PLAYING BY HEART – memorizing bassoon concerti

I encourage all bassoonists to memorize and to perform from memory.

Just like all of your favourite rock stars.

I mean, can you imagine Pink looking cautiously down at a music stand before she flies across a stadium, belting out Fuckin Perfect??

Pink

Pink. PHOTO: MARTIN BUREAU/AFP VIA GETT

My teachers encouraged me to memorize while at the same time not insisting on it because honestly, it has not been part of contemporary woodwind pedagogy.But thanks to them, my mind was opened to the possibility and I have always aimed to memorize my repertoire.

The first time that I played a concerto from memory was with the Curtis Symphony Orchestra upon my graduation in 1981, performing the ubiquitous Mozart K191. I then performed it two more times with Orchestre Symphonique de Montreal and then with Orchestre de Trois-Rivieres and a pick-up orchestra in California. I played my teacher’s cadenzas for the Curtis performances, then wrote my own cadenzas for the professional performances. I laboured over those and wrote way too much material. I eventually learned to keep cadenzas short, also easier to memorize!

Mozart bassoon concerto Nadina Mackie with the Curtis Symphony

Mozart bassoon concerto Nadina Mackie with the Curtis Symphony 1981

The Mozart bassoon concerto is one of the easiest works to memorize, being simple and clear in structure with distinct and bite-sized solo sections. Tackle it with confidence!

The caste system in classical music places instrumentalists in hierarchies of expectations, with the violinists at the top, and descending somewhat in score order, though truthfully, bassists probably face the same prejudices as bassoonists when it comes to concerti. Woodwinds are not expected to have the mental capacity to memorize, though it is never stated as bluntly. We are to know our place, do our jobs, and not aspire to the limelight. Well, fuck that.

Luckily, my brilliant senior teachers at Curtis, Bernard Garfield and Sol Schoenbach, both believed that we can and should memorize. As an added bonus, they completely believed that women were strong and capable and encouraged me to go as far as I wanted, but the biggest obstacle was often my own self-doubt. And since we encounter all kinds of teachers and influential colleagues, it took me many years to realize that not all great colleagues have all the information that we need, and that is ok. We can be uplifted by our teachers, or our teachers can present useful obstacles that we can intentionally demolish in our own good time.

Memorizing music comes very quickly to me. But that is never the biggest challenge.  After learning the other parts, understanding the structure and harmony to the best of my ability, the MOST important thing for me is drilling the music in such a way that when the demons of self-doubt arise, I will not sabotage myself. That is the greatest part of my work.

And honestly, it doesn’t harm me to put in the extra work to engrave the music into my memory, but it does require access to time. Creating time means identifying your purpose to memorize and to start immediately.

Memorizing is a skill that grows with experience. The time that you put into memorizing one concerto will make it a thousand times easier to memorize your orchestral excerpts and other concerti or whatever it is you wish to make your own through memorizing.

Also, the intention carries forward from one effort to the next. Even if you cannot achieve full memorization for a certain performance, you will for the next. Don’t give up.

I have encouraged my students to memorize, and some of them come to it easily while others are more like me in that they need to work it out over time. How you get there doesn’t matter.

Rehearsing Oddbird Concerto with Michael Hall and Sudbury Symphony Orchestra

Rehearsing Mathieu Lussier’s Oddbird Concerto with the Sudbury Symphony Orchestra, September 22, 2023 with Michael Hall, conductor. Photo probably by Maggie Niro🙂

Recently, I performed Mathieu Lussier’s Oddbird Concerto with the Sudbury Symphony Orchestra, led by Michael Hall. This exceptionally musical conductor also performed the concerto by memory, which was a novel experience for me. I have performed with many great conductors, but none who felt comfortable enough to be off-book in a new bassoon concerto.

Memorizing new concerti takes extra time. And remember to prepare yourself for all other aspects of the experience, from imagining different conductors, where you will be standing, whether the conductor is on a podium or not, whether the orchestra can handle your tempi. . . imagine lots of possibilities and prepare for those too. Imagine stopping and starting, sometimes repeatedly, while the conductor rehearses the orchestra.

The great trombonist, Alain Trudel told me that when he first performed from memory (something that he is remarkably skilled at doing), he would increase the discomfort level by working in smaller and smaller rooms, and finally, by inviting all of his friends to cram into a closet-like space while he blasted through some fabulous trombone concerto. Admittedly, this is a pre-covid strategy, but use your imagination and embrace novel challenges that will train your nerves and strengthen your purpose.

