Skip to main content

Travel for Work: Peoria Edition

I am in Illinois this week for the Peoria Bach Festival, with concerts tonight and tomorrow night.  As always, I love this festival.  Love the challenges of jumping between three instruments, love playing my oboe d'amore anytime.  I love playing for the music director, John Jost, who has this music in his heart and communicates it so effectively and effortlessly to us that I feel it in mine as well.

Details HERE

Out of town gigs used to be the norm for me - when we first lived in Chicago I played principal with the Illinois Symphony, which necessitated regular five-day stays in Springfield with a host family.  My husband and I frequently took jobs several hours from home, staying with local people and getting to know them. This was fun in its way, of course.

These gigs always necessitated long days of time-killing - we'd practice and work out, and then we'd read, or shop, or drink coffee.  In my home I can do busy work every minute and still end the day feeling like I haven't accomplished anything.  But in someone else's space, where my only real responsibility is showing up for an evening rehearsal equipped to play, the hours can hang pretty heavy. I would get my car maintenance done. Do my Christmas shopping. Take daily naps.  Get LOADS of busy work done and start the next week all caught up.

Far more of our work now is close to home, which is something we've worked consciously to achieve.  Even if I'm driving an hour or two after a concert, I nearly always sleep in my own bed and have breakfast with Zoe before school.  It's unquestionably an improvement to be able to reliably eat through the produce I've bought before leaving home and letting it spoil in the crisper.  I feel more grown up living in my own house.

But every now and then traveling for work is great.

I brought a substantial bag of projects down to Peoria with me this time - hundreds of pieces of cane to process for Oboe Reed Boot Camp which starts next weekend; the Christopher Rouse Oboe Concerto to learn; emails to send, blogs to write, books to read. A small fraction of my stack of backed-up New Yorkers. And I MIGHT have been overambitious.  It MIGHT not be possible to accomplish AS MANY things as I had imagined in two days and two half days.  But getting away and letting my pace slow down just a bit - focusing on the things that are important to me, like writing and practicing - that's as good as a vacation.  And with a paycheck at the end to boot!

I'll emerge ready for action on the far side of this.  And by Sunday afternoon I'll get back to my own life and my family and my house, and I won't have this kind of delicious leisure time, but I'll emerge with a song in my heart, as I always do from 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...