorder. Ee guve u recltul of muslc by Corette, Muruls, Phllldor und Rumeuu ut the lsubellu Stewurt Curdner Museum ln 68 wlth Alexunder Sllblger on u hurslchord by the 8oston muker, vllllum Lowd ufter un orlglnul by 1uskln, und Clun Lymun on vlolu du gumbu. A hlghllght of hls 8oston erlod wus hls ln volvement wlth the lrulnls Lnsemble (founded by recorder luyer 8ernurd lrulnls und hurslchordlst Lrlc Leber) ln un eclectlc henomenon culled 1he Llectrlc Clrcus. Advertlsed us 'the ultlmute legul entertulnment exerlence.,' 1he Llectrlc Clrcus toured u 'Medlu Melee of rojectors, erformers, comuters, und er formlng urts feuturlng medlevul muslc, rock muslc, electronlc vlbrutlons, orlglnul dunce choreogruhles, fllms, love, und llghts.' 1he funky edglness of the Llec trlc Clrcus jlved wlth the sychedellc movement whlch wus ln full swlng, und wus somethlng of un Amerlcun counterurt to the 8rltlsh grou Plnk lloyd thut, just one yeur rlor, hud releused thelr flrst ulbumB*'+9 ?. ./+ <?.+2 &: >?1". 8ruce grossed more from the tour thun he eurned the whole yeur from the recorder worksho, und wus not only uttructed to the ldeu of culturul tlmetruvel, but urtook ln some of the less legul uctlvltles thut went hundlnhund wlth thls cut tlngedge uesthetlc.
lll. A oster for un Llectrlc Clrcus concert. Cullfornlu beckoned, und ufter thut summer of '6, 8ruce und 'oun moved to u llttle cottuge ln the 8er keley Ellls wlth enough suce for oboe muklng us well us u otter's wheel und klln. Cullfornlu wus home, und ln uddltlon to lnstrument bulldlng, 8ruce hud the o ortunlty to work wlth u number of eurlymuslc lo neers who hud urrlved on the scene. Alun Curtls wus roduclng Eundel und Rumeuu oerus, und 8ruce wus lnvlted to luy recltuls wlth hurslchordlsts Luurette Coldberg und 1huruld 8orglr. 1he flrst oboes 8ruce mude on hls own were mod eled ufter un orlglnul oboe by Puulhuhn, owned by Eurnoncourt, und luyed by 'urg Schueftleln. Els fu therlnluw Rondul Purtrldge hotogruhed the new oboes for u brochure und u romotlonul urtlcle ln 3/+ ;E+9*#?" H+#&9)+9 by Lee McRue, und 8ruce glfted u rosewood und lvory oboe to hls own futher. 8ruce leurned u lot from von Euene, but there wus much more to be done to druw u u more comlete lcture of buroque oboe deslgn. ln ,c he ulled for usslstunce from the NLE to fund 'A Systemutlc und Comurutlve Study of z und keyed Cboes.' vhlle hls 7
lll. c Puulhuhn coles by 8E, c. ,c. ullcutlon wus unsuccessful, the next yeur he wus stlll uble to undertuke u monumentul tour of Luroeun collectlons, exumlnlng, meusurlng und luylng ubout ,c orlglnul oboes, oboes d'umore, z tenor oboes, more of excetlonul slzes, Leutsche Schulmelen, 8 clurlnets, musettes, treble recorders, 6 volce flutes und other tyes of recorders ln 1he Eugue, 8russels, Purls, Nuremburg, Sulzburg und vlennu. lew before hlm or slnce huve undertuken such un exten slve survey. At thut tlme, lt wus stlll relutlvely eusy to get uccess to these rure lnstruments. 1he lnformutlon he collected would be lnvuluuble not only for hls ln strument bulldlng, but for future reseurch ln the hls tory of ltch und tuxonomy of oboe tyes. Els ultl mute cholce fell on un oboe by 'ucob Lenner ln Nur emburg. Els museum notes rovlde u vlvld lcture of the exerlence of trylng out three Lenner oboes. As lf he couldn't belleve thut he hud found hls Eoly Crull, he returned u second duy to conflrm hls observutlons. MIR371: This and the two following similar (use same 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-fingerings excellent.) ! low, reed exp. 74.2 or 76. With this staple g wants to drop. High notes like Paulhahn. This one noticeably 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 speak beautifully; 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 problems with 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, turned almost 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 of the RH. Reed exp. 74.3; pitch b=440, or (almost) a whole tone low. This with different reeds and staples. Pitch confirmed next day. Puul Eullerln reculled 8ruce's vlslt und followu: 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 oboes and 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 country house in California. The weather was warm and mild, the garden copious. It seemed such a fitting setting for Bruce. He was working on his first series of Paulhahn oboes. They augured well for a future as an instrument maker. We continued corresponding on oboes and what made them play. As his interests became more directed toward musicology he would discuss pitch levels and the oboes appropriate for early works of Bach. It was in this context that he suggested I copy an oboe at 392 Hz (low French pitch, as we then imagined it). And with his ac- customed generosity he arrived one year at Christmas with his original Naust oboe. He left the Naust with me so that I could get an unhurried impression of the in- strument and its playing qualities. How characteristic of Bruces generosity! Later we met in London to make a side-by-side comparison of the Naust and my copy. It was revealing, both of his intense interest and exactitude, and of the near impossibility of producing a modern copy. 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 be pleased if the word hautboy would come into general usage. I regret so much that I myself haven't been able to do him this favor. When we met in 1969 the baroque oboe was my chosen instrument and it still is. Habits can weigh heavily. But the world is always in motion, driven on by the likes of Bruce Haynes, and maybe the next generation will live on happily with the hautboy. Euynes' redlscovery of the oboe's buroque unces tor und lts luylng technlque led hlm to reverse the modern hublt of looklng buck from the Conservutolre oboe to seelng u forwurds evolutlon from lts recur sors und for thls urose relntroduced the term 'huutboy' ln recognltlon of the dlstlnct dlfferences between renlneteenthcentury oboes und the re sentduy lnstrument. So huutboy ls to oboe whut ls forteluno to luno, und truverso to flute or dulclun ls to bussoon. 8
lll. Lenner coy ln lvory by 8E. Accordlng to Susle Nuer, 8ruce mude u totul of z oboes. Els declslon to udot the Lenner MlR, wus declslve, und set u stundurd followed by muny others. Ee luyed hls own Lenner coy through the ',cs, und ufter he guve u hls own worksho, he col luboruted wlth von Euene on Lenners by comletlng the undercuttlng und tunlng on the workshoturned und bored oboes. 1hese were bought by Amerlcun cllents und 8ruce's Luroeun students. ,z murked u turnlng olnt. lruns 8ruggen u olnted 8ruce to reluce hlm whlle he wus teuchlng ut Eurvurd und 8erkeley. 8ruce wus ulso offered u con truct from 1elefunken to urtlclute ln the flrst com lete cycle of 8uch cuntutus on eurly lnstruments, und other smuller rojects of lesserknown reertolre ensemble muslc by Eotteterre, und Couerln, und orchestrul muslc by Lully. Llfe wus ldylllc ln the 8er keley Ellls, but 'oun's und 8ruce's hundtomouth sub slstence exlstence dld not brlng ln enough for suvlng, so they hud to scrumble to flnd funds for ulrfures to Luroe. 8ruce rlorltlzed oboe bulldlng und hud to uologetlcully renege on un offer to restore un un tlque musette for Museum of llne Arts ln 8oston. Asked why he declded to urrunge for Euynes to reluce hlm ln ,z, 8ruggen resonded: I find Bruce to be the proper figure to appear at the Dutch scene, being a good combination of Baroque oboe and recorder, and also, if I am going to America [to serve as Erasmus Professor at Harvard, and Regents lecturer at UCBerkeley] it seems sensible that an American comes to Holland by way of exchange. Also, it is good for Dutchmen to be confronted with a foreigner. Dutch people tend to be a bit bourgeois sometimes, to be a bit narrow-minded, especially those gifted people who are aiming to become great instrumentalists; so it is good that they are treated once by someone who treats them in a different way, with a different approach and in an- other language. Bruce has a very particular, a very clear way to me to see things stylistically, historically, techni- cally. Also, partly because he is an oboe playerthat brings a new flavor to it. He is extremely gifted. I think his place in American recorder life is quite considerable. I consider him one of the very best American recorder players. 3
ln uddltlon to teuchlng u lurge studlo of recorder luyers, 8ruce emburked on serlous study of the bu roque oboe. Ann Morgun, wldow of the renowned Austrullun recorder bullder, lred Morgun, remembers: Dear Bruce! I hardly knew him really, except of course he 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 time when Bruce was living in Frans Bruggens house. Fred had a recording of him practising. I know that there are lots of good baroque players now, but this was such sweetly nuanced playing and his character shone through. 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 to see you particularly. Serious, but never off-putting. So warm. lt wus not long before 8ruce develoed utmost roflclency und he wus u leudlng flgure ln the vltul Lutch Lurly Muslc scene. Els dlstlnctlve luylng be cume u key feuture of ull the leudlng 8uroque ensem bles. Mux von Lgmond, the dlstlngulshed Lutch burl tone wus hls colleugue on more thun one occuslon noted: If there is any place besides North America, where Bruce's Abschied caused a shock, it is The Low Countries. Amsterdam was his home for many creative years. His friends there were numerous and faithful. The world has lost a unique person and artist.
9
lll. z Cullfornlu hotoshoot, 8E wlth lruns 8ruggen by Rondul Purtrldge, ,z. lellow 8uroque obolst, lu Lbblnge wus one of 8ruce's closest colleugues ln Eollund. 1hey studled ut the sume tlme, und ended u worklng closely together ln countless concerts und recordlngs. It is not difficult for me to recall my times with Bruce; the memories are still very sharp in my mind. The first con- tact with him was in the mid 1960s when he phoned me to tell me that he was living in the Netherlands and studying recorder with Frans Brggen and playing the baroque oboe. My situation was the same: I was a stu- dent at the Royal Conservatory in The Hague on oboe and recorder, and also studied recorder with Frans. He knew that I already played with the Leonhardt Consort and wanted to introduce himself. In those days in the Netherlands 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 I could 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, La Petite 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. The first disc of the complete Bach cantatas we played on together was vol. 9. This was in 1973 or 4, and the discs were released the next year. We were very much experi- menting as we went along, real pioneer work. The results we were headed towards were not always clear. I re- member one time during a recording session Gustav Leonhardt remarked: When you think everything goes well, it IS already wrong. As I can remember, we never had a disagreement. We were very happy with each others playing, although we knew that our ways were very different, but one thing was that we both loved Chinese food. In particularly I was always impressed by the way Bruce played French music. He was, for instance, one of the first to discover the ornament flattement and he used it in his playing. This was a completely new sound. He also was very much aware of ingalit and used it in French music in a superb way: not as a rhythm but as a result of the inequality of his tonguing that made the effect. At that time, the oboe players in La Petite Bande were Bruce, Paul Dombrecht, Piet Dhont and myself. We had fantastic times together. Bruce knew everything about the history of the oboe, Paul was the most virtu- osic, Piet knew everything about staples and I played with too much vibrato (emotion).
