Skip to main content

Upcoming Concert

I'm starting the season off with a bang. This Saturday is Art Beat, South Bend's day-long celebration of the arts, and in addition to playing a symphony concert that evening (at 7:00 in the Chris Wilson Pavilion at Potowatomie Park) I am performing a half-hour solo set during the street festival (at noon at the Key Bank plaza at Jefferson and Michigan). I'm definitely looking forward to playing for a LARGE group of people who do not know me (yet!) at all, and I have good material.

I'll be performing several of the Telemann Fantasies, the Britten Six Metamorphoses After Ovid, some of the Dorati Cinq Pieces, and one of the Silvestrini Etudes - more if I get brave. The casualness of the outdoor venue will work well for me, as I can talk between pieces and introduce what I'm doing and put some of the weirder moments into context. It should be a good representation of what I do, and my goal is to raise awareness of ME, so that when I advertise my big recital tour in the spring people will have some idea of what I am about. If I bring attention to the symphony as well that can only be good.

I've been challenging myself lately to push my solo and recital playing more. I love playing in orchestras, but I don't like the lack of control I have over the scheduling, programming, and contract details. No matter how hard I work at my craft I am only one small part of the front end of the operation. We're renegotiating our contract now, and it is so discouraging to see our season shrinking and our pay frozen. I can't really do anything to improve the situation for the symphony - for any of the symphonies I am affiliated with - but I can take control of my own career.

The wonderful thing about my life is that with all of the things I do (multiple orchestra contracts, teaching, reed business, solo recitals) there's always something to do. It's actually a riskier prospect in this economy to have a great full-time orchestra job - not that I would turn one down - because as your one main employer feels the pinch it inevitably gets passed along to you, whereas any one of my diverse income sources could fold and I would still be fine. I can always find something to fill in the cracks. I figure I might as well make that something be frequent solo engagements. Way more fun than making reeds, after all!

So - this weekend I perform at Art Beat. Outdoor solo oboe will either be completely ludicrous or a brilliant career move. We shall see which it is…

Comments

Popular posts from this blog

The Blog has MOVED

 Have you been waiting ... and waiting ... and WAITING for a new Prone Oboe post?  Don't wait here anymore!  The blog has moved to https://jennetingle.com/prone-oboe/  and will not be updated here on Blogger anymore.  Please come and check me out there!  I love you all - stay safe out there!  Jennet

Beauty of Sound

In our dress rehearsal Saturday afternoon, the conductor did exactly what I often do to my students - he asked the violins to play more beautifully, and they did.  He didn’t tell them how, or give them a flowery expressive speech, he just asked for more beauty of sound, and they immediately gave it to him.  To a great extent the sound we produce is set, based on our equipment and the shape of our mouths and our bodies - but it can be altered, too.  Adjustments in reeds and instruments can go a long way, but the key change we can make is in our own minds. I don’t know how to explain it physically, but if you determine the sound you want to make you can produce it.  Or at least you can lean in and approach it.  This is something I’ve been paying a lot of attention to lately in my own playing.  As I prepare the Saint-SaĆ«ns Sonata to perform on our Oboe Studio Recital (tonight at 7 - details HERE ), my approach is largely about beauty of sound and vibrato....

Breathing and the Brain

I’m working on the Bach E Major Partita, and it’s significantly difficult for me.  Not so much the notes, although E Major is not the most effortless key on the oboe.  Not so much the music-making, although I could work my whole life on solo Bach and never be perfectly satisfied with my choices, because it’s that complex and THAT good.  No, the problem is breathing, and breathing is always a challenging thing for a wind player. Oboists can play long, long phrases with ease. The opening in the reed is so tiny that it really rations the air, so we can play longer lines than any other orchestral wind instrument.  It’s also comparatively easy to circular breathe on the oboe, which means that we can actually take in new air while  playing and maintain an uninterrupted line.  The downside is that an oboist can never fully expel her air through that tiny opening.  We end up with excess carbon dioxide in our lungs, and as we breathe in again the new good air...