Here is my current process.  You can mix and match. Some things are essential (bold print), others can be exchanged. Try it out for yourself. Talk to others about how they memorize

  • Practice from the full score.
  • Learn the other parts, but especially the interludes between your entrances. Once you have memorized your concerto, you will not be counting in the usual sense.
  • Play all the parts on piano. I cannot play piano at all, but I work through all the harmonies. Sometimes I try singing too. It ain’t pretty but it sure helps my understanding of the music.
  • Visualize the solo part before playing.
  • Write out from memory. At first, use piano or bassoon to assist your memory, eventually arrive at a point when you can write it all out without reference. Bassoon fingerings are not particularly linear or logical, so you need lots of ways of visualizing the music.
  • Sometimes practice from the back of the concerto, or of each movement, to the beginning, overlapping as you go.
  • Play with recordings if any are available. And use different recordings with different tempi.
  • Play with a pianist. If you don’t have a reduction of the orchestra part, have the pianist play one of the string lines, or any other instrumental line. It all helps with your deep knowledge of the music.
  • Play for other people well in advance of the rehearsals and performance. Have the work fully memorized for this.
  • Learn the rehearsal numbers (I always forget about doing this)
  • Start the concerto from different points. Ask people to call out rehearsal numbers and you start there.
  • Practice a rehearsal scenario where passages get repeated.
  • Add your own training ideas.
  • Confidence grows with experience.

 

Berceuse & Concertino

Berceuse

by Mathieu Lussier | Notes From Abroad

Concertino

by Marcel Bitsch | Notes From Abroad

David Swan is one of Canada’s most gloriously fluent and musical pianists. I was fortunate to perform with him for a few years, and record two albums together (Ever After with Prokofiev Sonata and Notes From Abroad). We played 4 Love Songs by Mathieu Lussier on this album. David was playing from a pencilled chord sheet, improvising his part, so if I made an error, we had to do a complete retake just because David made up new beauties every time. After a few years, Mathieu took pity on pianists and created a published version (linked above).

I am playing my former black Heckel #13479 in these two works. Such a lithe and supple bassoon, you can hear the influence of my decade as second bassoon with the Orchestra Symphonique de Montréal… very musical yet very contained and highly civilized to the point of almost being restrained (imagine!). I now explore far greater ranges of colour and expression, yet I enjoy hearing my work from these earlier days.

Uncomfortable nagging thoughts…

It was sobering to witness the extreme poverty and homelessness in the towns and cities to which I travelled for concerts and music-related stuff to Peterborough, Ontario, Fredonia and Dunkirk, New York, Prince George, B.C. and Portland, Oregon… most dramatically in Portland where thousands of tents LINE THE STREETS. I was shocked.

I stayed in a massive historical hotel in Portland, built in 1912, a scene of thousands of past and present conventions and gatherings of business people and those pursuing the American dream (like all of us). Right beside this monument to ambition and well-being, the flimsy filthy tents flutter in the wind as the residents scurry quickly and furtively, trying to stay out of trouble but really, no way to avoid it.

“This All Happened More or Less”

“This All Happened More or Less” by Crystal Schenk & Shelby Davis 2014, bronze, dolomite, stone

What are we doing to equalize opportunity for everyone? Where do classical music concerts fit when thousands of people have no safe place to sleep, let alone a means to find good food? Musicians need work to keep off the streets, and as hard as it is for us to find work, we still seem better off than many. It seems that a major tipping point has to come sooner than later if we don’t address this in a daily steady way. Regardless of the political party, there is an army-in-training on the margins of all the towns I visited… literally marginalized people who are surviving with very little and yet, are tough, resilient and possibly getting angry. If you are doing anything at all to help, that is good. I’m still thinking about this. I regularly donate to music charities, including educational groups and regional orchestras, and I established a nationally registered education charity, the Council of Canadian Bassoonists… these things help with the educational and cultural layer, but what about all the others who face stark, immediate poverty? And how many of those destitute people are also talented musicians, as deserving of education and opportunity as anyone? More than I few, I reckon.

Favourite Restaurants from my recent travels

Excellent affordable restaurants during my travels…

superb Indian menu at Windjammer Restaurant in Clarion Hotel in Dunkirk, New York (limited hours but worth adjusting your schedule to go); in Prince George, B.C., Spicy Greens (I loved the lamb palak dosa),  the homey Madras Maple Cafe along with Wasabi Sushi & Wonton and great coffee at Ristretto  …heaven)

Also really enjoyed Burns Lake’s Dragon Palace restaurant  / for comforting Chinese food and the Boer Mountain Coffee house for excellent coffee etc. And in the formerly sleepy tiny mill town of Houston, BC, near our former ranch, there is another fine expresso joint, The Pallisades Cafe.

