Skip to main content

IDRS 2014 Day Zero

I arrived in NYC yesterday after one of those ghastly get-up-at-3:45-to-drive-to-the-airport mornings, and the first thing that happened is...nothing. I successfully navigated transit to arrive at the NYU address given on the conference website, was sent to a different campus building to register, and learned that the accommodation I'd booked was another 6 or 8 blocks beyond that - so my memory of the pre-lunch period of my day is one of being hot and tired and dragging my roller suitcase, oboe, and tote-bag for MILES.

But things got so very much better.  Monday was technically pre-conference, so I was in town exclusively for rehearsals.  I found myself a delicious and healthy lunch, enjoyed people-watching in Washington Square Park, and reported for my rehearsal (not, unfortunately, in my recital venue, and not even in the venue I'd been told a few weeks earlier.)

I've written before about my poor success rate with first rehearsals with new pianists, and I was definitely a little anxious going in.  My program is hard.  I didn't know what the room would be like, and I knew going in that I had EXACTLY an hour to work through everything in my hour long recital, so there wasn't a lot of slush time to stress about reeds.

And I don't know how my performance will go today.  But the rehearsal yesterday was simply delightful.  Jon Klibonoff, my assigned pianist, was absolutely top-notch, and friendly and low-key to boot.  I loved working with him, and am looking forward to today.  (At 11am, in ED Bldg 303!  Hope to see some of you there!)

I also had rehearsal last night for a Large Double Reed Ensemble program.  I usually steer away from anything that smacks of Oboe Band - not interested in chop-busting, punishing arrangements that never sound well in tune - but in this case composer Daniel Baldwin had assembled a collection of world premieres by great people - Eric Ewazen!  Bill Douglas!  - and a group of legitimate professional oboists and bassoonists to play, and it turned out to be enormously fun.  The rehearsal began at 10pm, and started late even at that, and since I had been up since 3:45 I was planning to duck out quite early.  But the pieces kept getting better and better, and the group kept sounding better and better, and I stayed until 11:20 when the rehearsal broke up.  Hiked back to the dorm and fell asleep.

I have high hopes for the fun factor of this performance, which will be Wednesday afternoon at 2.

Final news:  I have my Mendelssohn arrangement complete and available for purchase on my website, HERE.  That project took a long time, but was well worth the effort.  I'm performing off my own bound copy today, and it's SO MUCH EASIER when the notes I see reflect exactly the notes I intend to play.  Less mental strain.  More fun.  Don't know why I didn't do this before. 

I'll try to keep everyone posted about the greatness I see today and tomorrow.  Wish I could stay in NY all week, but I'll fill my two days here like crazy!

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-SaĆ«ns 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...