Skip to main content

Why am I Nervous?

It’s finally the week of my Moveable Feast performances!  I’ve been working for months to prepare this version of this show, and am excited about finally bringing it to fruition.  I perform a lot, and I do recitals with some regularity, but this spring performance every year is the one that makes me the most anxious.   

This is the set that I self-produce.  It’s not part of some other series, it’s not a South Bend Symphony event, it’s just me.  

I am highly trained as an oboist, but I have no real idea how to produce or promote a concert.  I am making this up as I go along.  Every year I magically find just enough audience members to make it a performance (and usually a few more than the year before), but every year I am terrified that I won’t.  That the combination of Facebook posting and poster hanging and email blitzing and event calendar filling out that I labor over  in the month leading to my event will fail me. 

I’m really not nervous about playing the music.  I know my material, and I love it, and I am a  performer. 

The logistics don’t scare me, though my to-do list is still pretty long - print programs, create  signage, get change for my drawer, buy ingredients for the cookies, bake the cookies, find serving plates for the cookies, make a reed, go over my script…

I’m not worried about my collaborators, who are outstanding musicians and reliable human beings and will help me to create an enjoyable evening for the audience.

But I’m always nervous about the audience.  That they won’t come.

It’s difficult to be a musician in 2012.  I really have to be entrepreneurial with my career - speaking to everyone I know about what I do and staying visible (neither of which comes naturally to this introvert) and thinking always about the bigger picture, when my actual schooling has all been in the tiny details. The note endings, the accents, the purity of the interval.   This spring recital, which I put on by myself, for MY friends, colleagues, and neighbors in my home town(s) is a different experience altogether from practicing in my room, and certainly from performing in orchestras which have  subscribers and official marketing materials and staff whose job it is to get people to come.  Even the orchestras have trouble filling their seats - why should I have any success at all?

And yet I keep at it. Maybe this is the year that I slink home in shame after performing for three audience members, two of whom are related to me.   Maybe this is the year that I go platinum.   I can’t wait to find out.

Thursday, March 22, 7:30pm
LakeView Lutheran Church
835 W. Addison, Chicago

Saturday, March 24, 3 pm EDT
South Bend Christian Reformed Church
1855 N.Hickory, South Bend

Tickets and further information HERE.


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-Saëns 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...