And while in Portland, Oregon, I really enjoyed the Stumptown Coffee Roasters on Division Street (and am still enjoying a bag of “El Puente” Honduras coffee beans) and when I visited nearby Mount Hood, the Mount Hood Roasters time stopped for me with a finely-textured latte and a childhood-memory-inducing huckleberry cheesecake “pillow”, a gluten-free pastry (I think).

Madras Maple Cafe

Butter Chicken from Madras Maple Cafe

BASSOOONS!

Blue Bell takes over from Big Red

My new blue Bell bassoon, aka Blue Bell, is a total joy and came through like a champion for all of the concerti and studio recording that I did in springtime 2022. I have chosen to commit to Bell bassoons and sell my glorious 15k Heckel aka Big Red to the immensely gifted powerhouse principal bassoonist of the Oregon Symphony, Carin Miller.​

My Professional Bassoons…. Heckels to Bells

I have played many bassoons and in particular, several Heckels since the start of my life as a bassoonist,  from the 5000 series (made in the first decade of the 20th century) loaned to me as a student by Christopher Millard; to the 6000 series (1920s)  loaned to me by the Curtis Institute of Music when I decided to sell my fancy Püchner; the 10k series (late ’50s through 1960s); the 12k series (1970s); the13k series (1980s) and finally, Big Red, a 15k series Heckel from 2008.

Big Red's last day in the log house

Big Red, ready to fly to Portland. Carin laughed when she saw my suitcase and said “Put a bird on it!” (Portlandia reference that I vaguely remembered)

Big Red's last day in the log house

Blue Bell, here to stay

My last three Heckels really suited my style of playing and led me forward to greater power and expressivity. As bassoonists know, all top-of-the-line professional bassoons take considerable time to make. Waiting times for Heckels increased with each passing year, and the last official notice that I saw from Heckel indicated a 16-year waiting list; they have closed orders until they can catch up. Which puts a huge premium on the already costly newer model Heckels in the 15000 and 16000 series.

Nadina with 12k Heckel bassoon

Nadina with 12k Heckel, Orchestre Symphonique de Montréal, wearing tailor-made, full tails, cufflinks, cummerbund, tie and all 🙂 (what a pain in the ass to tour with that outfit!)

Nadina with 10k Heckel001

With the 10k series Heckel that I won my second bassoon position with Orchestre Symphonique de Montréal… back when I wore long black skirts and earrings🤣

Nadina with 13k Heckel

With #13479, the first one that I ordered directly from the Heckel factory. And a suit that was imposed by the stylist for my first real publicity shots…yikes!

With 13k Heckel in 2006

Photo by Cylla von Tiedemann

#13479, a decade after I was a second bassoonist. Fancy boots were painful…we played the !@#$! Jolivet concerto in those boots!

Photo by Cylla von Tiedemann (dance photographer!) with 15,000 series Heckel, aka Big Red.

Photo by Cylla von Tiedemann (dance photographer) with 15k series Heckel, aka Big Red💖 Note bare feet 🤣

I LOVE (SOME) NEW BASSOONS SO MUCH

Every time that I invest in a new bassoon, it opens different aspects in my playing. And I have discovered that I loved the newer and newest Heckels best of all, and now, the new Bell bassoons.

And equally important, I think that the bassoons respond and develop according to how we play them. Big Red, the 15000 series Heckel, is a true thoroughbred… willing, capable, big, gleaming, powerful enough to soar above the ensemble in solos yet flexible enough to melt into any orchestral texture. 

I have recorded six concerto and solo albums on Big Red, premiered 18 new concertos, played more concerti in concert, played hundreds of solo and chamber recitals, and toured with folk artists on electric bassoon and chamber music/orchestral concerts. I played principal bassoon in chamber orchestra concerts and recordings, and second bassoon often with Toronto Symphony. This magnificent horn is both versatile and distinctive.

Handing Big Red to Carin

I hand-delivered Big Red to Carin Miller in Portland and I will forever cherish the texts and jaw-dropping debut video that she sent upon playing this bassoon for the first time. I keenly look forward to hearing Carin as she continues her own strong career as an orchestral bassoonist, soloist, chamber artist and renowned teacher and founder of Bassoons Without Borders.

I am proud that my former bassoons are still being played by other top players in the world.

Handing Big Red to Carin

Yeah, you know you want our sunglasses.

Big Red and I did a lot of work together, and before him, Black Beauty and Mr. Brown

You can still hear me playing Big Red and the others on many commercial recordings and recorded live performances:  Hummel Grand Concerto, Lachner Concertino, Weber Andante & Rondo, Oddbird Concerto, Sicilian Proverbs, Thirteen Seconds, Vivaldi Concerti, Scarlatti, J-D Braun 24 Solos, Lussier Oddbird Concerto, Double Concerto, Song of Love and Sorrow, (and so many more works), Glenn Buhr’s man will only grieve if he believes the sun stands still, Marc Mellits’ Dark Matter, Paul Frehner’s Apollo X, Constantine Carravasilis’, Silver Angel.… and there is so much chamber music to hear and works with piano. Big Red has made his mark on my life and I’ll never forget him. 