lll. Members of the Phllldor Lnsemble: 8E, Rlcurdo lunjl, und lu Lbblnge. The most personal contacts we had in the Philidor Ensemble. There was also our car accident. Bruce was living in Dedemsvaart, near my home, so we trav- eled back together after concerts in my car. We were both very glad that we survived the accident. Bruce as always very cool, just asked me: Ku, are you OK? That was the way he was. Always calm. I would already be worried about the concert for the hour before, but Bruce would arrive five minutes before and decide on stage which reed he would use. That would have been a nightmare for me I learned a lot since then. Bruce was a 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
lll. 8ruce wlth 'oun on thelr furm. Euynes' Lenner coy, bullt ln ,z wus hls regulur oboe, but hls decude ln the Low Countrles wus ulso u tlme of exerlmentutlon wlth dlfferent models. Around ,8 he begun luylng u coy of un oboe by Stunesby 'r (nlcknumed Lolltu) by 1oshl Euseguwu. 1hls wus modeled ufter un oboe 8ruce hud louned from the 8ute Collectlon (Cxford) ln ,, und wus the oboe he used for hls fumous recordlng of concertos by vlvuldl, Pluttl und Murcello. ln Arll of 8z he took dellvery of u Lenner coy by 1oshl thut would reluce hls own. Ee recorded on thut oboe for the flrst tlme ln the 1elefunken 8uch Cuntutu cycle the followlng yeur. 5
8 he wus trylng out u Stunesby Sr model by the lrench bullder Cllvler Cottet. 8ruce's determlnutlon to estubllsh und z ltch levels und try out u vurlety of dlfferent oboe deslgns resulted ln lntense reed reseurch. 8y , he hud ubundoned modern stules und nurrow reeds und wus uble to lsolute the ucoustlc roertles of reeds und stules to rovlde u systemutlc study. 6
lll. Reed blude from Euynes, c. , (courtesy 'un Stocklgt). Some tlme luter 8ruce ucqulred unother orlglnul: un oboe urortlng to be by Lenner from lrledrlch von Euene. Cnly the to und bell were stumed by the elghteenthcentury muker, und the mlddle jolnt muy huve been u luter uttemt to construct u luyuble oboe from these two leces. 8ruce commlssloned Amerlcun huutboy muker und longtlme frlend, Sund Lulton to conflgure two oboes from the uuthentlc sectlons.
lll. 6 Euynes wlth 'Lolltu' by 1oshl Euseguwu, c. ,8. Lurlng the ',cs Euynes stlll mulntulned contucts ln the Stutes. 'ust two yeurs ufter movlng buck to Eol lund, he luyed wlth the Ann Arbor-bused buroque orchestru Ars Muslcu. 1he rogrum resented two concertos: un old fuvorlte, the Murcello, und '.S. 8uch concerto ln A mujor for oboe d'umore und strlngs. A glowlng revlew ueured ln 3/+ @*#/*D?" >?*%$ rlght ulongslde the unnouncement of the 8eutles' flrst US concert ln Curnegle Eull. Eow muny obolsts cun boust u ress bllllng llke thut?
lll. , lrom 3/+ @*#/*D?" >?*%$, leb. z, ,. 11 1he ',cs wus u golden eru for recordlng. Comu nles hud slgnlflcunt budgets und, llke the muslcluns, were euger to send lt on ushlng the boundurles of known reertolre. 8ruce's flrst dlscs wlth Leonhurdt und 8ruggen brought hls style to llsteners uround the world, und soon 1he Eugue wus u Meccu for lnternu tlonul students euger to dlscover thls new wuy of luy lng muslc on un old oboe. lt wus urtlculurly 'uunese luyers who were uttructed to 8ruce's revolutlonury urouch to buroque und clusslcul muslcun lnterest lng offsln of the uttructlon thut, ln thelr heudy rush to economlc uffluence ln the '6cs und ',cs, muny 'uunese felt to elltlst Luroeun culture. 1uku lltuzuto reorts on the rlgorous demunds 8ruce luced on hls students ln order to uchleve the technlcul commund requlred to tuke the lnterretutlve rlsks encouruged by the Lutch eurly muslc style, hls reort ulso touches on the breudth of culturul exerlences thut 8ruce oened u to hls students. The first time I heard Bruce was his recording of Hotteterres Suite in C. I was deeply moved, even shocked and, based on that experience, I decided to apply to study under him at the Royal Conservatory in The Hague. The only way for me to apply was to prepare a modern oboe entrance exam, but I really wanted to study 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 mastering the instrument and I have come to realize how true that is. We had to play scales from C major up to four sharps and flats accurately with the metronome and tuning meter. We used a fingering program devised by the flute player Ricardo Kanji as well as Bruce Haynes fingering accuracy 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 major and one minor etude from J. Sellners Theortisch-Praktische Oboen Schule, 1825). For Duets we used F. J. Garniers Mthode raisone pour le hautbois c. 1798-1800. Oboe Band. We had to memorize the pieces and march as we played with Bruce. We played French music from the collection compiled by Philidor, the famous music librarian to Louis XIV. As well as practical instruction, there was a reading class. All baroque oboists, violin players, traverso players, and harpsichordists had to read and discuss various 18 th - century treatises by Quantz, Muffat, C.P.E .Bach. Quantz Essai dune mthode pour apprendre jouer de la Flute Traversire (Berlin, 1752) became our bible. In the late 70s and early 80s, The Hague Conservatory had 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 for postgraduate study. Many students came for the certifi- cate and others who studied baroque oboe alongside modern, but there were only four full-time baroque oboe students who completed the UM diploma under Bruce Haynes. These were: 1. Douglas Steinkefirst student to finish baroque oboe studies, former 2 nd oboist of Bruggens Orchestra of the 18 th century. 2. Toshi Hasegawaactive baroque and classical oboe maker. He and Bruce visited the Gemeentemuseum together to measure original instruments and made the instruments together. 3. Jan Grimbergenoboe maker and player now active in Spain. 4. Taka Kitazatooboist with Collegium Vocale Ghent, 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 historical oboe, musicologist). Bruce had a very close relationship with his Japanese students, particularly Masashi Honma who, as well as being the former first oboe in the Tokyo Metropolitan Orchestra, 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 were Wataru Ohshima, of the Osaka Symphony Orchestra and 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 learned from Bruce. If you make a pinprick in a big newspaper, and try to look through it from far away, you wont see anything through it, but as you get closer, you gradually see everything through that tiny hole. In the context of European history, art and so forth, the baroque oboe occupies a tiny place and so is like this pinhole. But as you understand baroque oboe more deeply, you come to see all European culture and history through that lens. I have studied baroque oboe for more than thirty years and 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 received from Bruce. He opened up so many subjects to me subjects that I am still studying and enjoying. Thank you, Bruce. 8ruce estubllshed urtlculurly close tles wlth 'uu nese muslcluns, und thls feed on hls llfelong lnterest ln 'uunese culture. ln 88 Musushl Eonmu heled set u u serles of lectures ut the 1oho Muslc School. Cn thut flrst vlslt to 'uun, 8ruce ulso 'hung out ut vurlous 8uddhlst temles,' und shortly ufter returnlng, re flected thut the trl. 12 succeeded in being just what I wished: a fascinating ex- perience and the fulfillment of a lifetime dream. Aside from a natural affinity with the Japanese spirit, one of the things that appeal to me about the country is its integral otherness. Its an alternative approach to society that works at least as well as our western one (the same kind of fascination with integral otherness makes me love science fiction and baroque music). I had not realized that, in order to truly experience Japan, it is necessary to physically be there. It was with some nostalgia that I watched Japan slip away during our return trip. Al- ready in the plane, of course, there was little left but the translations of announcements. And by the time we stepped out of Vancouver Airport, Japan had evapo- rated away like the morning dew.
lll. 8 Publlclty for 'uun tour, 88. 1hut sense of vlrtuul reullty und resence wus very lmortunt ln 8ruce's thlnklng. 1hrough hls erform unces und wrltlngs, he mude us uwure thut 8uroque lund ls us exotlc us 'uun but, unllke 'uun, we cun never hyslcully vlslt 8uroquelund. ve huve gulde books (treutlses, methods, und flngerlng churts), me mentos (lnstruments und scores), und some snu shots (muslcul lconogruhy, und munuscrlts) but the reullty of the culturul dynumlc und the story of the lund ls one thut we huve to lece together llke u novel lst who fllls ln blunks between survlvlng hlstorlcul mu terlul to creute u hlstorlcul novel, or u sclence flctlon wrlter who bullds u story uround funtusles of whut sclence mlght become ln the future. lrunk de 8rulne, who took over from lu Lbblnge us successor us buroque oboe rofessor ut the Royul Conservutory ln 1he Euguethe ost creuted for Euynes forty yeurs ugo, sulements lltuzuto's com mentury on 8ruce's teuchlng. The first time I saw Bruce was when I went to listen to Danny Bonds baroque bassoon recital. I was in my first year as a modern oboe student at the Royal Conserva- tory and I had heard talk that this event promised to be something special. The first piece on the programme was Handels trio sonata for 2 oboes and continuo in g-minor and the obo- ists were Bruce and his student Doug Steinke. I was deeply impressed and also elated by the entire concert and I knew there and then that what I really wanted to do was to play the baroque oboe. When I became Bruces student it was clear from the start that he liked to do things methodically. He ex- plained that the only way to build a good technique was to devote time daily to technical exercises. These came in the form of long tones, a scale-based study programme for woodwind designed by Ricardo Kanji and, later on, a collection of particularly nasty bits from the repertoire that Bruce had cobbled together under the name finger twisters. At first I was reluctant to comply (or just call me lazy), but Bruce had a soft-spoken insistence about these matters 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 had to tell a story, and a good story too, or it was not really music at all. One memory that sticks in my mind is the first time I brought the Telemann a-minor sonata to a lesson. For baroque oboists this is one of the first pieces of really good music that we get to play. At that time I was using an old cigarette tin (Balkan Sobranie) for a reed case. To explain what was lacking in my playing, Bruce read the text printed on the tin (Made of the finest Yenidye tobacco. etc. etc.) to me twice, once in a rather matter-of-fact way, and then in a way that made it sound really interesting. I had no more questions, in a simple 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 classes where we discussed Quantz, oboe band classes, in which we would also practice our marching skills, others on research, on tuning systems, how to judge a perform- ance, recording and of course reed making which also included staple making, knife sharpening, even how to make your own reed shaper. As a class, we took part in some of the groundwork for the first Music for Oboe catalogue. Each of us was as- signed a volume of RISM to plough through, looking for any music that included the oboe. I also have memories of all of us sitting around a big table trying to make manuscript photocopies legible by typexing out all the smudges. And then there were the many afternoons and evenings that we performed for each other and Bruce himself would often participate in these. What Bruce liked about playing early music was the sense of being a pioneer. He would talk in the lesson on how the baroque oboe gave you the opportunity to rein- vent your own playing, to start almost from scratch again and to play in a way that you really liked, without any obligation to a tradition. When early music itself became mainstream, with established groups and an established vocabulary, it was a disappointment to him. 13 I was very fortunate to meet Bruce and have lessons with 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 nodding drowsily. So I was thinking, murmured the Rat, dreamful and lan- guid. Dance-musicthe lilting sort that runs on without a stopbut with words in it, tooit passes into words and out of them againI catch them at intervalsthen it is dance-music once more, and then nothing but the reeds soft thin whispering.
