Skip to main content

Summer Update

We are in the land of gorgeous.  Steve and Zoe and I are in Breckenridge, CO, for the next five weeks, and I start rehearsals tomorrow with the Breckenridge Music Festival Orchestra.  I’ve been here, acclimating, since Saturday, and finding it a neat challenge.  I’ve never spent any time at this kind of altitude, and it is fascinating and hard and amazing.  I know there will be plenty of posts coming up on reeds, and oboe-y-ness - once I figure out what on earth I’m doing.  Meanwhile, I pant going up and down stairs, and the plan I had had about biking to work might be on hold for another week or so - but the playing I think will be fine.

Next Monday, however, I will be on a flight at 6am heading back to Chicago, so I can perform my “Travelogue”  recital at the Cultural Center at 12:15 (free and open to the public!).  It should be a rollicking good show and I certainly assume that I’ll be able to resurrect some sort of sea-level reed from my case with an hour or two of lead time.   Because why shouldn’t I plan a full recital, including Pasculli and Tomasi and Ewazen, when I am simultaneously playing a music festival at 9600 feet, 1000 miles away?

I love my life.
Labels:

Comments

Post a Comment

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
Post a Comment
Read more

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....
7 comments
Read more

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...
4 comments
Read more