Black Beauty, my former 13000  Heckel can be heard in many Montreal Symphony recordings and in the award-winning concerto album Bacchanale (Hindemith and Lussier Double Concerti) and many chamber music albums, including Musica Franca and Caliban Quartet.

The brown 12000 Heckel can also be heard on many Montreal Symphony recordings, along with the 10,000 series horn that I won the second bassoon position in 1981. 

Nadina Mackie jackson

Photo by Cylla von Tiedemann

We’re all in this together…

And while all of this is mildly interesting, it also underlines how swiftly life passes, and how many beautiful bassoons there are and so much gorgeous music to be written, performed and recorded. Our names will be forgotten, just as the names of all previous bassoon virtuosi and bassoon section players are largely forgotten, but our efforts will somehow resonate in the art of the bassoon makers, the new fantastic concerti by composers present and past, and the general quality of playing (which has always been so much better than we realize)…

Keep up the good work, everyone!

Blue Bell's first concerto recording

Blue Bell’s first recording session, Carnival by Augusta Read Thomas for solo bassoon & wind ensemble May 1, 2022 at SUNY Fredonia

MUSIC, MONEY, SUCCESS & FAILURE – Part One

MUSIC, MONEY, SUCCESS and FAILURE  – Things I Keep Learning  From My Amazing Yet Weird Career

Part One –  how long did it take you to learn that concerto?

After my most recent concerto concert on October 11, 2017, a bright-eyed student asked me how long it took me to learn the challenging and beautiful Apollo X concerto for bassoon, strings and percussion, written for me by Paul Frehner.

Second performance of Apollo X
photo by Bo Huang photography

I was delighted that he had a question, so I blinked and replied, but really, I had answers for so many more questions. Really specific answers to specific (and unasked) questions.  But how to answer this one innocent question… how long to learn a unique concerto?

I wanted to take the microphone, call for silence and announce that multiple lifetimes go into learning any concerto, that life interjects so many unknowns there is not ever a straight, tidy continuum, and that we are never learning only one concerto, except maybe in school.  Even on this concert, we also gave the Canadian premieres of Patricia Morehead’s poly-modal, ornate Come Dance With Me The Dance Of Life, Bernard Garfield’s beloved Soliloquy arranged for strings and Mathieu Lussier’s painfully lovely Song of Love and Sorrow.

Composer Paul Frehner conducts Apollo X with NMJ and Out Of This World Orchestra
photo by Bo Huang photography

 

Composer Patricia Moreland after Canadian premiere of Come Dance With Me
photo by Bo Huang photography

This month, I had 9 other concerts and 13 rehearsals (two of which I missed due to FOOD POISONING)and I prepared 50+ other pieces of music, the shortest of which was one minute (Flight of the Bumblebee) and the longest of which was about an hour (Das Lied von der Erde).  So not much time for last-minute preparation.

In my world, planning is always key yet plans usually change.  If the composer delivers a concerto the day before I record it (as in Sicilian Proverbs on our Canadian Concerto Project Vol I CD), then I learn it in one day and record it the next… if I get it one week before the premiere, as in the second movement of Silver Angel, but I know in advance that this concerto is going to go to high F# on the top of the treble clef staff, then I practice my scales to the stratosphere and then I learn the concerto in one week when the music is actually in my hand.  If my Dad has multiple strokes two days before I premiere a concerto, as in the case of my first performance of Apollo X in 2016, then I wonder, have I “learned” this well enough not to be shaken? And when I played the Mozart concerto multiple times as a student and young professional, and changed the cadenzas every time, how long did that concerto take me to learn? Even when the concertos are “learned”, sometimes an opportunity arises to play something that you haven’t rehearsed for a couple of years.  And in any event, the goal is to perform… learning is implicit and ongoing as skills and perception increase. So it takes not only time, but a lifetime of experience to learn any concerto or great work of music.

I would love to be surprised by other questions from students and interested audience members, but maybe they are too polite to ask.  I have to hustle to pack up the merch, music, bassoon and  hall after a show, but we can always talk while I work.  Here are just a few examples in no particular order of importance.  Of course I won’t have or give answers to all of them yet I still hope that these questions and more will get answered.  And anyone who loves classical music might want to think about the practical elements that go into making it happen.