1he storytelllng element thut 8ruce brought to luylng muslc wus u strlklng feuture of hls uesthetlc. 1o hlm the nurrutlveor rhetorlculelement wus key to unlocklng the secret lunguuge of 8uroque muslc. vell before lt becume the focul olnt of hls wrltlngs ln hls lust yeurs, 8ruce's 'muslcklng' wus ulreudy ulubly lnfectlous. 1oshl Euweguwu reculls how 8ruce's musl cul declslons lnfluenced everyone uround hlm. 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 a person or as a teacher. So, naturally, I was a little anx- ious when I first met him. But the anxiety vanished as soon as we greeted each other and I was welcomed with a warm and caring fatherly smile. He spoke softly and there was no hint of the arrogance that you often en- counter in famous people. I felt at ease with him right away and it was the beginning of our long relationship as mentor and student, colleagues and friends. This first impression of him remained true throughout his life until his departure. There are certain people who change the course of ones life. Bruce was clearly one of them in my life, since I 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 modern oboes. But, as the modern oboe seemed very complicated and difficult, I was somewhat taken aback by the idea of becoming an apprentice in a factory. So, I asked myself: why not start with a simpler looking instrument, like the Baroque oboe. In that way, I could also learn about the history and development of the instrument. At the time, Bruce was teaching an instrument making class together with Ricardo Kanji and late Fred Morgan. It seemed a perfect way to start. Baroque oboe and music with authentic instruments were, at the time, quite unfamiliar to me. Whenever Bruce had a concert, I went to listen. And soon I started to find this instrument something special; so rich in sound and so much more convincing to my soul. I was amazed at the music he could bring out of such a simple, primitive looking piece of wood. I realized how different music can be from the music I was familiar with. Then I knew I had been fortunate to come to the right teacher. Bruces influence on me grew year by year and one day I asked myself if I still wanted to move on to making modern oboes as I had originally planned. I decided then that 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 making Baroque oboes (I have, in the meanwhile added the Clas- sical oboe and the Romantic oboe to my repertoire). It has been worth studying this instrument, in spite of all the difficulties that go with mastering it. Knowing what it is capable of, I can understand why Bach used it so often in his cantatas. Through all his performances and lessons, the most valuable message from Bruce was that musicking is a kind of storytelling. His storytelling was different from anyone elses I knew. He may not have had the best technique or the most perfect intonation all the time, but it was the way he told his stories that made all the differ- ence because it reached deeper into the heart. And I believe that this is the essence of any art form. Naturally, the way of his telling influenced my way of telling. Although I searched for my own individual way of playing, sometimes our ways got mixed, and it took me 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-baritone Max van Egmond, after having played Bachs cantata 82 with him, he told me that my playing reminded him of Bruce OUCH! Afterwards, when I told Bruce about this, he just smiled. Unfortunately, after Bruce moved to Canada, we did not have much chance to see each other any more, but he would always visit whenever he came to The Nether- lands. His last visit was just a couple of months before his death and we said good-bye hoping to meet again the following year, which unfortunately is no longer possible. Deep at night, surrounded by darkness and silence, I have often sat on my couch, tired and frustrated from my work, and listened to Bruces recordings like Bachs Can- tata 82 and his Couperin Concerts Royaux. Bruces playing always makes me feel it is worthwhile going through all the troubles and difficulties of building oboes and gives me renewed energy for the next day. That is the kind of music he produced and that still resonates in my soul. He was truly a special artist and a wonderful human being and I am very honoured to have met him and spent time with him. Lver slnce hls chlldhood untcollectlng duys, 8ruce wus un uvld collector, und us un udult dlrected thls to cutulogulng uny lnformutlon relutlng to the oboe. Els exhuustlve drlve to collect ls exemllfled ln hls Cutu logue of Chumber Muslc for Cboe (whlch grew from u uge tyescrlt ln ,6 to un onllne resource wlth c,ccc entrles), the lconogruhy of the oboe, much of whlch ls colluted ln 3/+ !%&67+". 45&+ whlch ls the encycloedlc und comlete ussembluge of lnformu tlon on oboes, obolsts, und luylng technlques unyone hus ever uttemted. 1here were more seclullzed studles, such us hlstorlcul lnformutlon on reedmuklng 'Cboe llngerlng Churts' (,8), un essentlul flrst ste for uny luyer of eurly oboe to undertuke. lor muny of these rojects 8ruce drew hls students lnto the chuse by lnstllllng ln them the excltement of new flnds. Lver 14 on the hunt for new sources, 8ruce would tuke dellght ln u new flnd. Acclulmed cornetto luyer, 8ruce Llckey recounts u relevunt lncldent: Thirty years ago I purchased the 1744 treatise of Johann Daniel Berlin on all the musical instruments, because it has 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 an orange colored blob, just visible. This is a strawberry daiquiri stain that Bruce made while looking at the fin- gering chart in my living room in about 1985. He was so shocked at what he had done, that he quickly closed the book to protect it, producing an identical stain on the opposite page. I remember two things about this scene. One was his enthusiasm and joy at seeing a source on the oboe that he didnt know. The other was his horror at having damaged, however little, my book. Both were touching. I now consider this little stain to be a badge of honor, like a valuable signature, by which I remember a friend, who, while I didnt see too often, was always a joy to meet. He was always questioning. What a great qual- ity and what a great man he was!
lll. Cboe bund, versullles, c. ,. L to R: 8E, obolsts: Mlchel Eenrl, Llke 8rombey, (unknown), Murc Lcochurd, Loug Stelnke, tullles: (both unldentlfled), bussoons: lu Lbblnge [slc|, z unldentlfled luyers. ln the ,cs Euynes hud the honor of belng the flrst to relntroduce the huutboy ln lrunce ln u serles of chumber muslc concerts orgunlzed by the Com tesse de Cumbure. Mlchel Eenry wus one of the flrst lrench obolsts lnslred by 8ruce to luy buroque oboe und, ulthough never offlclully enrolled us u student ut 1he Eugue, urtlcluted ln muny rojects there. Els reort emhuslzes Euynes' remurkuble ublllty to en couruge creutlve freedom wlthln structured und hlghly dlsclllned nurturlng. I met Bruce Haynes towards the end of the 70s, initially hearing him play the oboe on a recording of the Con- certs des Gots Runis by Franois Couperin where Bruce and Pol Dombrecht played with the Kuijken brothers. For me, attempting to play Baroque oboe in almost total isolation, Bruces style was a true revela- tionthe discovery of a new universe of musical sound. I contacted him and studied with him over the course of several yearsfirstly privately, then as a guest student at The Hague Conservatory. They were unforgettable times. In addition to Bruces teaching, which on several levels broadened my horizons enormously, I had the opportunity to meet other exceptional personalities, like Douglas Steinke (regretfully no longer with us), who played for years in Brggens 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 and branched out into instrument making, or musicological research. In this way, Bruce put into practice what, years later in The End of Early Music, he would call musicking (a term he adapted from Christopher Small). During that time, it was like we were exploring a new continent guided by a pioneer. I recall particularly a concert in the ruins 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 Kanji playing 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 was always open to suggestions, and discussion. Remember that this was back in the 60s and 70s, when so many o the taboos and prejudices aligned with authority had (provisionally) been overturned. Furthermore, Bruce told us repeatedly that the ultimate master from whom we could really learn, was not the professor, but the instru- ment itself. But Bruces freedom was always framed, and went hand-in-hand with numerous exigencies: exigencies of research, rigor and lucidity. We needed to be con- scious of what we were aiming at in each different piece we played. Under his direction supervision, we made tubes for the oboe that practically everyone played in the late 70sinstruments modeled after J. Denner made by Friedrich von Huene and tuned by Bruce himself. He insisted on an almost maniacal level of precision. When one 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 and precision were the only means for us to come closer to traditional knowledge that, before the nineteenth-century industrial revolution, was transmitted orally in the work- shops and instrumentalists families. In short, it seems to me that systematic research, the constant search for validating documentationin a word the scientific approachas a means, and freedom as an end sum up Bruces teaching. Naturally, all that would be meaningless without recognizing before everything else his artistry that gave him a unique personality as oboist. Everyone who heard him, particularly live in concert, will remember his exceptional tone production, his mastery of articulation, and his manner of command- ing and holding the audiences attention. Well before he wrote his principal book, The Eloquent Oboe, Bruce had already 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 admired him are now orphans. The greatest homage we could pay him is to continuously remain inspired by his audacity, his rigor, his absence of prejudice, his unyield- ing principles, his gentleness and, as much as we are capable, his immense talent.
