Skip to main content

If I Were a Real English horn Player

If I had an English horn job, I would get a lot more reading done. 

I like playing the thing fine, and I even don’t mind schlepping it around since I got my BAM Ultralight case a few years ago.  I don’t love making the reeds, but once made they last a really long time and I could get used to that.

What I will never grow to like is the sitting around.  There’s always a pretty solo for the English horn somewhere, but waiting for my piece and then waiting for my entrance gets old pretty fast.  But on the upside, I’ve finished two New Yorkers today, and the stack of unread reads in my room is shrinking nicely this week. 



If I did this regularly, there's no telling how caught up I might be with my life. 

AND, we have another concert tomorrow. 

This week for me is the Illinois Philharmonic, in a concert of Bernstein and Prokofiev, which I love, and Glazunov, which I read during.  Fun program.  Beautiful music.  Details HERE

Comments

Popular posts from this blog

Knife Sharpening

I've gotten a lot of questions on this topic, and the most recent querent prompted me to make a video to demonstrate.  You can find that  HERE . Knife sharpening seems to strike terror into many hearts.  And it's little wonder.  Many famous oboists have gone on record as saying that a sharp knife is the most important aspect of reed making. People have entire systems of stones and strops and rods set up to sharpen their knives. And it is important, of course it is - but I don't believe that you need your knife to be razor-like, or objectively the sharpest blade of any in your home.  The reed knife has one job - scraping cane off in precision ways - and it has to be sharp enough for that, and sharpened optimally for that purpose.  More than that is overly fussy for my taste. This is not to say that I allow my knife to be dull.  A dull knife forces you to put too much pressure on the reed and can cause cracking. Obviously it can lead to terribly inc...

Zoe's Musical Beginnings

I've mentioned before that I started out on the piano by figuring out melodies.  Connecting notes and trying to learn how they worked.  I'm fascinated to observe that Zoe's initial approach to the instrument is totally different from mine. She sits at our new piano and plays random notes, and tells us what to feel.  If she is playing slowly then the music is sad, and we should cry. When we are "crying" she either gets up and hugs us so we feel better (so awesome!) or bangs faster, to indicate that the music is now happy and we should dance.  Her other piano game is accompanying herself - she plays "chords" in alternating hands while she "sings" the ABC song or Camptown Races or Sesame Street.  She makes us sing along.  She loves it when we clap at the end.  When I was little I wanted to know how music worked. Although I make my living as a performer now, I learned about the interpersonal aspects of music later.  Her immediate interest is in ...

Exciting Upcoming Concerts

The South Bend Symphony has a great concert this weekend that I've been really excited about. If you are in town you should definitely try to attend, as it features Prokofiev's thrilling Symphony no. 5 AND our marvelous concertmistress, Zofia Glashauser, playing the Tchaikovsky Violin Concerto. However, I will not be there. This Friday and Saturday I am playing Strauss's Ein Heldenleben with the Milwaukee Symphony , and loving every single minute. This orchestra sounds spectacular, and here's why. They rehearse. They have plenty of time to really listen to each other and get things right. This morning, our service was a wind sectional, which blew my mind. Almost 2 full hours with only the winds and brass, just on this one 40-minute piece. The conductor worked with us on every detail. Intonation, articulation, ensemble, balance, style. And still we have another full orchestra rehearsal tomorrow as well as the dress. I haven't sat in a winds-only rehearsal...