How much does it cost to self-present a concerto concert?
How long does it take to commission a new concerto?
How do you pay for a commission a new concerto?
How do you approach a composer to ask for a piece?
Do composers ever approach you?
Do composers ever just write a piece and give it to you?
How do I get the music for this concerto that you just played?  Would it make sense to ask the composer who is also at the concert and who just conducted his own piece? Could you introduce me? Could I get his autograph?
How do you know how much to pay composers and musicians?
How do you raise the money? Do ticket sales cover your costs? How much does it cost you to give out free tickets?
Do you make your own programs and posters?  How much does it cost?
How do you sell your tickets online?
How do you manage credit card payments?
Do you have grants or sponsors or neither?
How much do you get paid when you play concerti with orchestras?  How much does a flute soloist get paid? Or a violin soloist?  Why are they different? Why are there no bassoon soloists on mainstage concerts?
How many concerti exist for bassoon?
How many complete concerti did Vivaldi alone write? How many unfinished concerti did Vivaldi start?
How many concerti have been written for you? (see list below)
Where will you be playing your next concerto?
Have you recorded these concerti? (see list below)
Who is writing your next concerto?
How do you write contracts?
Can (did) you learn any of this in school?
How do you book rehearsals for large groups with of people who are working in different orchestras?
Where do you rehearse?
How many reeds do you make?
How much does it cost to rent space?
How do you find time to study scores when you are traveling so much?
What are your methods for memorization?
What other concerti do you play?
Why do you do this when you could make more money sitting in a symphony or opera orchestra or teaching in a U. S. university? Why are there no bassoon professorships in Canada?
Do performers need to learn anything special about performing? Or do they just walk on stage and play?
Is a hand-picked group different from an established orchestra?
Where did you get your dress/boots/hair/attitude?
How do you look after a family while being a musician?
How do you learn to play in the extreme high range of the bassoon?
Who was the first woman bassoon soloist?  Who was the first black woman bassoon soloist? And the second?
How do you get people to come to concerts?
Who takes care of the logistics of copying music, correcting parts and getting it to the players?
Who takes care of stage management, lighting and recording?
Who books your  CD tours to take this music to the people?
Do you have to pay people to do those things? Or do you do it yourself?
Do you have any support from your university?
Do you have a website? YouTube channel? Soundcloud?
How do you play when you are sick?
Is it true that you can be a great soloist, chamber musician, teacher and orchestral player?  Or can you only be one of these things?
Is this a lonely life?  Does it take more time than a regular job?
Who else is performing bassoon concerti in Canada? In the US? In the world?
Are there other Canadian bassoonists who have done something like this? What are their names?  Which concerti did they commission?  Where can I get parts and scores for these concerti?
How would I learn to do all this?
Do you need interns to help with rehearsals and concerts?

The goal is to ask a million questions and do a million things and to be curious.

So, in answer to the question, how long did it take me to learn Apollo X…somewhere between a year and a lifetime.

Concerti and works for solo bassoon and orchestra written for Nadina Mackie Jackson
First performance dates and venues

1. SONG OF LOVE AND SORROW (2017) by Mathieu Lussier, for solo bassoon and ?strings, premiere October 11, 2017 at Heliconian Hall

2.  squeezed from wood (2016) by Lucas Oickle for solo bassoon and full orchestra
commissioned by Nova Scotia Youth Orchestra
August 27, 2016, St John’s Anglican, Lunenburg, Nova Scotia with Nova Scotia ?Youth Orchestra led by Dinuk Wijeratne
August 28, 2016, deCoste Centre, Pictou, Nova Scotia with Nova Scotia Youth ?Orchestra led by Dinuk Wijeratne
August 28, 2016, Halifax, St Matthews United Church, Nova Scotia with Nova Scotia ?Youth Orchestra led by Dinuk Wijeratne

3. SILVER ANGEL (2015) by Constantine Caravassilis for solo bassoon and string orchestra, commissioned by Ontario Arts Council and Thirteen Strings (Ottawa) June 12, 2015, St Andrews, led by Kevin Mallon
October 24, 2016, Heliconian Hall, Toronto, led by Constantine Caravassilis

4. APOLLO X (2013)by Paul Frehner, for solo bassoon, string orchestra and percussion, commissioned by Ontario Arts Council & Orchestra London
November 21, 2013, Hyatt Hotel Ballroom, fundraiser gala, first movement only, Orchestra London led by Alain Trudel
February 5, 2016, Centre for Social Innovation, world premiere, group of twenty-seven chamber orchestra led by Eric Paetkau;
October 11, 2017 with NMJ and Out of This World, Heliconian Hall, Toronto

5. SICILIAN PROVERBS (2013)by Michael Occhipinti for trumpet, bassoon & string orchestra ?with percussion and electric guitar, commissioned by Nadina Mackie Jackson
April 25, 2014 , Bloor Street United Church– group of twenty-seven chamber orchestra led by Eric Paetkau