lll. zc Alfredo wlth 8ruce und 8lll vuterhouse ut the Rotterdum lLRS conference, . Alfredo 8ernurdlnl wus one of 8ruce's younger students ln 1he Eugue, und ufter flnlshlng hls studles under lu Lbblnge, creuted the Lnsemble 2eflro, und begun teuchlng 8uroque oboe ut the Sweellnck Con servutory ln Amsterdum, und the Lscolu Suerlor de Muslcu de Cutulunu ln 8urcelonu. As u collector of hlstorlcul oboes, edltlons of oboe muslc und methods, und u edugogue of udvunced study of eurly oboes, Alfredo hus been u leudlng flgure to follow ln the uth churted by 8ruce Euynes. Bruce Haynes gave us the tools to rediscover historical hautboys (Oboe Bibliography, The Eloquent Oboe and many articles), knowledge about historical pitches (The Story of A), and to develop a different and lucid perspective of our world of Historically Informed Performers (The End of Early Music) as well as many other matters. But before all else, Bruce impressed us with his outstanding and unique musicianship, creating an hautboy sound and displaying a musical expression that was a sensation and a huge inspiration to generations of players. For those, like myself, who had the privilege of know- ing Bruce personally and of being his pupil and his friend, Bruces message has gone further. Conversing with Bruce was always an enriching experience. He was radical with his principles and had no interest in com- promise, yet he was always listening to your ideas show- ing an admirable respect and kindness. This way of being was accompanied by qualities such as his unconditional passion, indefatigable determination, scholarly precision, and good sense of humor. Dear Bruce, you were very generous to leave so much wealth to me and many, many others. We will always treasure it and do our best to make good use of it. I am sad to know that I will not spend other days and nights chatting to you as we did many times, but I luckily know where to find you through the precious message you left with your recordings and writings and that will still make me feel close to you and revive the wonderful moments spent together. Thank you my dear Master and Friend, Alfredo. 1ogether wlth Rlcurdo lunjl und lred Morgun, 8ruce heled estubllsh u worksho to truln students ln the constructlon of eurly woodwlnds. Ee contlnued to udvertlse hls own lnstruments, und u rosectus from , llsts Lenner oboes ut Ez, Eotteterre coles ut zEz, Lenner clurlnets (coled ufter un orlglnul owned by UC 8erkeley), musettes, oboes d'umore by Cberlnder, oboes du cucclu ufter Llchentof, und bussoons ufter un unonymous 8thcentury muker: un umbltlous llst, of whlch only u few got ust the roto tye stuge. Ee ulso stocked recorders by the Lutch bullder Coolsmu. Lrlc Eoerlch wus one of 8ruce's recorder stu dents who trulned ln the worksho ln 1he Eugue und, deslte ursulng u cureer on unother lnstrument, stlll recognlzed the lmmenslty of 8ruce's lnfluence. A shln lng exumle of 8ruce's lnfectlous lnslrutlon, Lrlc ls u true loneer ln hls own fleld. Ee ls not only u musterful erformer on the eurly clurlnet, but u world uuthorlty on the hlstory of hls lnstrument und, llke 8ruce, u con trlbutor to the Yule Muslcul lnstrument serles. I think it was a moment in 1980, when Frank de Bruine, one of Bruces students at the time, said to me, Youre becoming the Bruce Haynes of the clarinet, I realized that 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 Id found the perfect role model in practically every way: we were both from California and had come to this rather dreary place called The Hague because it was possible to do what we wanted to do. In addition to being a wonder- fully gifted musician, Bruce had made instruments. I too had begun to make instruments (with his help and en- couragement), and it turned out we were both drawn to the scholarly side of music as well. Years later, when we were both invited to be authors of books in the Yale se- ries, this seemed to be a logical consequence, or maybe even 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 as international respect and renown. My own journey, as ever, lags quite some distance behind. We enjoyed each 16 others company by e-mail or in the occasional meeting. Sadly, our meeting this past February in Montreal turned out to be the last. Despite the shock and the void that I think everyone who knew him must feel, there was a marvelous, calm steadiness and consistency in Bruce that I will never fail to remember and will appreciate daily. As a companion, he is still very much there, smiling, gently prodding with his particular and unique style of analysis and humor. I see him staring off across the room thinking about what was being said, already forming an opinion on the sub- ject at hand. That sense of openness and curiosity will continue to inspire for many years, and I expect it will live on through dozens of others. As much us 8ruce wus u revered teucher, re nowned for the generoslty und cureful uttentlon he uld to hls students, he hud u love-hute relutlonshl wlth teuchlng. Els recrultlng efforts found clusses of uround slx students, und he sulemented hls sched ule wlth reed clusses, und suervlslon of the Conservu tory's woodwlnd worksho. Stlll, the number of obo lsts comlng for fulltlme study wus dlsuolntlng und 8ruce ulso found the studentseven ut whut hud become the remler lnstltutlon for eurlymuslc studynot ulwuys of the hlghest level. Ee struggled for some tlme to reconclle hls dlvlded commltments to luylng, reseurch und teuchlng. As ulwuys, hls reu sonlng wus hlghly hllosohlcul. Around 8c he hud entered u huse where lt wus no longer of lnterest to hlm to communlcute ubout luylng verbully, lnsteud he referred to ut hls knowledge to ructlce. Ee even wondered whether hls students would not be better off wlthout the sychologlcul deendence of lnstructlon, left to work thlngs out on thelr own. 8ruce mulled over these reservutlons for months, then ln 8z he flnully resolved thut he would retlre from the lonlnklljk Conservutory the followlng yeur. As u result of thut declslon, l just mlssed out on studylng wlth 8ruce ln 1he Eugue, but our uths crossed frequently ln subsequent yeurs: flrstly us u groule ut hls con certs, then us u ull, und luter us u colleugue ln er formunce und reseurch. In 1983, I was granted a Dutch Government scholarship to 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 to London, but still felt the need for more lessons. Who better to study with than the man that I had originally sought out? So, in the Fall of 1986 I ventured over the Channel to Ty Napper, Bruce and Susies Brittany retreat where they were living temporarily. Lessons with Bruce were never measured in hours and minutes: they were always rambling dialogues that started with studies and solos, duet reading, and merged into discussions on research dreams, future projects, and instrument building, all flowing naturally into simple but delicious lunches prepared by Susie. I came from an intensive two years of study in Holland, and was as- tounded that Bruce, despite the seminal role he played in creating 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 demanded attention to detail, and thinking in smaller phrase units around calculated climaxes. We addressed breathing as a means of articulating phrases. He recommended taking separate in and out breaths, and starting phrases with- out taking in air to reduce tension and maintain accurate intonation. It was particularly the way Bruce taught French music that was revelatory. In this style it is so easy to play in an emotionally detached way, but Bruce in- sisted on an honest emotional engagement. We explored varying the length of ports de voix to avoid sameness and also to propel the music according to its harmonic direc- tion. He noted that tempo markings in this music often refer 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 will bei meinem Jesu from the St Matthew Passion, we looked at the slurs as indicators of the syllabification of the text in the singers part, and how to give the long notes more life. In the big Bach g minor sonata, he suggested using a question and answer formula to better understand the musical rhetoric. I must have been impetuous in my enthusiasm for this piece, but Bruce brought me back to earth. He was always even tempered and taught quiet conscious self-observation as a means to overcome even the 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 incredibly fortunate to have come under his guidance. He was a model not just as an oboist and scholar, but as 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 searching question that he asks with poised wisdom and a mischie- vous glint in the eye. There was always something new to discover with Bruce. A true pioneer, one inevitably got the feeling that he had already been there in so many ways. I count the period from about 1995-2004 when we worked together on the Oboe entries for Grove and MGG, and on the Yale book as a real gift. We developed a discursive rhythm of writing and reading and critiquing each others drafts, rewriting and rereading. Bruce was always honest in his criticism, and always maintined compassion and patience. There was no question that Bruce was after the truth of the matter, but his remarkable capacity was to show you that the truth was never predictable. ln hls lust yeurs ln Eollund, lruns 8ruggen lnvlted 8ruce to be u foundlng member the Crkest vun der Achteende Leuw (Crchestru of the Llghteenth Cen tury), wlth hls student Loug Stelnke luylng second. Euynes luyed ln concerts u to 8z, when he begun to huve reservutlons ubout followlng hls former teucher's ventures lnto Clusslcul reertolre wlth the corresondlng rlse ln ltch und dlfferent lnstruments thut thls requlred. lor 8eethoven und Mozurt, Euynes 17 wus luylng u Crenser coy by hls student Loug Ste lnke, but the model wus not stuble, und the urbltrury deslgnutlon of Clusslcul ltch ut cEz wus well ubove whut hud become 8ruce's new ldeul: lrench 8uroque ltch ut z (u full ste below cEz).
lll. z 8ruce Euynes luylng Clusslcul oboe So, lnsteud of movlng to luter oboes to luy more fumlllur reertolre, he took the less-churted route of low ltch und eurller muslc. Els new dlrectlon wus very cleur, und tylcul of hls generoslty, 8ruce turned hls declslon to retlre from the Crchestru of the Llght eenth Century lnto un udvuntuge for others. Ee ur runged for Musushl Eonmu und 1oshl Euseguwu to reluce hlm ln the 8z- seusons. Shortly ufter lu Lbblnge steed ln us rlnclul oboe. Although thls slgnuled un end to 8ruce's colluborutlons wlth the fumous Lutch recorder luyer, 8ruggen never lost hls resect for hls rotege's urtlstry. ln u letter duted rd Aug, 8, wrote: Bruce: I listened to Cantata 187, recognized you imme- diately and was moved to tears. Never heard such satanic and angelic oboe playing. Also felt some father-like proudness [sic.], may I? Bravissimo! ln 8, Euynes exressed u slmllur luck of lnter est ln luylng Clusslcul reertolre to Lu Petlte 8unde dlrector Slglswuld luljken. '8ecuuse they ure technl cully so demundlng, l'm reluctunt to lnvest the tlme und energy needed to leurn u new lnstrument for so llttle ersonul rewurd.' 8
8ruce begun seurchlng for lrenchltch lnstru mentsrecorders from von Euene und oboes from Eurry vus Llus, Puul Eullerln, Cllvler Cottet, und oth ers, but severul yeurs luter u dreum cume true. ln 8,, he hud the oortunlty to urchuse un orlglnul seven teenthcentury lrench oboe. 1hls lnstrument by Nuust reluced u coy of un oboe ln the Churles 8lzey oboe ln the MlA (c.,c) by Mury llrkutrlck. lt wus one of 8ruce's most vulued treusures, und one of the must lnfluentlul oboes ln the restltutlon of lrench 8uroque style. Not only wus un oboe of thls uge und rove nunce excetlonully rure, the Nuust's stuble condltlon mude lt lmmedlutely usuble ln erformunce. ln the flrst months of ownlng lt, 8ruce feutured lt ln numer ous erformunces lncludlng, ln some lnstunces hls trunscrltlon of 8uch's ltullun Concerto. 1he Nuust guve Euynes the lnltlutlve to try out the uzzllng short tonote flngerlngs found ln the old flngerlng churts thut, u to thut olnt, most luyers hud uvolded ln fuvor of the most stuble hurmonlc flngerlngs. 1he Nuust necessltuted further exerlmentutlon. lnslred by Murc Lcochurd, he trled u comletely new reed system. ln 8, he wrote to me descrlblng exerl ments uslng u bocul und smull stuleless reeds llke mlnlbussoon reeds. 1he eurly '8cs ulso murked u wutershed ln hls ersonul llfe. Els murrluge wlth 'oun begun to deterlo rute und, soon ufter, he met Susle Nuer, who from thut olnt becume hls llfeurtner. Susle und 8ruce qulckly becume u muslcul unlt colluborutlng ln con certs ln Luroe, the Stutes und ln more furflung luces llke lsruel
und New 2eulund.
