I just posted these at Facebook, but for those of you who don’t do the FB thing, I’ll share here too, complete with my comments about them:
1.) Just seems like the day after the 4th of July we should have a good protest song, you know?
2.) Once again, the bassoons doin’ the fun stuff!
3.) Man … these bassoonists … how come they do all the fun stuff while we fret over La scala di seta or some Ravel? Huh?
Well okay, then.
Why is it that bassoons can get away with so much. Oboes do it and … well … it’s just not the same!
my new oboe is in the country!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! come on customs, hurry up and clear it so i can have it 😀
I know I whine about my ear woes. I should stop. Now.
If you met Samuel Boutris, you would not assume he is a musician.
He was born without a left ear and has a slight misalignment of the jaw.
But this Fort Worth 19-year-old recently gained acceptance to the prestigious Curtis Institute of Music, a top conservatory in Philadelphia where he will continue his clarinet education.
For Boutris, who has played clarinet since sixth grade, acceptance into Curtis came on his third audition.
“It’s great,” he said. “I was close but never got there. Now I have.”
The road to Curtis has not been easy.
Boutris has suffered the effects of Goldenhar syndrome, a congenital defect that usually involves deformities of the face.
“I don’t really let it bother me,” Boutris said. “It is just who I am.”
For many with Goldenhar, the consequences are merely cosmetic, but for a musician, missing an ear poses obvious challenges.
“When I was learning, I could not actually hear if I was off-pitch. My teacher would intentionally play off (key) and I had to feel it,” Boutris said.
RTWT
From 2008:
Chloe Veltman, of Lies Like Truth has a fun post up about the community groups she sometimes plays in (she plays oboe). Here is a snippet:
The musicians in one group in Oakland with which I sometimes play, have at least a sense of self awareness about their lack of diligence at the expense of fun. At last week’s rehearsal, one of the players handed around sheets of paper imprinted with seven pointers for “How to Play Chamber Music.” The handout, which is currently attached to my fridge, made me giggle. Anyone who’s ever played chamber music in a not-too-serious setting may recognize some if not all of these standards:
1. Everyone should try to play the same piece.
2. If you play a wrong note, give a nasty look to one of the other players.
3. A repeat sign means everyone should stop and discuss in detail whether to repeat that section or not.
4. If the ensemble has to stop because of you, explain in detail why you got lost. Everyone will be immensely interested.
5. If you are completely lost, stop everyone and say: “I think we should tune.”
6. If everyone is lost except you, follow those who are lost.
7. If everyone else has finished playing, do not play any notes you have left over.
i wanna try out for americas got talent next year hahah. and play oboe.
