So it was long. And there was an earthquake. And there were more than 900 musicians.
But there is NO mention of an oboist.
I ask you, can it really be considered a concert, then? No sirree. 😉
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… MAYBE.
I was sent two (free!) reeds from Back Bay Reeds. Thank you so much, Meredeth Rouse! They are quite good. One was a student reed, using the fake cork staple, and the other a professional, using a cork staple. Both played well when I received them. Both were “concert ready” to be honest.
Now this, of course, doesn’t mean every reed she would send would be like these two (perhaps I should order more, just to check that out, and pay for what I get, yes?) but I’ve decided that if anyone sends me reeds that I like I will blog that news. I won’t mention any reeds I can’t stand; I don’t like to post that sort of information publicly. It just seems unkind.
You can see the entire list of oboe reed suppliers I have put together. Have anyone to add? Just say the word!
And, as I said, “If you send them, I will blog … maybe.”
It’s got nothing really to do with race: Black flutists don’t sound black any more than female violinist sound female, so let’s leave that preposterous debate alone.
Oh well. I thought the reason people said I sounded beatiful was because I’m … oh … never mind. And when someone says “Your tone was really fat,” (not that anyone has said that to me) does that mean…?
In any case, aside from my fooling around, the conversation continues regarding minorities in orchestras. The above quote is by today’s blog by Justin Davidson, over at Alex Ross’s site—Davidson is blogging there for the moment—and you might want to check that out.
Other blog entries about this:
and, finally, an article from The American Spectator (not a mag with which I care to be connected, but that article started a lot of responses so there you go)
So where do my responsiblities begin and end (do they end?), as a solitary oboist? As an orchestra member? As a comfortably off, white, fifty year old woman? Hmmm. I’ll have to think on this.
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