lll. zz Susle und 8ruce ln u llghter moment ln u hoto shoot uround 8c. Around the sume tlme thut 8ruggen formed hls Crchestru, Luurette Coldberg estubllshed Phllhurmo nlu 8uroque ln the 8uy Areu. She hud known 8ruce from hls duys luylng ln the 'unlor 8uch lestlvul und she, too, hud ventured to Amsterdum to study hursl chord wlth Leonhurdt ln 66. lrom lts lnstlgutlon ln 8, Luurette, 8ruce und Susle were centrul to the Phllhurmonlu's urtlstlc dlrectlon. 8ruce luyed memo ruble erformunces of '.S. 8uch's veddlng Cuntutu 8vv zcz ut the lnuugurul concerts. Present ut eurly concerts, Mury Cuswell reculls: '8ruce luyed beuutl fully, wus wurm, enguged, lnfectlously enthuslustlc, und l reully mlssed hlm und Susle when they left Phll hurmonlu.' 18
lll. z Photo from Phllhurmonlu 8uroque's ubllclty for the 86 seuson. lront row from outslde: 8E, Loug Stelnke, Susle Nuer, bussoon: Robln Eowell, hursl chord: Luurette Coldberg. 1he ruture wlth Phllhurmonlu murked u dlstress lng turn of fute. 1hls orgunlzutlon, lnto whlch 8ruce hud oured much ersonul lnvestment, ultlmutely turned ugulnst hlm. Legendury horn luyer Lowell Creer reculls: The passing of the great oboist and musicologist Bruce Haynes strikes at the hearts of all who knew him, heard him play, or read his superb books. I first met Bruce in San Francisco in Philharmonia Baroque, and was imme- diately struck by the kindliness and gentleness of his spirit. Chatting with Bruce was like knowing Moses. Somehow there was history, weight, and sensibility to his thoughts. Bruces playing was just like his speech: com- pletely natural. There was no attempt to conform to another sound or pre-existing tone quality. As a result, it was quite therapeutic to hear him play, even for non- oboists. I recall Bruce in many rolesplayer, mentor, and section leaderbut I keep returning to one aspect of Bruce's personality that really encapsulates the concept of collegiality. We might chat about makers, repertoire, fingerings, treatises, etc, in mutual benefit, but I dont believe Ive ever met anyone more helpful or embracing than Bruce in this regard. He always seemed to know how one needed to proceed to locate true north in mu- sic, and he could articulate it in terms that built up a colleague rather than putting them down. I consider him a 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 bring the music of past masters to life. There was a brother- hood, or (if I may still use that term in todays world) a fraternal bond between Bruce and those with whom he shared the concert platform. He always kept the big picture in view, sometimes abdicating for the benefit of others. He divided the labor in the oboes to allow both participation and repose of all. I recall specifically him passing on playing oboe in the Second Brandenberg Concerto, so that Douglas Steinke might play it. 10 His gracious and thoughtful manner was manifest in every verbal exchange heard in those early days of Philharmo- nia, and even the short-tempered were shamed into courtesy! We stayed in far too infrequent communication, so his sense of loss is based on the fireside chat we never had, as well as the severance of past ties. I recall Bruce and Susies departure from Philharmonia Baroque Or- chestra. It was a stark reminder that those behind the scene, who give nothing to the identity of the ensemble, could ignore the charisma and soul of an ensemble and redefine it overnight, forcing it into a new formation. As a playing member of groups, Ive never been able to accept the fundamental wrongness of that aspect of mu- sical life, and it has bitten me on the tuckas, as well. No one is indispensable, except those who make no sound at all. The Orthodox have an expression, May his memory be eternal. The more lofty the artist, the more we as- cribe to them a demi-god stature, presuming that they will live for centuries, if not forever. But it is only the residual merit of their work that endures. Happy we are to have had the fruits of Bruces labors. His was a life of meaning and significance. vlollnlst Mlchuel Sund, unother foundlng member of Phllhurmonlu, ufflrms how much 8ruce guve us u luyer. 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 other memory that says something about his kindness. There was a period when I was suffering from a sort of per- formance anxiety where I would lose my place in the music if I ever took my eyes off the page. This happened to me during a concert we were playing together in the Jerusalem Music Center: I looked away from the music and lost my place. Bruce knew about my problem and saw that I was having trouble. Without skipping a beat, he jumped from his part and played a few notes of mineenough to cue me back in. It was typical of his perceptivity that he was immediately aware I was in diffi- culties and knew what to do about it. I was extremely grateful to him for rescuing meI thought it a very com- radely actionand Im still grateful now, and for the opportunity I had to know Bruce and be his colleague. After leuvlng Eollund und glvlng u hls furm, 8ruce und Susle sturted looklng for u new home buse. Susle hud the use of her urent's house on the exhllurutlng coust of 8rlttuny, but lt wus very dlstunt from uny thlng: the closest mujor center, Purls, wus stlll no where neur the eurly muslc centre lt hus slnce be come. 1hey ulso hud u cleur lntentlon to brlng thelr 19 chlldren u ln u blllnguul envlronment. Montreul wus the obvlous cholce from thls olnt of vlew und, sltu uted hulf wuy between Luroe und Cullfornlu, lt wus ldeul us u buse for thelr trunscontlnentul llfestyle. ln thelr flrst yeurs, 8ruce found hlmself once more u lo neer und guldlng llght ln u fledgllng buroque muslc scene. ln 8 he reorted thut 'very few concerts ure huenlng. Posslbly some 8uch cuntutus next yeur und the odd concert wlth u good cholr. 1here ure good muslcluns here (eseclully slngers) und some suort from C8C und government, but one hus to lnltlute everythlng.' 11 1he focus of hls lnterest hud ulreudy shlfted to reseurch. At the uge of c, he becume u full tlme doctorul student ln muslcology ut the Unlverslte de Montreul, wlth u thesls thut wus the culmlnutlon of hls flndlngs on u subject thut hud become u usslon the hlstory of ltch. Slnce then, he hus held vurlous fellowshls from the SSERC (Cunudu), und ln zcc wus numed Senlor lellow of the Cunudu Councll. Ee hus tuught us '9&:+22+79 ?22&#*( ut McClll Unlverslty where he hus been resonslble for the Performunce Pructlce semlnur. 8ruce contlnued guve seclul workshos ln Su (8elglum) und vuncouver, returned to Eollund on the lnvltutlon of Alfredo 8ernurdlnl und he wus ulso u key member of the orchestru for the 8oston Lurly Muslc lestlvul -zcc. 8ut 8ruce wus not one to glve u luylng so euslly. Ee welcomed lnvltutlons to urtlclute ln u wlde runge of rogrums ln Cunudu und the Stutes. ln l dured to lnvlte hlm to luy the St Mutthew Pusslon ln Roch ester, NY. ve hud u greut tlme tumlng the three heuded beusts of oboe, oboe d'umore und oboe du cucclu. Shortly ufter, the Luyton 8uch Soclety er formed the sume work, und we uguln mude u the sectlon of the flrst orchestru. 1hut wus the flrst of severul glgs ln Chlo where l hud the greut fortune to leurn more of 8ruce's urt. Luyton ulso hosted dlscus slons thut would, over tlme, muterlullze lnto our bookA 8ruce's resence wus felt by muny of our colleugues. Luvld vllson led the vlolln sectlon. I first met Bruce in 1994, at a St. Matthew Passion per- formance in Dayton, OH. I had never heard the baroque oboe played so beautifullythe sound Bruce made floored me. In the years that followed, I would especially look forward to gigs when I knew Bruce would be play- ing. A casual conversation several years later revealed that Bruce had done a great deal of work on historical pitch levels, and when I told him that I was planning to devote a short chapter of my Muffat book to pitch levels, he mailed me a copy of his dissertation as soon as he got home from the gig. I read it with great interest, relied on it 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 couple times for choir gigs. I remember thinking that the choirs had 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 his good nature. Goodbye, Brucewell miss you. Luvld Lusockl, lnternutlonullyregurded uuthorlty on the recorder und lts reertolre, uttended one of the Chlo erformunces, und wrote ln resonse to Luvld vllson: I heard Bruce in 1996, performing in the Bach B-minor Mass, and had the same experience. Tears poured down my cheeks. That was the only time I heard him play live, although I knew some of his recordings. I admired him most for his multi-pronged attack on research about his beloved 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. He saw that any comprehensive view of the history of such instruments must begin with basic research tools and go on to create history from this informed position. So he did brilliant work on a bibliography of the music (which went through several editions), listings and studies of surviving 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. I will miss him greatly. Llke other llvlng legends, lt seemed lmosslble to ever gllmse more thun urt of 8ruce's tulent. Pluylng next to hlmwhether lt be ln the 8 mlnor muss, Lully dunces, or ln u duet reudlng sesslonwus ulwuys u fusclnutlng exerlence. Cne wus druwn to hls luylng, und comelled to emulute lt. 8ut, llke grulns of sund slllng through your flngers, us soon us you felt llke you 'got' whut 8ruce wus dolng und could unswer hlm, there wus u new gesture, u new hruslng thut wus just us lntrlgulng, und just us lnlmltuble. Suruh Luvol, New York freeluncer und comoser wrote ubout the churm lngly sontuneous nuture of her muslcul und soclul lnteructlons wlth 8ruce: I feel so fortunate to have studied with Bruce Haynes. A true 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. I remember in particular one tour of Acis & Galatea that was so magical that I still recall it years later. At each concert hall Bruce had different and more delightful ornaments in the beautiful slow movement, and besides listening to his wonderfully warm sound, his kind soul would open up, and the audience and I would be in tears night after night. Suzie Leblanc was the soprano, and she would sing an answer to his ornaments beautifully. As we warmed up in each venue Bruce would decide which ornaments 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 we discussed everything from Baroque composers and ico- nography to how amazing his sons snow fort was in the back yard. He often spoke of his admiration for Susies lovely gamba playing, and we were entertained by vi- 20 gnettes from Jake, Anais, and Tobias while drinking tea and sampling Susies wonderful cooking. When someone so kind and special as Bruce passes on, it takes a long time to synthesize his departure, but Im left with the feeling of how lucky I am to have had him in my life.
Mole stopped rowing as the liquid run of that glad piping broke on him like a wave, caught him up, and possessed him utterly. He saw the tears on his comrades cheeks, and bowed his head and under- stood. For a space they hung there, brushed by the purple loose-strife that fringed the bank; then the clear imperious summons that marched hand-in-hand with the intoxicating melody imposed its will on Mole... And the light grew steadily stronger, but no birds sang as they were wont to do at the approach of dawn; and but for the heavenly music all was marvelously still.
