Skip to main content

Upcoming Concert

This Saturday I am performing with the Fort Wayne Philharmonic.  The big piece is Sibelius's Symphony no. 3.  Had you ever played Sibelius 3?  I hadn't, nor had I even heard of it.  Turns out it's a gem - a lovely little 30-minute work with Sibelius's characteristic dark colors and fluid melodies.  I'm enjoying myself immensely.  At tonight's rehearsal we'll add the guitar concerto - Rodrigo's Concierto de Aranjuez - which is a long time favorite of mine.  All in all a fun weekend.

I'm playing principal on this concert, and I'm really noticing the rest of the orchestra more than I do when I play second.  That does make sense, as I am now responsible for matching and joining the other winds and the full group instead of just the first oboe.  My focus should widen.  But in another way it is slightly dismaying.  If moving over just one seat to the center can make a significant difference in how I perceive the orchestra, and raise my awareness of the personalities and nuances of the solo players, what is it really like for the audience?  They aren't nearly as close to the action as the second oboe chair, or even the back of the violin section.  Is all the excitement I feel in the center of the orchestra being delivered out to the seats?  Do they get it? 

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

How Do You WISH You Could Describe Your Reeds?

In Reed Club last Monday, we took a moment before we started scraping to set some intentions.  We each said one word - an adjective to describe what we WANTED our reeds to be.  An aspirational adjective. Efficient was a word that came up, and Consistent . Dark and Mysterious . Mellow . Predictable .  Trustworthy .  Honest .  BIGGER . Reed affirmations actually felt helpful - both in the moment and in the results we found as we worked.  I don't know why that surprises me - I set intentions at the beginning of the year, at the beginning of the month, at the beginning of a run, in the morning before I work.  I love a good affirmation.  I love WORDS.  But I'd sort of forgotten about the possibility of applying one to the mundane work of reed-making.   You don't have to know exactly how to GET to that result.  But having clarity in your mind about what that result is?  Helps you to stop going down unhelpful rabbit holes...

Micro Rests

 For oboists, endurance is a huge problem.  We can play an endlessly long phrase, because of the way the instrument is constructed, but we can really only do that a few times in a row before our embouchure starts to get fatigued.  We develop a buildup of air that feels exhausting to hold onto, and the thought of sustaining that kind of energy over  an entire page of music, much less a 45 minute recital program, is intimidating.    There's almost always a lesson, a week or two before a jury or a recital, where my student comes in and says, "I just can't DO this! I can play every detail in my music, but I can't put the whole thing together!  My mouth comes right off the oboe when I try - I'm going to fall apart in front of the audience, and it's going to be terrible!"  Look, I'm putting this on my students now - but there's a moment a week or so before MY performances that feels exactly the same! I have not outgrown this moment of panic. And at that...