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by Mike Telin

It was a grand night for the bassoon last evening (Saturday, January 16) when five outstanding judges and clinicians from the Meg Quigley Vivaldi Bassoon Competition and Symposium came together to perform the second of three Joint Recitals of the weekend in Warner Concert Hall at the Oberlin Conservatory.

In general, the programming of bassoon recitals is problematic. Keeping the audience musically engaged for 90 minutes is not an easy task, however these five soloists chose works ranging from the unknown to staples of the bassoon repertoire, as well as transcriptions that brought out each individual performer’s unique personality and playing style. This, in addition to some brilliant programming co-ordination from Oberlin Professor of Bassoon George Sakakeeny, proved that a bassoon recital is able to provide audiences with a musically magical listening experience. Read the rest of this entry »

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By Mike Telin

The Meg Quigley Vivaldi Bassoon Competition and Symposium gets underway on Friday, January 15 at the Oberlin Conservatory. As background to the event, I reached Founders and Co-directors Kristen Wolfe Jensen and Nicolasa Kuster for phone interviews last week.

Kristin Wolfe Jensen

MQVC Co-Director Kristin Wolfe Jensen has been the bassoon professor at the University of Texas at Austin since 1995, and is also on the faculty of the International Festival Institute at Round Top, and the Eastern Music Festival, where she is Principal Bassoonist of the Eastern Philharmonic. Ms. Jensen is Principal Bassoonist with the River Oaks Chamber Orchestra and previously has toured Europe with the Dallas Symphony Orchestra, and served as Acting Principal Bassoonist of the Houston Grand Opera. The American Record Guide reviewer said of her solo CD Shadings, “…She has simply turned in the finest-played Bassoon recital I have ever heard… She obviously sees tone quality as the foundation for her fluent technique…It is a ravishing sound, siren-like in its attractive flair…Ms. Jensen could teach a lot about musicality to a number of famous violinists…”. Her other chamber music and solo recordings can be heard on the Cambria, Opus One, Klavier, and Centaur labels.

Mike Telin: How did the idea for this competition come about?

KWJ: Nicolasa and I were sitting in a Café in Buenos Aires at the 2001 International Double Reed Society Convention. We had been friends at Oberlin, and we were talking about how we would like to see more young women bassoonists empowered. It seemed as though the majority of bassoonists who were participating in International competitions for the bassoon were male although at least 50% of bassoon students enrolled in music schools were female; so why are female bassoon students not succeeding in International Competitions? We had to ask ourselves what was causing this to happen. I think at that time about 72% of principal bassoonists in orchestras in the United States were male, and why were the females not rising to the top? There has been some change in this in the past decade, which is good.

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