6. THIRTEEN SECONDS by Michael Occhipinti – for trumpet, bassoon & string orchestra with percussion and electric guitar – gift of composer April 25, 2014, Bloor Street United ?Church – group of twenty-seven chamber orchestra led by Eric Paetkau

7. NIGHTFALL, Op. 27(2009) by Mathieu Lussier for trumpet, bassoon, harp and wind ensemble, commissioned  by the American Wind Symphony
?November 23, 2009, Maureen Forrester Recital Hall, WLU Wind Ensemble led by ?Michael Purves-Smith

8. FORT COLIGNY (2014)by Mathieu Lussier for trumpet, bassoon & orchestra
February 16, 2014, Toronto Centre for the Performing Arts– Orchestra Toronto led by Kevin Mallon

9. man will only grieve if he believes the sun stands still (from Bassoon Concerto No. 2)(2010) by Glenn Buhr (also exists in a version for corno da caccia & bassoon)
November 9, 2012, Grace Church on the Hil – group of  twenty-seven led by Eric Paetkau

10. CONCERTO by Adam Scime (2010)for amplified bassoon, electronics and chamber ensemble, January 24, 2011, Walter Hall, University of Toronto New Music Ensemble, led by Constantine Caravassilis

11. ODDBIRD CONCERTO(2011) by Mathieu Lussier for bassoon, string orchestra and percussion November 15, 2013, Trinity St-Paul, Toronto, group of twenty-seven chamber orchestra led by Eric Paetkau

12. CARNETS DE VOYAGES (2007)by Alain Trudel, double concerto for trumpet and bassoon with string orchestra and percussion, commissioned by CBC February 8, 2008, Glenn Gould Studio, CBC, Toronto Chamber Orchestra led by Alain Trudel

13. LE DERNIER CHANT D’OPHELIE(2008) by Mathieu Lussier for bassoon & string orchestra
February 2008, Glenn Gould Studio, Toronto Chamber Orchestra, led by Alain Trudel (repeatperformances May 21, 2016,Toronto, May 23, 2016, Drayton, June 4, 5 and 6, 2016 inEugene, Oregon and September 25, 2016, Toronto)

14. SPRING LULLABY(2007) by Mathieu Lussier for bassoon and string orchestra
2010, Ayr, Ontario, Grand River Baroque Festival Orchestra led by Eric Paetkau
(also exists in a version for corno da caccia & bassoon)

15. BASSANGO by Mathieu Lussier for bassoon & string orchestra
February 2, 2014, Brampton, Rose Orchestra led by David Warrak
Amati Saskatoon at Convocation Hall;
August 27, 2014 in Hattiesburg, Mississippi in Marsh Auditorium of the University of Southern Mississippi
August 30, 2014 in Harris Hall at the University of Memphis (Bassoonapalooza); University of Toronto, September, 2016
August, 2009, Just Plain Folks music awards, Wildhorse Saloon, Nashville

16. BACCHANALE by Mathieu Lussier for trumpet and bassoon  with string orchestra
June 16, 2007, Ayr, Ontario, Grand River Baroque Festival
2007, Fredonia, New York, State University of New York at Fredonia 2007
2012 Saskatoon, Amati Strings

17. DOUBLE CONCERTO by Mathieu Lussier for trumpet and bassoon with string orchestra
June 16, 2007, 2010 Grand River Baroque Festival
2014, Okanagan Symphony Orchestra led by Rosemary Thomson
April 4, 2014, Kelowna Community Theatre, Kelowna, B.C.
April 5, 2014, Cleland Community Theatre, Penticton, B. C.
April 6, 2016, Vernon & District Performing Arts Centre, Vernon, B. C.

Nadina Mackie Jackson – Complete Discography 2017
solo recordings
SCARLATTI k545, k213,
k501, adapted for solo bassoon.
Independent (2015)

CANADIAN CONCERTO PROJECT VOL I
Lussier Oddbird, Le Dernier
Chant d’Ophélie; Occhipinti
Sicilian Proverbs, Thirteen Seconds;
Buhr man will only grieve
if he believes the sun stands
still. msr Classics 1480 (2012;
Juno nomination 2014)

VIVALDI CONCERTI VOL I rv479,
480, 483, 484, 491, 495, 498, 499.
msr Classics 1451 (2011)

ROMANZA Hummel Concerto;
Weber Andante & Rondo;
Lachner Concertino
msr Classics 1232 (2008)

BACCHANALE Hindemith & Lussier
Double Concerti; Bassango &
Spring Lullaby.
msr Classics 1201 (2007)

