The personal became the corporate, and the corporal transcended its usual bounds. I felt immense uplift after that concert. I know I am not alone, and I think I know why.
That’s the end of the blogpost. So read the rest. I always enjoy the way James Roe writes. I wish I could also hear him play. Maybe someday …?
I just read this. I think I would have given up sooner.
It is possible to modernise holy music, but it should not happen outside the traditional path of Gregorian chants or sacred polyphonic choral music.
-Pope Benedict XVI (RTWT)
The BSO’s Principal Oboe player, John Ferrillo Jr., was paid an annual salary of $232,420 by the BSO in 2005 …. (RTWT)
So, well, I’m sure that’s what I’d make too. IF ..
1) I were principal in a symphony (I’m second)
2) If I were in Boston Symphony … or something of that sort
3) If I were a good enough player! :-)
I’m NOT saying he’s not worth this amount. Playing principal oboe in a major symphony orchestra is incredibly stressful, and requires a top-notch player. Just so you know!
Of course he makes much more than Dan and I combined. Go figure.
Wishing all those US folks a very happy thanksgiving. So much to be thankful for!
… for a few days, anyway. I just played Werther. And it’s time to start thinking Thanksgiving! I’m already hungry. My stomach, in fact, was suggesting hunger even during the opera tonight.
And speaking of the opera, I’m really enjoying the music, and I love playing my part. There are little “moments” … just tiny things for oboe, really, but they are really well written and expressive. My cuppa, to be sure.
I’ve finally figured out how to keep water from getting in my octave keys. Of course I constantly swab (I even mark my part so I don’t forget. Sad, eh? My poor forgetful brain!). But during the intermissions, if I stay in the pit (which I usually do), I stick the top joint under my arm to keep it warm. So far no water issues. With our rather cold and breezy pit this seems to be the solution. Whew! I also wear a scarf to keep this body warm. I’m that cold much of the time.
Now off to bed with me. Tomorrow is house cleaning and food preparation day. The next we’ll have a full house. All our kids will be home. Yay!
Another review of Werther is here. The reviewer came to Sunday’s matinee. He is quite positive in his review.
(I’ll write tomorrow—if I find the time—about The Rake’s Progress, which I attended tonight. But in case I don’t write … I’ll at least say I really enjoyed it. I sure wish OSJ would put that on again!)
Someone landed here when doing a search on “plastic reeds”.
And the answer is NO.
Or maybe the answer is NO NO NO NO NO.
Or just a simple NEVER.
Don’t go there. It’s not worth it. They are junk. Really.
And now I’m off to the dress rehearsal of The Rake’s Progress. (With dinner first … to celebrate my birthday. I am no longer 50. I am now 51.)
50 was sort of nifty
51 will be more fun
Or how ’bout …
I went over the hill at fifty
And now I’m fifty two
From here on out it’s all downhill
I’m fine with that, aren’t you?
Okay. NOW I’m gone.
I just read a little blurb about a concert which included this phrase:
…was uncharacteristically rhythmic for modern classical music….
I don’t want to sound like an idiot, but is modern classical music not rhythmic, for the most part? What did the writer mean, I wonder?
Feeling rather stupid ….
I enjoy reading oboist James Roe’s blog, and I appreciated what I just read that begins:
Playing solo English horn…
Yes. Playing English horn needs to be called “solo English horn” for that is what it is that majority of the time. Where I play, it is paid side pay, which means no principal Which means lots of solos and lots of stress but no monetary acknowledgment of such. Yes, there is the tremendous joy of playing such a wonderful instrument. I love that. And sure, that sometimes can suffice. But … this is really wacky … if I choose the more stressful solo English horn part in Rite of Spring I will earn less than if I choose the third oboe/English horn double. Is that nuts? I think so. Of course it isn’t all about money. But sometimes … well … sometimes one decides to go for income rather than major stress, if you know what I mean. (Hmmm. Am I bursting bubbles for some of you? I sure hope not. I just have to be realistic here. Or do I? And will I be reprimanded for this … sigh. Probably.)
Anyway, read James’ blog entry about Vanessa. I wish I could have been there. (I played the opera once, in and Opera San José production, but it was eons ago. I would love to play it again.)
First Werther review* is in.
Great big ouchy here.
(I can’t see the opera, so I haven’t a clue how it looks. I also can’t hear the singers, aside from a few brief moments, so i don’t know how they sound. Oh well.)
*link no longer working
I posted this a while back, but just in case you don’t check my double reed days page, here it is again:
MasterClass Series – OboeRAMa
November 30, 2007, 10:00 AM
Day Long Event: Masterclasses, Reed Making, Oboe Band Performance, and Recital
The Colorado State University Woodwind Studio present OboeRAMa with Eric Barr on Friday, November 30 from 10:00 a.m. – 5:00 p.m. at the University Center for the Arts at 1400 Remington Street, Fort Collins.
Special guest Eric Barr, principal oboist with the Dallas Symphony between 1973 and 2006, comes to Colorado State University for an oboe MasterClass. The day long event features:
OboeRAMa Registration Details:
The OboeRAMa MasterClass is open to the public and costs just $20.00. The registration fee includes a T-shirt and lunch.
To register, contact Gary Moody: gary.moody [at] colostate [dot] edu.
In addition, you can attend a concert:
Eric Barr to Perform with the University Symphony Orchestra
The Colorado State University Symphony Orchestra presents European Extremes with special guest Eric Barr, oboe. The concert takes place on Thursday, November 29, 2007 at 7:30 p.m. in the Griffin Concert Hall, University Center for the Arts at 1400 Remington Street, Fort Collins.
Wes Kenney and the Symphony play brilliant orchestral color inspired by the extreme moods of Europe. Former Dallas Symphony principal oboe, Eric Barr, partners with the Symphony for Jean Francaix’s delightfully colorful and vividly descriptive, The Flower Clock, based on a poem by Mallarmé about a musical clock.
Concert Ticket Information
Tickets for the Symphony Orchestra are just $5 for CSU students and $10 for the general public; ticket price includes campus box office service charges. Tickets can be purchased by calling 970-491-4TIX or at www.csutix.com. Visa and MasterCard accepted.
Performances are popular and advance purchase is highly recommended.
The third oldest orchestra in the world, the Presidential Symphony Orchestra (CSO), has managed to overcome a fair share of stumbling blocks in its 181- year lifespan. The CSO started this season with new hopes and expectations, and with nearly enough members to perform. (RTWT)
Anyone know who #1 an #2 are? Just curious! (And not willing to do any research at the moment.)
I just love the guy. And I do agree with the article … he’s a puzzlement. It’s about that “cool/uncool” thing, and I always wonder just what he is thinking. But there he is, doing ads for Priceline that are just too funny. Because they are so bad they are good. Doing Boston Legal (no, I don’t actually watch it any more, but I used to, just for the Shatner Factor). The CD Has Been
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