1he EuynesNuer household fell lnto u uttern of sendlng lull to Srlng ln Montreul und the Sum mers ln 8rlttuny. As the word got out thut 8ruce wus llvlng on the Amerlcun contlnent, luyers ussed through for lessons, or just to hung out wlth hlm und collect whut crumbs of wlsdom they could ln kltchen conversutlon. 1hree remurkuble young urtlsts Mutthew 'ennejohn, Chrls Pulumetu und lurlm Nusr trulned under 8ruce's guldunce und luyed u Mon treul lnto the thrlvlng und vltul Lurly Muslc scene thut lt now ls. ln zccz Susle udded unother feuther to her cu us cutulyst for eurly muslc ln Montreul, by estub llshlng the lestlvul Montreul 8uroque. 1he uths of countless other muslcluns crossed wlth 8ruce's und, even lf less frequently, were just us strong und endurlng. Mlchuel McCruw, bussoonlst und Llrector of the Lurly Muslc lnstltute ut lndlunu Unlver slty, hud heurd 8ruce's recordlngs, und met hlm ln erson ln the eurly '8cs ut u concert ln Cermuny. Both hearing his oboe playing and talking with him after the concert were truly inspiring. I so loved reconnecting after we both moved to Canada. All of us who play early music, especially wind players, owe this man a huge debt. Chrlstoher lrueger, flute luyer wlth the Eundel & Euydn Soclety ln 8oston wrote: I only worked with Bruce for one concert, although I have been influenced by him immeasurably through his writings and through his influence on others. What I remember is a fabulous musician without agenda, with the simple contagious idea that every musician should be as open and as inquisitive as possible; that musicians should do whatever is possible to open imaginative floodgates, that individual ideas are always worth consid- eration, and that the best music making comes from all of the above. He reached an enormous constituency in these regards! Thank you Bruce! lor Renulssuncemun 8yron Rukltzls (flutlst, obo lst, bussoonlst und vlollnlst), 8ruce wus both model und lnslrutlon. I only met Bruce on a couple of occasions but I was deeply impressed by his wit, intelligence and deep love and knowledge of life and music. Truly larger than life. I listened to his recordings in the 80s, and they were one of the influences that drew me into early music in the first 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 a little bit in the last few years. Much more thun just un oboe guru, 8ruce wus u mugnet for scholurs of ull sortsunyone curlous ubout muslc, erformunce, und whut muslcul hlstory meuns to us toduy. Els wrltlng rocess wus one of shurlng muterlul und lnvltlng dlulogue. 1hose who stood ln uwe of 8ruce's uchlevements, could ulso be ustounded by hls modesty. Ruther thun the flnul word on the subject, he llked to descrlbe hls work us just the sturtlng olnt, encouruglng others to go further. ln deed, everythlng wus oen to reconslderutlon, und reworklng. 1hls meunt thut euch of hls books wus ln u constunt stute of flux untll lt flnully reuched the rlnter, u rocess thut demonstruted hls couruge to exose hls 'ruw' ldeus to the muslcul communlty. Cver the yeurs, he would send out comlete book drufts for colleugues und students to mull over, to serve us olnts of deurture for conversutlon und dlulogue thut would go on even ust ubllcutlon. 1he lnscrltlon ln my coy of 3/+ !") &: !?9%$ @72*# reuds 'lor Ceoffrey, Cff lnto the wlld blue yonder.'u remlnder thut, for hlm, even the ubllcutlon of u book wus not the end, but u stlmulus for contlnued commentury, dlscusslon, und debute. ln the sume wuy, hls lust und osthumous book, 3/+ B?./+.*#C @72*#*?", went through vurlous lncurnutlons. 8ruce only begun to flne tune the order of the chuters und the flow of ldeus ufter he hud tuught the muterlul ln u semlnur ut McClll, und hud lncororuted detulled reorts from leuders ln the fleld of muslcul erformunce und rhetorlc. (1hls book, whlch romlses to be u stlmulutlng, fresh urouch to 8uroque muslc, wlll be ubllshed by Cxford Unlverslty Press ln the neur future.) Clven the wuy he worked, there wus never u ques tlon thut 8ruce demunded the uncondltlonul ucce tunce of hls ldeus. 1o urrlve ut truthllke flndlng eucewus for hlm u rocess requlrlng twowuy dlu logue. Lveryone who got to know 8ruce well would, ut some olnt, flnd themselves locked ln umlcuble urgument wlth hlm. 1hese dlscusslons were not motl vuted by ego us u sort, but from u dee deslre to leurn. And leurn we ull dld. vlth 8ruce, there wus never dlscrlmlnutlon be tween rofesslonul und umuteur, exert, or student. Cutherlne Motuz, suckbut luyer und muslcology stu dent ut McClll flrst met 8ruce ubout ten yeurs ugo when she wus usslstlng Susle orgunlzlng the flrst les tlvul 8uroque de Montreul. Eer blog, wrltten just u coule of weeks ufter 8ruce's usslng, lllumlnutes how exclted 8ruce could be to flnd u klndred slrlt who shured hls usslons und lnterests. 21 Monday, 30 May 2011 I recently re-read an email that I wrote in 2008, describ- ing sitting in Susie and Bruce's kitchen. I think its safe to say that its my favourite room in the world. Its beautiful for one, with a great wooden counter, shelves covered with 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 always seems to be a freshly baked creation of Susies to munch on. This kitchen wasand will always bea vortex for early music: festivals, concerts, recordings and books got planned there, and many people met there for the first time; others got to know each other better on return visits. As I write, the memories of conversations with Bruce come backauthenticity in performance (Bruce introduced 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 us illustrate our points). One day during the germination of The 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. We had to order a pizza and open a bottle of wine and no, even then we never quite agreed, but it was a delicious disagreement. My second favourite room in the world is probably Bruce's office. It's right above Susie's music room, where I heard Ste-Colombe performed for the first time, where we rehearsed much of Orfeo in 2007, where I eves dropped on David Greenberg, David McGuinness and others in the middle of creating the CD La Mer Jolie while I worked quietly in the corner in 2004. So as you can perhaps imagine, Bruces office just above is a vast spacevery warm, but vast enough that theres space to pace and move about, and room to step back a bit from even 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 to each movement what he thought the affect was, refining his own list of affects in baroque music in the process. We talked about timing in music, too, and listened in fascination to a recording of romantic violinists playing Bach with no pause for breath whatsoever. In the course of all our talks about music, Bruce communicated an open, welcoming and humble (or humbling) outlook: a willingness to take the time to listen to others, but also the discipline to dedicate time to his work despite everything going on around him (which was always a lot), and an understanding of how crucial it was to give his love of learning warm, vast and well-nurtured spaces to grow in. Being around all this changed me as a person and I very much hope that his memory will con- tinue to do so. I remember the last time I spoke with him, too. We had teaand cakes of courseand talked about music but also about life and the new directions mine would take with starting my Ph.D. I was wary that I had felt compelled to go that day, and not knowing when I would be back again, took care to say a proper goodbye when I left. In a months time Ill present my first academic pa- per in a month's time. I admit that Ive been dreading that when people ask questions after my talk, a part of me that I dont much like will rise defensively to the sur- face. This morning, in the midst remembering Bruce, I cant help but be reminded that I can choose whether this moment can feel like a test of my ignorance or if it can feel like something else. I think in the same circum- stance, Bruce would have looked forward to other peo- ples questions more than to talking himself; he would have loved each opportunity to hear of ideas he hadnt thought up on his own and delighted in other peoples perspectives. And of course thats the way it should be. Thank you, Bruce, for giving me the chance to get to know you enough to realize this. I look forward to the many such challenges his memory will put before me in the coming years. Im going to miss you a lot.
lll. z Cboe bund ut versullles, c. ,. 8E (Lenner coy), Mlchel Eenry (unon. lute 8thcentury oboe, osslbly ltullun), Llke 8rombey, Murc Lcochurd (coy of Custuve vogt's Lelusse oboe by Monln). Eenry und Lcochurd ucknowledge thut thelr oboes were totully unsulted to use ln u bunde de huutbols luylng ut Ez!
Marc Ecochard: When did you start playing oboe, and who was your teacher? Bruce Haynes: I switched over from being 2nd c1arinet in the Junior Band to 1st (and only) oboe at age thirteen. My teacher was Raymond Dust, well known in San Francisco, especially for his solos at the Bach Festival in Carmel, had been a student of Marcel Tabuteau. He was a great player, especially for Bach, and he was very good to me, even selling me his old Marigaux which I paid back by subbing for him when he was overbooked. ME: When was it that you discovered the two-keyed oboe (which we now call the hautboy following the ter- minology that you proposed) and how did that occur?
BH: I was hired by an amateur oboist to teach him the hautboy in about 1960, but was not very interested in the instrument. It was only after I had spent several years studying recorder with Frans Brggen and realized that the recorder repertoire was not very big that it occurred to me to try the hautboy. I still remember people precipi- tously leaving the room when I tried to play it in the first year (my first instrument, I later realized, was not very good). Eventually I had to learn to make them myself if I wanted to be serious. ME: California is far from Europe. What did Europe hold for a young American in the 60s? BH In the early 60s, when l got serious about the recorder, Brggen was really the only serious possibility, and besides, Leonhardt was in Amsterdam as well. By the way, Holland's conservatories are full of foreigners now, both students and teachers; but when l was there in 1964-67, l was the only foreigner in the school. ME: What were you looking for there? BH: Authenticity. And I wanted, in my youthful vanity, to find out how Brggen played so well, so I could do the same. ME: One of your last works, The Eloquent Oboe, con- tains a beautiful and moving dedication to your two oboe professors Frans Brggen and Gustav Leonhardt. Can we talk about your relations and work with these two masters of Early Music? BH: In that dedication I quote an inscription above the portal of a building at the University of Amsterdam that says (in Dutch), If you say something differently, you say something different. And that is how I think about those two musicians: that they said what they said in a different way, and by doing that, they conveyed a music I had never heard before, and which made a stay of three years in Holland well worth iteven getting used to real winters. I was able to do a recorder exam at the Royal Conservatory with Frans, took several courses in Amsterdam with Utti, and heard many concerts, of course. And afterwards, learning the hautboy, I had no official teacher, only the musical ideas from Frans and Utti, and my own determination. (I still remember when I took the audacious step of making a reed as wide as 8 mm at the tip!) There was no one back then to ask a thousand questions: fingerings, pitch, sound, repertoire. Everything was new. But the ideal of the music was al- ways there, the hope of transferring it to the hautboy. And later on I had the great satisfaction of playing my hautboy with those two, when I moved back to Holland. They really were responsible for founding a school of interpretation that, forty years later, I still honor and love to listen to. I think the Dutch school has had a profound influence on hautboy playing in France, by the way. ME: It is true that the Dutch school of baroque per- formance, based on a very precise melodic and rhythmic articulation as well as a ground-breaking re-evaluation of the mastery of tone, profoundly challenged the dominant French interpretational models based on romantic and post-romantic stylistic principles. That school of interpre- tation found its natural application when musicians started to revisit French repertoire from the seventeenth and eighteenth centuries with their new old instru- ments, harpsichords, violins, viols, flutes and hautboys. There is a natural causality between the style of French baroque music and the interpretative research of Frans Brggen and Gustav Leonhardt. How would you situate the style of French music in the present musical land- scape of baroque music performance? BH: Another comment, without foundation other than my own personal sixth sense, is the direct correla- tion I have noticed between Period players who are a little too predictable and nave and those who dont un- derstand French style. Many Period players are comfort- able with Italian and German music, but only a few are Francophiles, lovers of the mystique of French style, which is not only so different from the other styles but quite alien to the aesthetic premises of twentieth-century performing styles. Ive long been convinced that it is a necessary membership card for playing German Ver- mischte Geschmack (or mixed style) to have a good under- standing and sympathy for French music. That is espe- cially true for woodwind players, since the woodwinds were propagated everywhere in Europe in the late seven- teenth century by Frenchmen, who were the first teach- ers and model players. Without that French touch, mod- ern Period players are incomplete: their chant lacks spice and mystery. In other words it lacks a sense of other- ness. If I may, let me add how proud I am to have had the honor of being one of the first to reintroduce the hautboy to France, the country where it was originally created. In the 70s I played many concerts, and after me there was you, Marc, and Michel Henry who took up the cause to be among the first to (again) play the instrument in France. ME: The exportation of French woodwind tech- nique and technology at the end of the seventeenth cen- tury repeated itself with the work of Marcel Tabuteau in the US. One could say that he created an American oboe school with roots in the French tradition that are as strong as those in present-day French pedagogy. You are, yourself an example of a direct pedagogical lineage from Tabuteau through the intermediary of your teacher 23 Raymond Dust. What do you view as essential from the point of view of style as well as technique (embouchure, fingerings, etc.)