AFTER HOURS Shostakovitch,
St Saëns, Rimsky-Korsakov,
Paganini, Boismortier,
Piazzolla. Independent (2010)

24 SOLOS (1740), Jean-Daniel
Braun Independent (2010)
Notes From Abroad Bitsch Concertino,
Schreck Sonata; Lussier,
Schurmer. Independent (2004)

EVER AFTER, Prokofiev Sonata
opus 94; Scarlatti Sonatas, Bach;
Lussier Caprices. Independent(2003)

TELEMANN FANTASIAS, Complete
Flute Fantasias. Oddbird
Studios (2000)

chamber music
THREE with Leslie Newman
and Guy Few, Piazolla, Kuhlau,
Couperin. Independent (2015)

CAMERA Music of David
Occhipinti. lmc Media (2012)

Business of Angels
Baroque PIP1110(2011)

AUX ARMES CITOYENES! – Classical
Wind Sextets. atma Classique
(2010)

MUSICA FRANCA: Michel Corrette
Complete Délices de la Solitude;
Le Phénix; Organ Concerto no.1 in
G Major. msr Classics 1171 (2005)

MUSICA FRANCA: Joseph Bodin de
Boismortier msr Classics 1170
(2005)

CALIBAN DOES CHRSITMAS Caliban Does Christmas. atma
Classique (2005)
Feast. bis Northern Lights (2003)

BASSOONATICS cbc Records (1997)

baroque and classical
orchestras
Haydn Symphonies 62, 107 &
108, Toronto Chamber Orchestra.
naxos 8572130 (2008)

Pichel Symphonies, Zakin 8, 11, 14
& 16, Toronto Chamber Orchestra.
naxos 8557761 (2005)

Handel Israel In Egypt, Aradia
Ensemble. naxos 8570966-6

Handel Water Music and Music
for the Royal Fireworks, Aradia
Ensemble. naxos (2006)

Handel Music for the Royal Fireworks
and Concerti a due chori,
Tafelmusik Baroque Orchestra
sony (1997; Juno Award 1998)

orchestre symphonique de
montréal with charles dutoit
thanks to OSM website

Bartók Concerto for Orchestra,
Music for Strings, Percussion
and Celesta. Decca 421-443-2
(recorded 1987; released 1988;
Juno Award 1989)

Berlioz Harold in Italy, Overture
‘Rob Roy’, Overture ‘The Corsair’,
Pinchas Zukerman. Decca 421-193-
2; re-edition #455361 (recorded
1987; released 1988)

Berlioz Roméo et Juliette,
opus 17, Symphonie funèbre
et triomphale, mso Choir. 2-Decca 417-302-2/
(excerpts) 425-001-2 (recorded
1985; released 1986)

Berlioz Symphonie Fantastique,
opus 14. Decca 414-203-2
(recorded 1984; released 1985.
Grand Prix du Président de la
République-France, 1986; Prix de
l’Académie du disque du Japon,
1997)

Berlioz Le Carnaval Romain.
Decca 028945248028 (recorded
1984, released 1997)

Bizet L’Arlésienne Suites 1 and
2 (arr Guiraud); Carmen Suites
1 and 2. Decca 417-839-2 (recorded
1986 & 1987; released 1988)

Chopin Piano Concertos 1 and
2. Jorge Bolet. Decca 425-859-2
(recorded 1989; released 1990)

Debussy Images, Nocturnes.
Decca 425-502-2 (recorded 1988;
released 1990; Juno Award 1990)

Debussy La Mer, Jeux, Le Martyr
de St-Sébastien, Prélude à l’aprèsmidi
d’un faune. Decca 430-240-2
(recorded 1989; released 1990;
Grand Prix de l’Académie du
disque du Japon, 1991)

Debussy Pelléas et Mélisande,
Didier Henry, Colette Alliot-Lugaz.
2-Decca 430-502-2 (recorded 1990;
released 1991; Prix Félix adisq,
1991; Preis der deutschen Schallplattenkritik,
1991; Juno Award
1992; Grammy nomination 1992)

Elgar Enigma Variations, Falstaff.
Decca 430-241-2 (recorded 1989;
released 1991; Prix Félix adisq,
1991; Preis der deutschen Schallplattenkritik,
1991; Juno Award
1992; Grammy nomination 1992)

Falla The Three Cornered Hat
(complete ballet), El Amor brujo.
Decca 71060/Decca 410-008-2/
Three Cornered Hat selections,
Ovation 417-748-2 (recorded 1981;
released 1983; Prix Georges-Auric
de l’Académie du disque français,
1984; High Fidelity International
Record Critics’ Award, 1984)

Fauré Requiem, Pavane, Pelléas
et Mélisande. Kiri Te Kanawa,
Sherrill Milnes, mso Choir. Decca
421-440-2 (recorded 1987; released
1988)

