While it’s been about a month since the conference, I’m still reflecting on everything I experienced at IDRS. There were so many engaging performances, insightful lectures, and meaningful conversations that it’s taken some time to process it all.
One of the biggest highlights for me was finally meeting Dr. Natalie Law. She is an online educator whose videos I’ve referenced several times since dipping my toes back into the musical world. Her content has helped reignite my passion for reed making, and it was a pleasure to thank her in person.
Another memorable experience was attending a lecture by world-renowned reed maker Mark Eubanks. He gave an incredible presentation on cane tapping and its impact on producing more stable, responsive, and projecting reeds. I found the topic fascinating, and learning how to “tune” the cane at different points throughout the reed is a technique I’ve already begun incorporating into my own reed-making process.
I also had the opportunity to meet bassoon repair specialist Dorian Antipa, who graciously helped me solve a sticking key issue on my Heckel 240 that had been bothering me for several months. We had a great conversation while he worked on the instrument, and I absolutely plan to use his services again in the future.
One afternoon, I devoted nearly the entire day to exploring the exhibit hall and play-testing instruments. I completely fell in love with both the Fox 900 contrabassoon and the Fox 680 bassoon. They offered warm intonation, an immediate and even response throughout every register, and exactly the kind of playability I’m looking for in my next instrument. While neither one came home with me this year, I did make note of a few serial numbers, and I’m hopeful that I’ll be reunited with that Fox 680 someday. (Thanks for putting up with me while I literally tried every model you brought, Haley!)
Beyond those two instruments, I also spent time playing several Yamaha and Püchner bassoons, additional Fox models—including the outstanding Fox 750, which absolutely deserves recognition as an exceptional professional instrument—and several Moosmann bassoons. One particularly exciting moment was meeting Bernd Moosmann himself, who invited me to try one of his newest prototype bassoons constructed from the same wood traditionally used for marimbas.
The instrument was noticeably heavier than a traditional bassoon, making it less ideal for extended standing performances, but the projection and intonation were remarkable. I’m excited to see this model officially reach the market and hear what other players think.
One compliment I’ll remember for quite a while came from the reed maker at Miller Marketing. He followed me as I play-tested several instruments and commented on how well my reeds sounded across the different bassoons. Hearing someone with his experience compliment the warmth, response, and consistency of my reeds was incredibly encouraging.
The exhibit hall also gave me the chance to meet composer Jenni Brandon, whose music I’ve admired for some time. I purchased several of her works and enjoyed chatting with her. I was also able to reconnect with Robert Jordan, who repaired my Heckel bocal a few months ago, pick up a few duet and etude books from TrevCo Music, purchase a beautiful new Aria stand light (which I absolutely love), and stock up on a handful of tools and cleaning supplies.
Outside of the conference itself, I also fell in love with Miami University’s campus. Oxford is a beautiful town, and I thoroughly enjoyed walking across campus each day from my hotel. If my son ever decides to attend Miami University someday, I certainly wouldn’t complain—it would give me another great excuse to visit.
There were far too many outstanding performances throughout the conference to list them all, but a few additional highlights from the evening concerts stand out in my memory:
- An Orange Tree, performed by Leigh Muñoz (IDRS Vice President and Fox Artist) and TK DeWitt (Fox Artist). This featured one of the finest live contrabassoon performances I’ve ever heard. TK’s playing was phenomenal, and Leigh’s artistry on the Fox 750 was equally inspiring.
- Five for the Fifth: Beethoven’s C Minor Symphony for Bassoon Quintet. This was one of my favorite performances of the entire conference. My very first piano recital featured Beethoven’s Fifth Symphony, so hearing it arranged for bassoon quintet—including two contrabassoons—was incredibly special. Dominik Schulz’s arrangement was masterful, and his contrabassoon playing showcased just how agile and expressive the instrument can truly be.
- Bassoonists in Uniform. This ensemble performed four wonderful selections and was simply a joy to watch. Once again, hearing two Fox 750 bassoons in action was a real treat. Their jazz arrangement of My Favorite Things, complete with an improvised bassoon solo, was a particular standout and a wonderful reminder that bassoons can do far more than people often give them credit for.
- Nailing Clouds by Ben Roidl-Ward. While this style of contemporary music isn’t typically what I gravitate toward, I couldn’t help but admire the creativity and technical brilliance of the performance. Ben pushed the bassoon to its absolute limits, producing sounds that made the instrument seem as though it were exploding, crackling with energy, or transforming into something entirely new. The harmonics, overtones, flutter tonguing, and sheer intensity of his performance were captivating. Whether or not the style aligns with my own musical tastes, I have immense respect for artists who continue exploring entirely new possibilities for their instruments.
I could honestly go on and on about my time at IDRS. Every day offered something new to learn, someone interesting to meet, or music that challenged the way I think as both a performer and a composer.
My only real regret is that I couldn’t stay longer—or somehow clone myself to attend everything happening simultaneously.
I’m looking forward to the conference recordings being released so I can revisit many of these incredible performances. Next year’s conference will be held in Pullman, Washington, and I’d love the opportunity to attend. Hopefully the calendar cooperates, because I’d happily do it all again.
Looking back, IDRS wasn’t just my first conference—it felt like the final piece of my return to music. I’m grateful to everyone who made it such a memorable experience, and I can’t wait to see where this next chapter leads.
