Skip to main content

Just Glad to Be Here

We were driving home from the dress rehearsal tonight, and griping like musicians do.  The tempos were too slow.  We didn’t love the programming.  Why were the OTHER musicians so out of tune?  You know, normal after-work complaining.  Everyone does it.

But as I was sitting in the orchestra tonight, I just felt so fortunate.  How many people in the world got to be part of a Brahms Symphony this evening?  How many people got to be in the middle of that kind of lushness?  How many of those people sat in my chair, the principal oboe chair, the best seat in the orchestra?  Yes, it was Brahms’s 4th Symphony, and my part is not overloaded with oboe solos, but still every entrance is precious.  Everything fits, and when, like tonight, the group is all pulling together and the conductor is giving us what we need and the empty hall sounds liquid and clear and warm, there’s nothing I’d rather be doing. 

We’ve had a rough winter.  The work has been slim, and the weather has been dreadful, and we’ve been trapped inside the house getting more and more furious with life and each other for what seems like four months but has only been two and a half months… but tonight reminded me of why I do what I do. Great musical experiences are worth waiting for, and worth working for, and I am LUCKY.  BLESSED to be able to make my living this way. 

Come out and hear us in Northwest Indiana Friday night - details 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....

Yamaha Made Me Better

The Yamaha oboe has made me better.  No doubt everyone is tired of hearing me rhapsodize about this instrument, but it's revolutionized my approach. I can just play, and if I do my job right it does its job too.  Believing that my oboe will work every time makes me relax. I have always feared low attacks, but with this instrument, my new reed style, and my new articulation technique I don't any more.  The exciting revelation, though, came very recently.  My Yamaha cracked while I was playing 3rd oboe and English horn in Milwaukee several weeks ago.  I quickly sent it down to Carlos Coelho, who pinned it, sealed it, and put inserts in the tone holes. I got it back as good as new, and played it for several more concerts, including Extase this past weekend.  When I pulled it out Monday morning, the pre-existing crack had opened wide and a large new one had materialized.  My pretty oboe is on a truck now, on its way to service. So now I am in Milwaukee ag...