I’m back at my favorite Santa Cruz coffee shop. They made me a most lovely latté. I really need to bring my camera and show you; they always do a great “milk drawing” of a heart. This time I watched, thinking I could do it at home, but the barrista makes it look awfully easy, and I don’t believe it really is. They are playing Ingrid Michaelson too, which goes over well with me on a Friday morning when my head isn’t happy, my eyes are worse, and I anticipate an extremely long day. (I am on campus until 4:40, and I have a 3 hour Così performance tonight.

(Heh. A man sitting at a table next to me is chuckling and marveling over the fact that this, a “church coffee shop” isn’t giving him a “hard sell” and is a calm and quiet place. He seems somewhat stunned.)

I need to spend some time on reeds today, after I finish teaching. Considering how all three (Yes, three; one for the overture, one for most of the two acts, and one for tutti passages where I can really play it hard, as I attempt to work it into HappyReedLand™.) reeds I’ve been using for Così felt on Tuesday night, I’m guessing they will be even worse tonight.


  1. I am glad to know I am not the only person who brings and uses multiple reeds in a concert. I think on clarinet people would find it funny but for oboe it is something I’ve done several times. I feel a little guilty about it but if it gets the job done and no one is complaining is it really such a bad thing?

  2. Oh I don’t think it’s all that unusual, Joe. Certainly people switch reeds for different composers. For long operas (this one is 2:55 although, to be honest, I have a TON of tacets … probably an hour’s worth, if not more) I think it’s sensible as well. And of course reeds change, so we have to be prepared to switch at any moment.