oboeinsight

I had a new student scheduled to arrive at 4:00 today. At 4:35 I finally called to see what was up. The mom, who had called, scheduled the appointment, and got directions to the house wasn’t there. The man I’m assuming was her dad said her mom had work and probably forgot. Hmmm. Very odd. I asked him to have her go to my site, click on the email address, and email me. She never did.

I finally called a few minutes ago … the mom said, “We aren’t going to take lessons. I can’t drive to your house.”

Now why in the world wouldn’t she have called me before the scheduled lesson and cancel so I didn’t wait around?

That’s pretty frustrating and, it seems, just a tad rude.

But I lead the life of a music teacher. While the income seems somewhat guaranteed, it’s really not. Especially since I charge per week rather than per month. I just can’t see charging per month; I have conflicts at times, and I don’t want to be “owing” lessons. I ask students to be flexible because of my performance schedule, and so I want to be just as flexible for them!

But just not showing up is just not right. Don’t you agree?

And please note: I would never write anything negative about a student that I teach. I’m only writing about a student I won’t be teaching because … well … to vent. The only things I write about students I have is GOOD NEWS! I also never mention names unless I get permission, although once I get that permission I love to post kudos to students who have done something notable.

For instance, I had a new student this morning. She was wonderful and it was a joy to meet and work with her. I haven’t asked her about putting her name here yet, but she knows who she is! 🙂

Joshua Kosman, classical music critic for the San Francisco Chronicle has a new blog. Welcome to our happy world, Mr. Kosman. (And don’t take what I say about reviewers too seriously! Unless it’s complimentary, of course! 😉

In Other News
I had sent a message to my friendly emailer, and I’ve heard nothing back. I’m not sure what this means. I’ve also not heard one word, darn it all! from any readers. I’m not sure what that means either. C’mon folks. Tell me if I was being too sensitive. I can (sniffle, sniffle) handle (sniffle) it. Really.

AND … no one has answered these two posts!

Shoot. Where IS everyone? Let’s get with the program, eh? After all, the world does revolve around me.

Right?
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I read this, which included this paragraph:

Still, it was in the three central movements that the conductor achieved the greatest results. The Concertante section featured serene contributions from the woodwinds — and a scintillating solo from principal flutist Maria Tamburrino — and the Rondeau sounded downright springy. The Andantino found the orchestra uniting in playing of ravishing warmth and beauty. In addition to Tamburrino, there were excellent contributions from concertmaster Robin Hansen, oboist Laura Griffiths, and clarinetist Mark Brandenburg. Principal horn David Sprung played the brief, but crucial, posthorn solo with flair.

It’s always wonderful when reviewers give musicians a mention. So often we feel invisible. When I play a huge solo (say, for instance, the English horn solo in Ravel’s Piano Concerto, and I don’t get mentioned, I assume I was awful. Other times we are mentioned for something that a reviewer didn’t like. But getting mentioned for doing a good job doesn’t always happen. This review is fun; a few people listed here are colleagues of mine.

Only problem?

There were no clarinets in that work!

How very curious.

So one wonders: was the reviewer there? Was it a different concert the reviewer attended? Surely the reviewer knows what a clarinet is, yes? I’m assuming reviewers of concerts know their instruments.

I do remember one funny incident, however. Many, many years ago a string orchestra played for a ballet. The reviewer said that the viola section sounded particularly strong, because the orchestra went heavy on violas. She was very complimentary. Heh. We were only listed heavy on violas; the folks who put together the orchestra roster made an error and listed all the second violinists under the viola section!

Of course then there was the time I got a very nice mention for my English horn playing when the solo was being played by a baritone horn. Now that was bizarre! Did the reviewer think an English horn was a brass instrument? I’m guessing so.

Speaking of which … no one has yet to answer the question of yesterday! C’mon, folks, give it a go!
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