Nadina and Guy

Trumpeter Guy Few and bassoonist Nadina Mackie Jackson are Canadian virtuosos who have collabo-
rated on an album of pieces for their unusual combination of instruments.
Hindemith wrote a double concerto for trumpet, bassoon and strings between 1949 and 1953, and
it has been the only piece for this combination in anywhere near the standard repertoire, or any reper-
toire. It’s unfortunately a fruit of the period that earned Hindemith the reputation as a composer who
was “dry,” “academic,” “pointlessly contrapuntal,” and “dull.” The concerto is brief, though, with some quirk-
ily charming sections, and in a performance as fine as the one recorded here, worth a listen.
Mathieu Lussier, a Canadian composer and bassoonist born in 1973 contributed four pieces to the
CD, including a concerto with the same instrumentation as Hindemith’s. Lussier’s music is genial and
conventionally if not memorably melodious. The most striking piece of his is Bacchanale, which he
originally wrote for flute, bassoon and piano trio, bur arranged for the forces on this recording. The
rhythmic quirkiness and witty light-heartedness of its second section make a it a fun piece that deserves
wider exposure. Vincent Persichetti’s The Hollow Men for trumpet and strings is a classic solo, an earnest
meditation on T.S. Eliot’s poem of the same name.
The disc is filled out with arrangements of two short Shostakovich character pieces that are the
highlights of the album. Few and Jackson play with polished tone, immaculate intonation, and infec-
tious high spirits; it’s obvious they’re having a blast. - All Music Guide, December 2007

1
Duo Affinite—Guy Few on trumpet, corno and piano, and Nadina Mackie Jackson bassoon—created
that irresistible combination of extraordinary musicianship and engaging showboating.
Their loosely-knit theme—prince and princess—was appropriate, with the first half featuring music
either written for royalty (Paganini sonatas), or had a courtly Baroque-inspired dance feel (Boismortier
and St-Saens).
A highlight was the Beethoven variations on a theme from Mozart’s Magic Flute. These seven varia-
tions ran the gamut from dreamy, milky-melodrama, to a mysteriously, misty-minor, culminating in a
final blistering gallop to the finish.
Their playing showcased the deeply expressive talent of each solo performer while also
exploring interconnecting musical tapestries as they wove together the various melodies, har-
monies and accompaniments.
The second set took on a decidedly contemporary feel. Starting off was Canadian composer Bill
Douglas’ Partita for Bassoon and Piano—a fantastically eclectic piece incorporating elements of bebop,
new age, world, and blues traditions.
With the risk of too many ingredients, this piece worked on its own terms, generating a likable, ac-
cessible musical journey.
The final Dance for Trumpet, Bassoon and Piano (Shostakovich), had the audience in stitches as
the pair crashed through a wild cancan, Few alternating between his trumpet and piano with comedic
gusto. - For the Record, July 2008

In a new release from MSR Classics, Nicholas McGegan conducts the Toronto Chamber Orchestra and
soloists Guy Few (trumpet, corno da caccia) and Nadina Mackie Jackson (bassoon) in works by Hummel,
von Weber, and Ignaz Lachner (1807-1895.)
The opening of the Hummel Trumpet Concerto in E-flat Major seems merely concise and professional:
virtuoso Guy Few plays in a mellifluous legato, but if one is looking for a radical new interpretation of
this old chestnut, this CD is not the place to find it. Instead there is a well-polished gem that should
please those familiar with the work but offer no brand-new insights. The Andante, however, is par-
ticularly luscious and lingers in the senses like the memory of a gourmet meal long after it has been
consumed.
Hummel’s Grand Concerto for Bassoon and Orchestra in F Major delivers all the excitement and fresh-
ness one could hope for. Jackson’s chops are fantastic, and the occasionally audible click-clacking of
keys adds a delightful verisimilitude to the recording. Her playing can be described as nothing short of
saucy and supremely confident; those who love the bassoon would be hard-pressed to find more liquid-
ity and precision of articulation. Jackson removes all doubts as to the bassoon being a born solo instru-
ment: the Romanza contains the most delicious, heart-achingly sincere bassoon cadenza I’ve ever heard.
In a unique offering, the two virtuosi pair up for Lachner’s Concertino in E-flat Major for Corno, Bassoon
and Orchestra (Op. 43). This work, sometimes nobly Beethovenian in character and other times remi-
niscent of a Rossini overture, presents a canvas that allows the masterful concertino free reign; their
lightning-quick parallel runs are breathtakingly exact. To McGegan’s credit, the maestro’s fingerprint is
nowhere too distinct—the immensely capable soloists constantly shine through the even texture.
The CD ends with a short Andante and Hungarian Rondo for Bassoon and Orchestra (Op. 35) by von
Weber. Everyone seems to expect nothing but the best from McGegan, and thanks to the wonderful
soloists this recording certainly lives up to that standard. - Lorin Wilkerson, Northwest Reverb, April 4, 2009

"...stunningly beautiful in every way... pure virtuosity... gorgeously together and breathtakingly in tune..." - The Double Reed, Spring 2007

"...Jackson performs with effortless musicality, making the bassoon sound like a human voice." - The National Post

"outrageously gifted"

- Montreal - Le Devoir