I use a series of etudes that have been passed down to me over the years, including Weissenborn, Milde and Oubradous, among others. I balance the technical studies with melodic studies and solo work. As the student progresses we think about breath support, different ways to create articulation, vibrato and double-tongueing, among other skills. It is important to maintain a love of music by including melodic studies and solo work. In addition, through melodic studies and solo work, I try to help the student understand how the development of technical skills allows him or her to enhance their ability to convey their musical ideas.
Hazy Malcolmson is a passionate and dedicated orchestral, chamber and solo bassoon player and believes strongly in the value of studying and performing established works as well as exploring and promoting new music and educating up-and-coming as well as amateur bassoonists. After attending law school and working as an attorney for several years, Hazy has chosen to return to her work as a bassoon player and teacher.
Born and raised near Boston, Massachusetts, Hazy began her musical studies on the piano at an early age before focusing on the bassoon at the age of ten. Her orchestral studies commenced with her acceptance as a member of the Greater Boston Youth Symphony at the age of thirteen, where she toured Scandinavia with the orchestra in 1994.
While pursuing her undergraduate degree at The Juilliard School (B.M. 2000), Hazy attended several highly regarded summer music festivals, including Pacific Music Festival, National Repertory Orchestra and Music Academy of the West, where she won a full scholarship awarded to a single bassoonist, sponsored by the Bank of America, and was the winner of a competition to play the lengthy and prominent bassoon solo in Shostakovich’s Seventh Symphony, a mournful and tragic solo which is said to describe a mother searching for her dead son in the rubble of Leningrad after the German invasion in World War II.
Through her studies at Juilliard and while participating in summer music festivals, Hazy had the opportunity to play under Charles Dutoit, Leonard Slatkin, Michael Tilson Thomas, Jahja Ling and Bobby McFerrin. Hazy has participated in orchestral and chamber music performances in New York at Carnegie Hall, Avery Fisher Hall, Alice Tully Hall, Merkin Concert Hall and Columbia University’s Miller Theater, in Japan at Tokyo’s Suntory Hall and Sapporo’s Kitara Hall, and in Boston at Symphony Hall and Jordan Hall, and has given a recital at Paul Hall at The Juilliard School.
Hazy is an active freelance and chamber musician and currently is a member of Ensemble Moto Perpetuo, where she participated in the United States premiere of Phillipe Manourys’ Instant Pluriels, and Camerata Notturna and appeared regularly with Prometheus Chamber Orchestra.
Hazy is a devoted teacher and has taught in The Juilliard School’s Pre-College Division.
Hazy’s major teachers and musical mentors include David Carroll, Associate Principal Bassoon of the New York Philharmonic, Judith LeClair, Principal Bassoon of the New York Philharmonic, Dennis Michel, Second Bassoon of the Chicago Symphony Orchestra, Gregg Henegar, Contrabassoon of the Boston Symphony Orchestra and Janet Underhill, a prominent freelance bassoonist in the Boston area.