Posted October 13, 2011 12:14 PM
According to a friend of mine in the orchestra, the NY Phil didn’t pick anyone at their recent EH audition of a week or two ago.Posted October 13, 2011 07:21 PM
same for 2nd flutePosted October 13, 2011 11:15 PM
Gosh, who do they think they are — Chicago?
Popeye the Sailor: The Piano Mover
Shout-out to the kids downstairs who are learning theoboe/clarinet/recorder. You’ve changed my life.
If you want to skip the music (I can’t say I was exactly excited about it but maybe you’ll love it so I guess you should give it a chance first, eh?) just go to the very end … 3:10 or thereabouts to hear him ask his question and then name the instruments.
I’ve actually been home from the concert for a while. Had to heat up my apple cranberry pie before blogging, after all!
I think Tango Barroco went well. i was certainly happy with it. And if you know me you know how seldom I actually say that sort of thing.
What a wonderful piece it is!
One more time tomorrow night! :-)
No … I’m not missing an “f” above. What I’m talking about is the day of a performance.
I’m fine, for the most part, once I’m working. But the day of? Those are tough for me. I don’t want to do too much. But doing nothing means my nerves really get the best of me. Today I went for a slightly over 2 mile walk. I worked a bit on an English horn reed. I practiced a bit of oboe and ran through Michael Touchi’s Tango Barroco on English horn. I taught two students.
And I tried to nap.
The nap was a Big Fail. Everything else was fine.
And now I wait until it’s closer to call time, as I don’t want to arrive too early. Yesterday I got into the pit before nearly anyone else. I warmed up. I sat around. I warmed up some more. I sat around some more. And when we finally started the ballet I had water in a few keys. (I don’t think I forgot to swab beforehand, but my brain has been in a bit of MuddleLand™ so maybe I did.) There is absolutely no time to deal with that until my part of the second movement is finished. It is absolutely no fun to play when I know every B flat I play is going to sound crummy. Ah well … better last night at the dress than tonight, right? Tonight I’ll arrive later, not warm up quite so much, and you can bet I’ll be very careful about checking for water!
It’s really a joy to get to play Michael Touchi’s Tango Barroco with San Jose Chamber Orchestra once again. It’s been over ten years since I last performed it, I think. I’m hoping it’ll get more attention. The piece really deserved it!
So here we go … San Jose Dance Company here I come, ready or not!
Any who are in the IDRS know the name Delmar Williams. Here’s a video that will really give you a good picture of the man.
DELMAR from matt dine on Vimeo.
I remember reading this article about Delmar several years ago. It’s great to finally see the guy in this video!
I wanna play the oboe!!!!
Richard Galliano playing the Aria from Orchestra Suite No. 3 in D Major, BWV 1068
New plan: quit job, use sick/vacation payout to buy oboe, sit around and rotate through Bach, Britten, and Vivaldi.
As a young conductor, Maestro Riccardo Muti would set his alarm at an unbearable hour and take the three-hour train ride between Florence and Rome just to hear Swedish soprano Birgit Nilsson sing.
On Thursday his quest came full circle when he arrived in Stockholm to pick up a $1 million prize established in the late singer’s name, an award that organizers say is one of the largest in the world of classical music.
The 70-year-old Naples native is the second Birgit Nilsson Prize laureate, winning the 2011 award “for his extraordinary contributions in opera and concert, as well as his enormous influence in the music world both on and off the stage.”
He received the award from King Carl XVI Gustaf at a lavish ceremony at the Swedish Royal Opera later Thursday.
“I’m honored and happy,” he told reporters before the ceremony. “It’s important because you realize that maybe you have done something important in your life, and people around the world recognize work that you have done as a musician.”
Gottfried Finger (ca 1655-1730): Sonata in D major for viola da gamba and basso continuo
Petr Wagner – viola da gamba
I have to play oboe at 8am tomorrow. Thats my destiny lol
Just fell asleep during my professor’s oboe recital.
(I really think these should be called “Yahoo Questions”, but I guess they didn’t bother to ask me!)
Read there:
I have been playing oboe for around a year in a half (after playing clarinet and flute) and have been looking around for possible oboe reeds that will last and sound fairly good. I also came across Emerald Plastic reeds too. What works best? Any other brand ideas? Also I use around a medium, sometimes medium soft.
Best Answer – Chosen by Asker
Oh babe, DO NOT play on a plastic reed. It may last forever, but they sound like party favors. It’s like the difference between playing on an oboe that’s wood and one that’s plastic.
Look for Jones or Fox brand if you want to go the store bought route. Otherwise, have someone make them for you. Hand made lasts longer than store bought
I’m always amazed that people still think about buying plastic oboe reeds. I know a very fine bassoonist that began with plastic bassoon reeds. Are those reeds better, or am I just wrong to think one should never purchase a plastic oboe reed? But then I wouldn’t recommend a Jones of Fox oboe reed either. Maybe I’m just too picky!
