Trio Sonata in C Minor by JJ Quantz (ed Robert Bloom) Andante Moderato Allegro Larghetto Vivace Julius Baker, flute; Sara Lambert Bloom, oboe; Masanobu Ikemiya, harpsichord Unedited recording, "Baker's Acres" Brewster 1989 Baker, engineer Trio Sonata in A Minor by JB Loeillet 10:18 (trans by R. Bloom from the B Minor Trio Sonata for viola d'amore, viola d'gamba, and clavecin) Andante Allegro non troppo Adagio Allegro con spirito S. Bloom, oboe; Roberto Diaz, viola; Sandrine Erdely Sayo, piano Live performance, Festival International Des Arts 1992 S. Bloom and Diaz also performed this trio at the 1994 IDRS Conference in Bloomington with Michael Chertock. Her recital included works by R. Bloom, Loeffler, and Joel Feigin's Echoes from the Holocaust, available on YouTube http://youtu.be/78uSnxS1tKo. Adagio by W.A. Mozart (trans by S. Bloom) 19:04 from Flute Quartet in D Major, K. 285 S. Bloom, oboe; Ikemiya, harpsichord Unedited recording, Brewster 1989 Baker, engineer Scores and parts published in The Robert Bloom Collection available at http://RDGWoodwinds.com A recording of the Quantz by Baker and R. Bloom with Juliette Arnold in the 1950s for Baker's Oxford Recording Co label available on http://juliusbaker.com R. Bloom's first performance of his Loeillet transcription was in 1964 on his faculty recital at Sprague Hall with viola, harpsichord, and bassoon continuo. The tape of a live performance with violist David Schwartz and pianist Seymour Fink at Berkeley College 1969, is available on The Art of Robert Bloom: Chamber Music Vol. 2. A Fellow of Berkeley College (where no harpsichord was available) during his 19 years on the faculty at Yale, Bloom's use of the piano on that occasion mirrored the situation most often faced by the Bach Aria Group as it toured America beginning in 1946, developing by necessity their discreet use of the piano as continuo. S. Bloom writes: "This is my own transcription, but Robert coached and heard it so often that I feel it has his blessing. I transposed it down from B Minor to A Minor; Mozart did write for the oboe to a high E, but this work seemed better-colored on the oboe in A Minor. The interpretation of the ornaments in measures 32 and 34 are Robert's, and the simple ending is his. (Mozart's ends on the dominant at m. 34, attacca to the final movement.) Robert marked his ubiquitous "legato sempre e cantabile" under my ms piano reduction. In a performance with the "pump organ" in our church on Cranberry island in Maine, he coached the organist to refrain from pumping at a certain distance from the final measure, creating an enchanting diminuendo. "When asked to describe the musicianship of the conductor, Otto Klemperer, Robert said he loved Klemperer's 'fluid and sincere' musical style. This adagio merits that same description. The pizzicato marking for the strings is not of the serious nature intended by Bach. e.g., in the "Crucifixus" of the B Minor Mass. Not drops of tears or blood, the effect here is more that of a lute accompaniment to a sincere, fluid, ardent expression. However, staccato on the piano is not the same as pizzicato for strings; very little detachment of the sixteenth-note figure in the piano reduction is appropriate." Baker also praised the transcription, allowing it to be recorded in his own studio, often giving gestures to shape the phrasing as the musicians worked. Still photos: 1. Roberto Diaz http://robertodiaz.com 2. S. Bloom at the IDRS Conference 3. St Cyprien http://fredrickkaufman.com 4.-5. Collaboration with Ikemiya led to establishing the short-lived Eden Chamber Soloists: On Cadillac Mountain In Somesville with D'Anna Fortunata 6. Baker was a guest artist several times during the 1980s and 1990s at CCM at the invitation of S. Bloom. He also performed at the Maxwelton House for the LaSalle Foundation concert series, of which she was Co-Director. R. Bloom conducted Cantata 131 on this occasion and Baker performed instrumental works with S. Bloom, James Tocco, Lee Fiser, and Yehonaton Berick. 7. When R. Bloom was unable to continue, Baker stepped in as host of the American Oboist radio series produced and directed by S. Bloom; his guest oboists were R. Bloom, Louis Rosenblatt, Earnie Harrison, Daniel Stolper, and John Shirley-Quirk, the widower of Sara Watkins. 8-9-10-11. Baker took part in the Music From Cranberry Isles recording made in 1990 and also recorded "A Bud for Bloom" composed by Fredrick Kaufman, with S. Bloom and Susan Starr for Sara Lambert Bloom: Premier Chamber Works (Centaur CRC 2084 and 2217). "Bud" was commissioned by S. Bloom on the occasion of Robert Bloom's 80th Birthday in 1988. Baker and S. Bloom were guest artists for a residency at Florida International University at the invitation of Mr. Kaufman, its Director from 1985 through 1995. 12. Sara Lambert Bloom; photo by Sheldon Secunda 13. In Memoriam Julius Baker (1915-2003) http://robertandsaralambertbloom.com

• published: 04 Mar 2014
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