Fête à la Française: Bizet, Dukas,
Satie, et al. Decca 421-527-2
(recorded 1987; released 1989)

Franck Symphony – d’Indy Symphonie
sur un chant montagnard
français, Jean-Yves Thibaudet.
Decca 430-278-2 (recorded 1989;
released 1991)

Gershwin Rhapsody in Blue, Guy
Cowley; An American in Paris,
James Thomson; Cuban Overture;
A Symphonic Portait of Porgy and
Bess. Louis, Lortie. Decca 425-
111-2 (recorded 1988; released
1989; Prix Félix adisq, 1990)

Holst The Planets, Women of
the mso Choir. Decca 417-553-2
(recorded 1986; released 1987;
Juno Award 1987, Grand Prix du
Disque, Canada, 1988; Edison
Award, Amsterdam, 1988; Mumm
Champagne Classical Music
Award, 1988; Grammy Nomination,
1988; Grammy nomination
Vidéo, 1996)

Lalo Symphonie Espagnole;
Saint-Saëns Violin Concerto no.3,
Joshua Bell violin. Decca 425-501-2
(recorded 1988; released 1989)

Mendelssohn A Midsummer
Night’s Dream, opus 61; The
Hebrides; The Fair Melusine;
Ruy Blas. Decca 417-541-2
(recorded 1986; released 1987)

Mussorgsky Pictures at an Exhibitio;
Night on the Bare Mountain;
Khovanshchina; Rimsky-Korsakov
Russian Easter Festival Overture.
Decca 417-299-2 (recorded 1985;
released 1988; Grammy Nomination
Vidéo, 1996)

Noël Noël. Leontyne Price,
Tudor Singers of Montreal.
Decca 410-198-1 (recorded 1983;
released 1983; Grammy nomination,
1984)

Offenbach Gaîté parisienne;
Gounod Faust (ballet). Decca
411-708-2 (recorded; released
1984)

Prokofiev Roméo and Juliet
excerpts. Decca 430-279-2
(recorded 1989; released 1991)
Prokofiev Symphony no. 1
‘Classical’; Symphony no. 5.
Decca 421-813-2 (recorded
1988; released 1989)

Prokofiev Alexander Nevsky,
Lieutenant Kije, Jard Van Nes.
Decca 430506 (recorded 1990;
released 1992)

Ravel Boléro; Alborada del
gracioso; Rapsodie espagnole;
La Valse. lon 71059/Decca
410-010-2/4-Jubilee 421-458-2/
10-Decca 430-239-2/(Boléro, La
Valse) Decca 414-406-2 (recorded
1981; released 1982; Prix Félix
adisq, 1983; Disque d’Or, Canada,
1983; Disque de Platine, Canada,
1984)

Ravel Ma Mère l’Oye complete
ballet, Pavane pour une infante
défunte; Le Tombeau de Couperin;
Valses nobles et sentimentales.
Decca 410-254-2/4-Jubilee 421-
458-2/(Pavane) Decca 414-406-2
(recorded 1982; released 1983)

Ravel Orchestral Works.
4-Jubilee 421-458-2 (1988)
Ravel Piano Concertos; et al.
Pascal Rogé. Decca 410-230-2
(recorded 1982; released 1984;
Prix concerto français de
l’Académie du disque français,
1984; Prix Edisson, Amsterdam,
1984)

Respighi Pines of Rome, Feste
Romane, Fountians of Rome.
Decca 71091/Decca 410-145-2
(recorded, 1982; released 1983)
Rimsky-Korsakov Scherazade
suite; Capriccio espagnol.
Richard Roberts. Decca 410-253-2
(recorded 1983; released 1984)

Saint-Saëns Symphony no.3,
Peter Hurford. Decca 71090/Decca
410-201-2 (recorded 1982; released
1983; Prix de la musique française
de l’Académie du disque français,
1984)

Stravinsky The Firebird; Scherzo
fantastique; Feu d’artifice. Decca
414-409-2 (recorded 1984; released
1986)

Stravinsky Pétrouchka, Le Chant
du Rossignol, Quatre études, Art
Maiste. Decca 417-619-2 (recorded
1986; released 1987; Laser d’or
de l’Académie du disque français,
1988; Grand Prix du disque,
Canada, 1988)

Suppé Overtures. Decca 414-408-2
(recorded 1984; released 1986;
Prix Félix adisq, 1986)

Tchaikovsky 1812 Overture,
Capriccio italien, The Nutracker
Suite, Marche slave. Decca 71058/
Decca 417-300-2 (recorded 1985;
released 1986; Prix Félix adisq,
1987)