oboeinsight

(Or Anyone Can Write an Opera.)

I don’t have a clue who Jonathan Davis is. (Well, I do know of a Jonathan Davis, but not this one.) This particular JD is the “frontman (say what?) for Korn”. It does say that band is “angst ridden” so that should work fairly well for opera, eh?

Anyway, you can read about it here or here or, I’m sure many other places.

Me? I’m going to write a symphony. Heck, why not?

From this Jason Heath post I’m taken here. The write has some great things to say, and I recommend a visit to his blog. Here’s a little something:

Ever since I’ve been able to consider myself a professional musician, I’ve always been fascinated with the lack of age barriers in serious music. I have to remind myself that art music is entertainment for the educated, so I should still smile and bow at the right times. There are plenty of youthful bands out in the pop music world. But serious music, such as jazz, classical,(even theatrical music) emphasize sound over appearance.

It’s a funny thing, this age & music thing. I have a student that, I think, is frustrated that we oboes aren’t in rock bands and aren’t terribly “hot” with her age group. I look around at my colleagues in symphony and opera and many look younger and more “hip” (although “hip” already shows that I’m older!) than many in the “real world” of the same age. So while we might not be on rock stages or playing pop music, having thousands of adoring little girl fans or teen admirers, we seem to, as we age, age somewhat slower than many people. I’m not sure why; maybe because age isn’t much of an issue on stage. And we continue to work, no matter our age. I’ve played with nineteen year olds and I’ve played with sixtyfive year olds and what matters is the music making, not the youthful appearance, smashing good looks, or sex appeal (although, of course, every oboist has tremendous sex appeal. Or not).

But I ramble. Time to get some things done around here. More later … about how anyone can write an opera. Maybe.

The first concert in the series featured music from Barbie animated movies, while another centered on music from video games. The symphony also scored the 1925 silent film “Phantom of the Opera.” The turnout at each performance rivaled or surpassed the 1,300 who come out on a good night to hear classical programs, Beadle said.

Okay. I’ve done the video game thing. The music was put together in two rehearsals, and could be, for the most part, sightread. I’ve played music for silent films as well. That can be a challenge, and the music we played did require some work. But Barbie?! Oh please, no. I don’t want to play music for a silly doll. I really don’t. (Unless it’s that ballet about the doll—shoot, I can’t even remember what it’s called now!—and even that I can skip forever and I’d be quite fine with that.)

I know orchestras are trying new things, but so many of these new things try my patience.

RTWT

Can you imagine winning the principal oboe position of Atlanta Symphony Orchestra at the young age of 21? I sure can’t!

I’ll be curious to hear this wunderoboist. Sounds like she’s something else. And get this:

When Koch was offered the ASO job, she was told she’d need a new instrument to better conform with that Cleveland aesthetic, and to better cut through the acoustical mush of the Woodruff Arts Center’s Symphony Hall.

So she put away her bright Yamaha oboe and borrowed one of Woodhams’ Lourée instruments ? the same brand of oboe that her predecessor Dlouhy played. A top of the line model costs almost $7,000 and, at this level of playing, wears out in three to five years.

(Too bad about the spelling of Loree, too. ;-)

I’m sure she’ll find a fine horn, but the thought of having to do an instrument search … ugh.

Jealous? Nope, I’m not. I like what I do. I like where I play. I love my jobs. I’m just amazed, is all!

As I type this I’m sitting in a hotel lobby (taking advantage of the free wireless … what can I say?) and a movement of Ravel’s Tombeau is on. But it is different. There is guitar. There is English horn where there didn’t used to be. Anyone know what the heck this is? Maybe just “hotel music”, since much of what I’ve heard is sort of mindless stuff … but this is a lovely little arrangement. I alwasy like more English horn! :-)

Earlier today, on my drive down to Irvine, I listened to “Blues for DD”. Okay, I admit it, I’m a total sucker for this CD. I love it. It makes me cry. It’s really beautiful. Diana Doherty is such an amazing player, too … and I’m glad she’s not afraid of doing “Autumn Leaves” or something from West Side Story (“Maria”) or Gabriel’s Oboe. Beautiful music is beautiful music. She makes beautiful music.

I listened, as well, to the Concerto for Oboe and Orchestra by Ross Edwards that was written for her.

Okay … so there’s this 21 year old that wins an audition and there’s this incredible oboist, Diana Doherty, and I’m not them … and I’m still not jealous (honest) … but I sure am in awe, and quite humbled.
—–

Dan is working to get this site moved. It’s gonna be happening … soon. This means that maybe you won’t see me for a time. We’ll see. But things are going to look different, and shouldn’t be crashing as often (if at all?). Nice!
—–

Yes, this site was down again for a good (bad?) number of hours recently. Yes, we are still working on transferring things over. I’m trying to be patient, but all this crashing is starting to get me annoyed.

There is nothing worse than an annoyed oboist.

That would be a good title for a blog, I think: The Annoyed Oboist. Or maybe a title of a book. Or a very good movie.

Or maybe not.

But this oboist is annoyed. Just so you know.
—–

Wrong, I tells ya.

Oops, sorry … Urinetown is having it’s way with how I talk.

Anyhoo, I went here and that picture just makes me cringe. First of all, the music is sideways. But if you make the music upright, the oboe is upside down. And why the leaves?

Sometimes I wonder about these things for no good reason. It’s not like anyone is going to change the picture because it bothers me, right?

Of course they should….