Interview: Gene Scholtens, Broadway woodwind doubler

Gene Scholtens

One of the awesome things that has happened since I started my list of reed books in musicals is that great people from all over the world have contacted me to contribute to the list. These contacts are always a pleasure for me personally, and they serve to make the list more accurate, complete, and useful for others.

I have a number of regular contributors who contact me periodically with updates, and until recently the record was nearly twenty individual contributions from one much-appreciated person.

That record was shattered when, a few months ago, I started getting emails from Gene Scholtens. The first email was a small correction for one show, but then the floodgates opened. Gene revealed that he has been playing woodwinds in Broadway orchestras for over thirty years, and has been keeping his own very comprehensive log of who plays which doubles on which shows. Gene’s contributions to my list at the time of this writing number a staggering 72.

As it turns out, Gene is not only a talented musician and a prolific record keeper, but also a very nice, humble, and generous guy, and graciously agreed to talk to me on the phone about his career. Here’s what he had to say. [Note: edited for length.]

 

BP: How many shows have you played?

 

GS: I’ve been playing on Broadway since roughly 1980. The last count was somewhere in the neighborhood of 90-95 shows.

 

Wow.

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Faculty woodwinds recital, Aug. 30, 2011

Bret Pimentel, woodwinds
Kumiko Shimizu, piano

Faculty Recital
Delta State University Department of Music
Recital Hall, Bologna Performing Arts Center
Tuesday, August 30, 2011
7:30 PM

Program

Divertissement for multiple woodwinds and piano
Sy Brandon (b. 1945)
World premiere

  1. Intrada
  2. Nocturne
  3. Valse
  4. Marche
  5. Romanza
  6. Galop

Caprice en forme de valse for alto saxophone
Paul Bonneau (1918 – 1995)

Sonata for oboe and piano
Francis Poulenc (1899 – 1963)

  1. Elégie
  2. Scherzo
  3. Déploration

Sonata for clarinet and piano
Francis Poulenc

  1. Allegro tristamente
  2. Romanza
  3. Allegro con fuoco

Ode to a Toad
Ray Pizzi (b. 1943)

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NFA 2011: Woodwind doublers roundtable discussion

Here I am at the far left saying something brilliant and witty. Tereasa Payne, Shelley Collins, David Weiss, and Jim Walker look on in wonder and delight.

At this year’s NFA conference, I had the very cool opportunity to be part of a discussion panel about woodwind doubling. The panel was organized by Florida flutist and doubler Tereasa Payne, and moderated by my Delta State colleague Shelley Collins. The panel consisted of me, Tereasa, Hollywood studio great Jim Walker, and David Weiss, who is the ethnic flutes soloist for Broadway’s The Lion King. It was an honor to be included in a group of such stature!

We spoke to a surprisingly large and enthusiastic crowd. At one point Shelley asked for a show of hands by the doublers in the audience, and we were blown away by all the hands that shot up. The audience asked great questions, and many stayed afterward to talk some more. I was delighted to meet several of you personally who read this blog or who have communicated with me by email or on Twitter.

In advance of the panel, Tereasa had prepared some questions for the panelists to think over. I took some notes to organize my thoughts, and I’m providing them here in an edited version. This isn’t a transcript of the live panel, but it should give you an idea of what was talked about, and of my thoughts about some of those topics.

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Sam Newsome on not doubling

Sam Newsome asks the question, “Can You Double And Still Be A Great Soprano Saxophonist?” As I see it, if you play the soprano using a set-up that’s comparable to a much larger horn, you’re not dealing with the soprano on it’s own terms. It’s being treated as an extension of a much larger horn, … Read more

Historical woodwind recordings on the National Jukebox

Photo, alexruthmann

The United States Library of Congress’s National Jukebox project makes American recordings from the days before microphones available for streaming online. This is a fantastic resource for recordings—classical, jazz, and more—from the turn of the 20th century until the mid-1920’s.

These recordings are not in the public domain, like you might think; Sony, the owner of the recordings, has given the Library of Congress special permission to stream them.

