ProneOboe

Photo by Steve Halama on Unsplash In rehearsal last night, the concertmaster suggested to the strings that they play with a more open bow arm. I don’t know precisely what that phrase means to a string player - if it’s a technical term or more of a kinetic metaphor - but it immediately set my mind spinning. When I am playing my best, I do feel open. I feel that there’s a lovely big halo of air around me, like the space surrounding me is part of the physical act. I feel spaciousness in my chest and softness in my elbows and I’m grounded through my chair or my feet but everything else is lifted and filled with air and space and ROOM. I have open arms. This sensation - or the lack of it - stood out to me in my first Dreams and Visions performance last week. I have since listened back to the recording, and honestly things didn’t go all that badly - but I FELT bad in the moment. I started getting a lot of water in the instrument, I got flustered, and I got into...

Photo by  Kris Atomic  on  Unsplash I’ve been reading about Tall Poppy Syndrome, since hearing SOMEONE mention it in a podcast interview.   I’m embarrassed that I can’t source that podcast - too much travel recently, too many amazing podcast interviews.   I have no idea who drew it to my attention.   Basically, though, it’s the concept that anyone who seems to be getting above their station needs to be cut back down.   Someone who presents as better than other people should be brought down to size, because everyone ought to be equal. Don’t be sticking your neck out, don’t draw attention to yourself.   This shows up in orchestras a lot. An orchestra is rigidly hierarchical, and there’s only one principal flute, only one concertmaster.   No one is surprised that a concertmaster gets to play a solo.   But when a section player stands out in any way - starts a chamber music series, gives a recital, speaks at an event - ...