? BH: We oboists get a sound in our ear, and it stays a long time. I am doomed for my whole lifetime to be try- ing to get a Tabuteau sound from my hautboy, and it would be very satisfying to me if I ever achieved it. There are other concerns, of course, like response and agility that take me in another direction in terms of reeds and embouchure. Its interesting to hear the snippets of old recordings of Georges Gillet, who was Tabuteau's teacher in Paris. The soundmost of it, at least and the delicacy of articulationthat I associate with Tabuteau are there in Gillet's playing. It is interesting to see how playing branched out from there, so that at mid twenti- eth century the French and American sounds, originating from a common root, were so different. About fingerings, I've always been fond of Tabuteaus trademark low forked F, as he disabled the automatic resonance key so the note sounded very distinctive; a bit of the hautboy effect, where the cross-fingerings sound deliberately dull, and very different from the other notes. ME: To characterize the European hautboy played between 1640 and 1760, you chose the term eloquent found, for instance, in the title of your book The Eloquent Oboe. Can you tell us what, in its tonal quality and the players approach justifies this description? BH: My title is a citation from the Hamburg writer on music, Johann Mattheson who, writing in 1713, char- acterized each instrument with a single word (the bas- soon was proud). My book deals with one kind of oboe, the large-bore hautboy, which has turned out to be the instrument Ive spent my life with. For me, Matthesons phrase has always served as a kind of motto because it captures so perfectly the eighteenth-century oboes natu- ral character, already there but also something a player can cultivate: its mellowness and lack of tension, its abil- ity to start and stop instantly, its remarkable capacity to convey and impart meaning, to declaim and discourse, to express forcibly and appropriately, to charm, and to provoke. To the Baroque mind, of course, eloquence was a value, and ones goal as a performer was to speak to ones audience through music, and win them over like an orator. ME: You had the opportunity to play a number of rare original instruments on a regular basis. What crite- ria convinced you to play old instruments in good play- ing condition, and what are, for you, the most noticeable differences between originals and copies? BH: Ive tried between 250 and 300 originals. In 1971 (before it became too difficult) I toured the Euro- pean museums and tried out some 174 hautboys. By now I find its a pretty scientific kind of experience. Most instruments have been decent to good. But what you always hope for is the one that stands out, even from the beginning with the wrong reed and wrong pitch, the hautboy with a sense of flexibility and resonance, depth of tone, a quality that I think of as like the ringing of a large bell. It happened to me several times on that trip in 1971, especially with the Jacob Denner in Nuremberg (MIR 371), which I had to go back and try twice (like pinching myself to be sure l wasnt dreaming). I later copied that instrument (Didnt you copy it too?) and played my copy for years. At the time, I had no clue that it was not at A-415 (the usual German Cammerton, a semitone below A440). Since then, I compared its di- mensions with other Denners, and its noticeably bigger. I still play my copy, but at A-403 (the famous French pitch known as Ton de la chamber du Roy). Compared to originals, I find most copies stiff and cranky, overly decisive about their tuning and timbre, unwilling to loosen up. That comes from sharp corners, brittle and overly heavy wood of too good quality, and the fear of makers to open up the tone holes enough. I regularly work the holes (making them larger or smaller with beeswax), depending on the tonality Im playing in and the reed Im using. ME: What qualities do you look for in a modern hautboy? BH: What l hope for is an instrument exactly like the original, including what might appear to be mistakes. ME: Must a modern hautboy be a faithful copy of an eighteenth-century original? BH: Now were getting into passionate territory. We are living through a period where practically every in- strument maker ardently believes in improving the originals, arguing that we now understand the principles of building, and that one should not copy the mistakes in the originals. But who says they are mistakes? I don't think any of us is in a position to know that. It is true we may not be physically capable of copying exactly (any- more than we can be certain we are really reviving authentic performing styles), but that shouldn't discour- age us from trying. Period musiciansbuilders and play- ershave varying attitudes on this question of fidelity to the original model. Personally, Im not interested in a hybrid; an hautboy that plays as well as possible is a relative idea with changeable criteria. What I really want is an original instrument, and Im willing to change my own technique to adjust to the instrument. So for me an ideal copy is a blind duplicate of an original, warts and all, so l can experiment with it and discover a different world, letting the instrument teach me. That is what the Authenticity Movement is about: not re-discovering the same old world we already know. It is not merely a dif- ferent dialect, it is a new language. ME: Can the modern hautboy claim its own status vis--vis the old models? In other words, can it exist as a separate instrument, without being considered a replica, whether good or bad, of an old instrument? BH: I don't suppose weve tried every combination of possibilities in oboe design between the historical hautboy and the Romantic keyed oboe (the systme 6 Lore that has remained virtually unchanged since the 1880s). Ive sometimes wondered how it might be possi- ble to combine the best traits of the two models to pro- duce a super-oboe. That might be possible now because historically we are in a unique position, and able to com- pare these modelsI wont say objectively, but at least we are able to play them side by side. What music would one play on a super-oboe? Maybe everything, or maybe 24 we could write some new music to go with a new oboe. I have a friend who has invented a super-traverso that is truly amazing. It has the character of a traverso in the directness of embouchure control and the quality of the cross-fingerings, but it is loud like a Boehm flute and has a booming low register. 13
As for basic defects in the design of the hautboy that need fixing like those problems on the traverse: no octave key, and a key to fix the g#/ab problem (the hautboy uses a double-hole for these notes). With those two keys, and somebody to make me good reeds, ferait mon affair, je crois [Id be in business]. Of course, I dont know how long that would satisfy my sense of myself in history. I can imagine after a time I would begin to wonder whether it does not make better sense to use a model that corresponds to the aesthetic of the time and place from which the music comes. Not for some theoretical reason like satisfying the composer's intentions (none of those Baroque composers care any more), but simply for the logic of using the same tools, and thus automatically realizing more of the original idea and inspiration. What interests me is exploring the new possibilities offered by the older models, which represent integral systems (almost always missing their reeds, alas) designed to produce a certain specific idea of what an oboe should do. These models appear to have worked well once in the past; and it is only a question of time for us to learn to use them effectively. And they offer an idea different from ours that is worth exploring. We have much to learn. It is astounding to think how much data is stored in these old originals. Our knowledge and understand- ing of original instruments is limited by two factors: their poor physical condition, and their monetary value. Original woodwinds are difficult to get close to, are sometimes in unplayable condition, and are usually dried out and looking for an excuse to crack. Preservation is one of the jobs of museum curators. But whatever the problems, the fact is that these instruments will not be understood as instruments until they are played over an extended period, something that few musicians or muse- ums are motivated to carry out. There are still designs and types of instrument that are almost completely un- familiar (like for instance the French eighteenth-century Type E, or the very earliest French seventeenth-century examples). 14
ME: After the years of pioneering and discoveries, of which you were one of the principal actors, what obser- vations do you have on the ongoing evolution of Early Music? BH: Ive heard the Authenticity Movement de- scribed as a perpetual revolution. And its true the Pe- riod Style of two generations ago, or even one, is not the Period Style of todaywe can hear that from recordings. I see many hopeful signs; on the hautboy there are some great potential players coming up. The relationship be- tween the Movement and history is curious. I hope we continue to keep the historical orientation, that we re- main observant and use the past as a resource for making concerts for the ever-moving present. But if things con- tinue in their present direction, sooner or later this Movement, like Monteverdi's Seconda Pratica (that thought it was reviving the music of the Greeks), will convert the past into the present, and will find it has become the most important musical aesthetic of the new century. Already it has its own received performing tradi- tion a generation old, passed on by ear. And what will happen to our dear old mainstream institutions, our large and expensive symphony orchestras and traditional Romantic conservatories? I have no wish to see them go, but they seem already under threat. It is they that may be in the museums of the future. ME: You have dedicated the last years to teaching, solo playing, and to research on the history the hautboy (The Eloquent Oboe) and the publication of an enormous study of the evolution of pitch (The Story of A). What direction will your research take you next? BH: At the moment Im writing a book on perform- ing styles of the twentieth century from the point of view of Period style. I call it Authenticity and Happiness. 15 Its great funeveryone should write a book like this at the end of their career. Very cathartic. There are so many things Im learning that I didnt have time to think about before. I listen to a lot of discs, and feel like Im begin- ning to better understand what has been happening dur- ing the last half-century. My one big project is to do what I can to encourage musicians, especially my colleagues in the Period field, to play more expressively, with more personal commitment, and with the purpose of engaging the hearts of their audiences. There is a very interesting historical rationale for this in the thinking of musicians from before about 1800: the art of rhetoric, of persuasion, of moving an audience. If musicians need permission to play passion- ately but want to avoid Romantic ways of doing it, this might be a help. The best way to learn more about a subject is to write a book about it, and Im already deeply involved with a new book with the provisional title Ges- ture, delivery, sincerity: Declamation in Baroque music. 16 It will discuss subjects like the Affects or Passions, persuasion, delivery, personal sincerity in playing, the antiphrase, nuance and inflection, rubato and pauses, Ayre (the per- fect speed and precise Affect of a piece), inconsistency, drama and pantomime. Much of the historical material is French, by the way, so a dramatic approach to early music is, Im sure, a part of the French national heritage. (That heritage fascinates us North Americans, inciden- tally, as we are without much of a history of our own before the Romantic period). 25 Leslte hls negutlve feellngs towurds whut the Romuntlc eru dld to muslc, 8ruce wus u hoeless ro muntlc! Els klds remember how, when they were llt tle, he would slt llstenlng to recordlngs of Pucclnl o erus wlth teurs streumlng down hls fuce und not know qulte whut to muke of lt. Muny reuders of 3/+ !") &: !?9%$ @72*# mlght huve u slmllur reuctlon. 1here Euy nes wus oenly outsoken ubout whut he felt wus the obllterutlon of muslcul rhetorlc ln the Romuntlc eru. An urdent lndeendent thlnker, 8ruce deslsed the structure thut muny Conservutorles hud udoted, the uutocrutlc hlerurchy of modern orchestrus, und the culculuted coldness thut seemed to ervude modern erformunce (on both modern und erlod lnstru ments), where lt seemed ull one needs to uslre to ls uccurucy und correctness. 1o hlm, thls stood ln the wuy of sontuneous, dlrect muslcul exresslonthe exresslon thut he so udmlred ln Pucclnl. Els llfe und works wus u quest to brlng u slmllurly lntense emo tlonul comonent to the erformunce of 8uroque muslc. 1he lssue of uuthentlclty wus ulwuys centrul to 8ruce's thlnklng. Settlng us hls goul the redlscovery of muslc from the ust us lf lt wus newly comosed, he hud un uncunny ublllty to breuthe llfe lnto even the most mundune score. A Eundel sonutu becume u mlnl oeru, u lrench sulte u lyrlc oem nurrutlng tules of u funtusy world. 8ut 8ruce ulso hud u fusclnutlon for the fllslde of uuthentlcltyforgery. Ee questloned whe ther muslc could ever be 'true' or 'uuthentlcully cor rect,' und ln hls urtlcle 'A CorrectlyAttrlbuted luke' lnterroguted the meunlng of u 'coy' of u hurslchord by u bullder who never exlsted. 1hls creutlve (re) constructlon, where rellcu took on such u degree of uuthentlclty thut lt becume lndlstlngulshuble from the genulne urtlcle (Umberto Lco's 'hyerreullty') wus, for Euynes, the ultlmute test of Lurly Muslc's comlng of uge. 1he modern (re)creutlon of the buroque oboe wus symbollc of the grey ureu between uuthentlclty und forgery. ln 3/+ 45&+ he wrote: 'the huutboy muy orlglnully huve been u revlvul of hlstorlcul models, but ln u sense lt hus ulso become the most modern und lnnovutlve form of oboe ln use (). lf muslcul lnstru ments ure u klnd of hyslcul reresentutlon of creutlve currents ln our soclety, the huutboy, once un urtlfuct of our ust, now flnds ltself trunsformed lnto u con temorury form of oboe (z8).' 8ut even more thun the lnstruments, lt ls ln thelr useln our muslcklng thut 8ruce sought u greuter commltment to creutlvlty, urgulng thut lt wus only when muslc wus once uguln comosed ln 8uroque style, would we see lts full flowerlng ln our duy. 8uslcully, whut he sought wus u eretuutlon of the fluldlty between comoser und erformer cultlvuted ln the seventeenth und elght eenth centurles whereby the creutlve und recreutlve urtlsts were elther one und the sume, or the er former took on the resonslblllty of comletlng the comosltlon by uddlng hls own flnlshlng touches ln the form of ornuments. Cne of 8ruce und Susle's closest muslcul col leugues ln Montreul ls the Cermun flute und recorder luyer Mutthlus Muute, dlrector of Lnsemble Curlce, u grou thut enguges ln the mlschlevous lnterluy of hlstory und funtusy. 8ruce urtlculurly udmlred Muute's ublllty to enguge ln the 8uroque muslcul creu tlve rocess us both erformer und lmrovlsor und, us urt of hls celebrutlon of 8uroque muslc's comlng of uge, he commlssloned Muute to comose u sonutu for huutboy. Muute descrlbes the clrcumstunces: At some point a couple of years ago Bruce decided, that the endless row of volumes of Musik in Geschichte in Gegen- wart in addition to all the other musical encyclopedias in his already very impressive library would be too much. He offered me to take over his subscription for this Ger- man encyclopedia for which he had provided some im- portant articles. He happily accepted a musical payment for the volumes already stored on his bookshelves. It was a very pleasing experience to write oboe sona- tas in Baroque style for someone, who obviously cher- ishes music above anything. Naturally one has to exceed ones own limits when writing for such an outstanding musician and connoisseur like Bruce. I worked hard.. This is how an Italian sonata and a French suite for oboe as well as a Trio for recorder, oboe and basso continuo in the style of the 18 th century were born, all of them dedicated to Bruce by his most obedient servant Mat- thias Maute. 8ruce's osltlon on the modern (re)lnventlon of 8uroque muslc rovoked u good deul of debute. Cth ers (myself lncluded) huve ursued u sllghtly dlfferent truck ln the contemorlzutlon of the 8uroque oboe by uslng of the tools of 8uroque muslc, lncludlng lnstru ments, forms und tunlng systems, ln new comosl tlons und ln new tonul ldloms thut seuk to the re sent from the ust. 17
As they stared blankly. in dumb misery deepening as they slowly realised all they had seen and all they had lost, a capricious little breeze, dancing up from the surface of the water, tossed the aspens, shook the dewy roses and blew lightly and caressingly in their faces; and with its soft touch came instant oblivion. For this is the last best gift that the kindly demi-god is careful to bestow on those to whom he has revealed himself in their helping: the gift of forgetfulness. Lest the awful remembrance should remain and grow, and over- shadow mirth and pleasure, and the great haunting memory should spoil all the after-lives of little animals helped out of difficulties, in order that they should be happy and light- hearted as before.