Naturally, I’ve been searching the National Jukebox for woodwind players, and here are a few of my favorite discoveries. Some of the gems include oddities like the Heckelphone and bass saxophone, and there are a few woodwind doublers in there, too. Take note of how woodwind playing, like recording technology, has changed over the past century!

To kick things off, here’s a nice tour of the woodwind section of the Victor Orchestra in 1912:

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Follow the woodwind doublers list on Twitter

For a while now I’ve maintained lists of woodwind doublers’ websites and blogs, but, as it turns out, a number of fine woodwind doublers also have entertaining and/or informative Twitter feeds. Starting today, you can check them out on this site, or head on over to Twitter to “follow.” If you’re a woodwind doubler (of … Read more

Woodwind Doubler Census results, part 8: final comments

I decided to leave a space in the survey for general comments, and many of you took the time to remark on a variety of subjects. Many of them were directed to me personally or seemed otherwise non-public in nature, so I’m not going to list them all, but I’ll share a few and summarize the rest.

Some of you politely made suggestions on how the survey could be better:

  • There’s a big gap between “casual dabbler” and “semi-pro”. I suggest an additional category: “serious amateur” or something like that.
  • It would be good to have a skill level between casual dabbler and music major (something along the lines of “good amateur”). As the poll currently is, it suggests that I play recorder to the same standard as sax. I would consider my recorder and flute playing better than “not at all” but my sax and clarinet playing not to be at the level of “music major”, hence they all closest to “casual dabbler”. I guess it’s too late to change the poll now, but I thought I’d offer my opinion anyway :).
  • maybe ask music arranging abilities. Small ensemble writing for different woodwinds is necessary in my working fields.
  • Not sure what your intent is with this data, but I do think that there are some fields that would be nice to have/know of (of course maybe for the next time you do this)…  For example,
    -“what do you consider your strongest/primary instrument”,
    -consider having three columns in the instruments section like:  own/play/don’t own
  • Didn’t know how to answer some of the questions because I’m still a high school student

I think these are all good suggestions, and ones that I would probably take if I could do the survey over. (At this point I have no specific plan for future surveys, but haven’t ruled the idea out, either.)

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Woodwind Doubler Census results, part 7: doubling tips

We’re close to the end of the results from the Great Woodwind Doubler Census of 2011. I’m particularly excited to share your answers from one of the final questions:

Q. What is/are your best woodwind doubling tip(s)?

Your answers covered a lot of ground, but a few main themes showed up in many of your responses:

A little explanation:

  • Practice (quantity, quality): No surprise here—a large number of you mentioned the need for consistent, organized, focused, and/or extensive practicing.
  • Each instrument is different: A number of respondents pointed out that each instrument must be studied and played on its own terms, without depending on skills to transfer from one to the other. (It’s worth noting that a few of you saw the other side of this issue: that similarities between the instruments can perhaps be leveraged for more efficient improvement.)
  • Get good instruction
  • Work on fundamentals
  • Practice switching: Several of you suggested practicing the actual act of switching quickly between instruments.
  • Get quality gear
  • Flute-specific advice: Some of you offered advice about the flute, mostly about the particular challenges of maintaining a good flute embouchure on limited practice time.
  • Get experience: A few of you mentioned university or community groups as good ways to log some hours of experience on secondary instruments.

Here’s the full list of woodwind doubling tips. If you missed out on the survey, you’re welcome to add your own tips in the comments section.

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Woodwind Doubler Census results, part 6: benefits

In this installment, we look at why woodwind doublers do what they do.

Q. What is the greatest benefit of being a woodwind doubler?

Here’s my own breakdown of the most common types of answers. Many answers fit into more than one category.

  • More gigs: Unsurprisingly, this was a factor for over half of the respondents. However, many if not most indicated some non-monetary motivation:
  • Variety
  • Fun/satisfaction
  • Artistic expression: A number of respondents mentioned the ability to access a variety of tone colors as a motivating factor.
  • Cross-training: Several respondents indicated that playing one instrument improves their skills at another.
  • Challenge

Here is the complete list of responses, with only very minor editing, in random order.

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