8ruce ulso trled hls hund ut (re)comosltlon. Ee tlnkered wlth u serles of movements from '.S. 8uch und orgunlzed them lnto concertl, dubbed 8runden burg Concertos ,z. 1he zc lestlvul Montreul 8u roque honored hlm resentlng them ln erformunce. 26 PRIDE & PREJUDICE June 24, 2011 @ 7pm, Chapelle Notre-Dame-de-Bon- Secours, Montral. With Bande Montral Baroque, dir. Eric Milnes. New Brandenburg Concertos!? Yes! Discovered here in Montreal by Bruce Haynes! Created from Bach cantata movements, this will be an outrageous concert that breaks all the rules. However, Bach himself would have thought it very natural to steal his own music and trans- form it into something completely different! 1owurds the end of hls llfe 8ruce ulso com osedjcomlled un oeru bused on ussuges from 8uch's sucred vocul muslc. 1he scenurlo of ;%./+? &: 3?92*?, descrlbed us 'u modern buroque oeru serlu' wlth un Lngllsh llbretto by Euynes hlmself, ls bused uround u buttledor (or shuttlecock) tournument on un enchunted lslund. Els close study of the uffects of 8uch's muslc gulded the cholce of recltutlves und urlus. 1he result ls remurkubly drumutlc. Cnly 8ruce could reveul the greut Lelzlg luntor's hldden genlus for oeru! 18
1here wus ut leust one lnstunce where Euynes luyed wlth the notlon of ersonul uuthentlclty by creutlng u nonexlstent roxy to luy 'ln hls luce.' ln 8, he urtlcluted ln erformunces und u recordlng of Rumeuu's oeru F+2 879'9*2+2 )+ %M;E&79. Leslte hls extenslve exerlence lnterretlng lrench 8uroque muslc, he took the luce of fourth oboe. 1hls ullowed hlm to renounce resonslblllty ln u roductlon for whlch he wus not entlrely symuthetlc. Els lmmedlute nelghbor ln the wlnd sectlon, bussoonlst Murc vullon, remembers how, from the very flrst reheursul, 8ruce wus uncomfortuble wlth the urtlstlc dlrectlon. Ee honored hls contruct und suw through the reheursul und recordlng erlod, but when lt cume tlme to flnul lze urrungements for the recordlng, he forbude rlnt lng hls nume on the recordlng. vhen the conductor usked whut nume he should ut, 8ruce just suld 'Ch, 'ohnny Stomunuto.' Ruther thun use somethlng ob vlously mudeu, the dlrector hud the ldeu of glvlng 8ruce resldentlul stutus wlth the 'stuge nume' Ronuld Reugun.
Nearer, Mole, nearer! No, it is no good; the song has died away into reed-talk. But what do the words mean? asked the wondering Mole. That I do not know, said the Rat simply. I passed them on to you as they reached me. Ah! now they return again, and this time full and clear! This time, at last, it is the real, the unmistakable thing, simplepassionateperfect.
Any summlng u of u llfe us roductlve und so fully dedlcuted to the huutboy us Euynes' would full to convey the rlchness of 8ruce's uchlevements. Alreudy u conference entltled "luguclty of future? Strlklng u bulunce und oenlng u new ersectlves of 8uroque Muslc' dedlcuted to hls stlmulutlng theorles wus held ut the Mozurteum ln Sulzburg ln Lecember, zcund u '8ruce Euynes Luy' took luce ut the Royul Conservu tory, Len Euug. 1he full lmuct of thls legendury lo neer cun only be reullzed us we contlnue to curry out hls work. lumed oboe vlrtuoso und rofessor of hls torlcul oboe ut 'ullllurd, Conzulo Rulz summurlzed Euyne's contrlbutlons us follows: What a loss to us all. Another bright light in our field gone too, too soon. What the world of the baroque oboe, and early music in general, owes to Bruce is incalculable. The wonderful life of music that many of us have been privileged to live would simply not have been possible without his example, encouragement, inspiration, and sometimes provocation. So much of what I know about the early oboe I learned from him... As a scholar of our instrument he was without peer. As a performer he em- bodied artistic commitment. He had the courage of his convictions in a way that commanded respect from eve- ryone, but the magical thing about Bruce was his gentle soul. He was one of those very rare people with whom you could disagree vehemently on any number of practi- cal or theoretical issues without forgetting for one instant that in the big picture were friends and allies. Greatness and modesty are rarely so merged. Throughout his jour- ney Bruce made us think harder about music, and ex- horted us to feel it more deeply, and for that our grati- tude will go on as long as we keep playing. Robert Eowe, whose enthuslusm for oboe collect lng und hlstory hus been deely lnslred by 8ruce's loneerlng noted: There is little I can add to the eloquent tributes to Profes- sor Haynes, who managed to mentor me as an instru- ment scholar in only a few intense meetings. His stan- dards for detailed research produced some of the best organology of our generation, consider his papers on Bachs pitch in the Journal of the American Musical Instrument Society, and his four books in seven years, especially The Eloquent Oboe. He surpassed all of my other teachers, pro- fessors and editors in his insight and understanding of how to make a research project work. My favorite story: preparing the third oboe for a massed-oboe performance of the Fireworks, I proposed that he play at A415 in D and I at A392 in Eb, to permit the low C# in bar 12 or so. He was delighted by this proposal, as inauthentic as it may have been, for express- ing the spirit of baroque hautboy players. It pleased me to delight Bruce, and it sounded great. Bruce was a gifted, gentle, hard-working man of many talents; we have lost a giant.
27 Lust words. Reorted by the erson closest to hlm: Susle Nuer. People often remarked that Bruce was very Zen. He was generally a calm person, spoke slowly and thoughtfully, and was a fount of knowledge. But Bruce, I think, was also truly happy in life, and a genuine optimist. A few hours before dying, he was lying in his hospital bed, un- able to communicate except with an alphabet wed writ- ten out on a sheet of paper. With his eyes, he would di- rect us up, down, right or left to spell out words. He had a tube down his throat and a gazillion other things stick- ing into him. He knew he was, at least temporarily, para- lyzed. And yet he spelled out, Michelle (the name of the nurse), get me a desk and a chair so I can work. His very last words were, we think, I am question- ing..... Even though the sentence wasn't finished, I think it is a brilliant summary of his intellectual life, a life com- pleted with passion, gentleness and kindness.
This is the place of my song-dream, the place the music played to me, whispered the Rat, as if in a trance. Here, in this holy place, here if anywhere, surely we shall find Him!
ve ure ull now entrusted wlth the tusk of follow lng 8ruce lnto suces thut he oened u to us. 8ruce ls deud. Long llve the huutboy! Long llve Lurly Muslc!
lll. z 8ruce Euynes, u lute ortrult.
*>K8<, 1 Lee McRue, '8ruce Euynes: Performer, lnstrument Muker, und 1eucher,' 6 (full cltutlon ln blbllogruhy). 2 lbld., 8. 3 lbld., . 4 H+#&9)+92 P?2+) &" N*2.&9*#?% @&)+%2G J9+) @&9D?"Q ,9*.*"D2 ?") @+E&9*+2. 5 vol., releused 8, where the muker's nume ls mlsselled us Eusenugu. 6 "Muklng reeds for the 8uroque Cboe.' 7 1he Royul sult works ure u renowned urchltecturul musterlece from the end of the elghteenthcentury. 8 Letter .xl.8. 9 1hey urtlcluted ln workshos set u by Luurette Coldberg ln 'erusulem ln 8 und 8. 10 Stelnke wus dlugnosed wlth AlLS und dled u short tlme ufter thls erformunce. 11 Letter to C. 8urgess, 'une, 8. 12 Lcochurd osed hls questlons ln lrench to whlch Euynes relled ln Lngllsh. lor the orlglnul lrench ub llcutlon, Lcochurd only hud to trunslute Euynes' re sonses. 1hls verslon reluces hls orlglnul Lngllsh un swers uccomunled by my trunslutlons of the ques tlons. 13 8ruce ls referrlng to the Quebecols flute muker 'eunlrunols 8euudln, who studled ln 1he Eugue when 8ruce wus teuchlng there, und who hus, for u number of yeurs been develolng whut he culls the 'Modern truverso,' bused on elghteenthcentury und South lndlun trudltlonul models. 14 lor elghteenthcentury Luroeun oboes, 8ruce udoted un orgunologlcul tyology thut clusslfled ln struments by meuns of thelr exterlor form. 1hls clussl flcutlon ls detulled ln 3/+ !%&67+". 45&+, . ,88. 1ye L oboes were mude by lrench, vullone und Swlss bullders, und ure churucterlzed by whut 8ruce culled the 'stretch' form, und thelr length ulso guve u low ltch. 1hey ure, umong others, oboes by the Purl slun school of mukers reresented by 8lzey und mem bers of the Lot fumlly: Cllles, 1homus und Murtln. 15 1hls wus u rovlslonul tltle. 1he book wus ubllshed us 3/+ !") &: !?9%$ @72*#A 16 Aguln u rovlslonul tltle. 1hls would become 3/+ B?./+.*#C @72*#*?"A 17 My unthology of new works for buroque oboe und hurslchord R"2'*9?.*&"2 ?") R"#?".?.*&"2 ure exum les, us ure Conzulo Rulz's contrlbutlons ln the new muslc lnltlutlves of the Cullfornlu grou Amerlcun 8u roque. 18 ln fuct, thls wus not 8ruce's flrst comosltlonul ro ject. A smull number of udolescent comosltlons sur vlve, lncludlng u >7+. :&9 &5&+ ?") B*?"&, o.z dedl cuted 'to Rebeccu' und o. , @72*# :&9 J+E?%+ I&*#+2S K%?9*"+. ?") K+%%& (6).