oboeinsight

Matt Heller, of hella frisch fame, is now in the New York Times.

I have to read the article before commenting, but I thought I’d at least get this information out. I know at least Jason Heath will be interested, as he’s commented on Matt’s site before.

The article is about the New World Symphony Orchestra, and auditions, and more. It includes a San Josean as well:

For Elizabeth Jaffe, a 29-year-old violist from San Jose, Calif., the stakes were even higher. She decided that if she didn’t have a musical career by 30, she would move on, as inconceivable as that prospect was.

I groan when I see people setting the age deadline, but I do understand.

Of course I also groan when I look at a 50 year old staring at me in a mirror. 😉
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I just saw a really funny typo at iTunes: Six Methamorphoses After Ovid

Hah!

Then, when I clicked on the first track for Six Methamorphoses I heard one of the Schumann Romances. Hmmm. Double trouble.

iTunes needs me. They really need me! 😉

And I’m not kidding; when I downloaded the Gordon Hunt Six Metamorphoses After Ovid there was a glitch at the beginning, as if he played two As rather than one longer one.

Guess that makes triple trouble, eh?

But there’s more … the Eric Speller disk is spelled this way: Six metamorphoseses after Ovid. Oh dear ….

And then as I was looking at all of their suggestions when I did the search for the Britten I was also offered the choice of Six Chansons by Paul Hindesmith.

Now I’m laughing. Loudly. (For those of you who don’t know, it’s Hindemith.)

In addition, they often list the composer name as the performer name. Someone(s) doesn’t understand classical music. At all.

I would be more than happy to be iTunes helper. I think, in fact, that Apple could us an oboist in residence. Do I could (happily) serve them in several ways.

I’m here. For them. Out of the kindness of my heart. 😉

Thoughts?

Some reviewer might pan a show that another reviewer adores. I’ve read reviews of some concerts where I even think the two writers must have attended different performances … or at least their writing would imply so. But reading Alex Ross’s latest blog entry about the Hatto scandal is truly fascinating. If a reviewer really has reviewed the exact same recording and panned one artist while raving about Hatto, something sure is amiss, don’t you think?

No matter what ends up happening with this whole mess, it is at least something we will all learn from in some ways. How do we hear? Can we listen without prejudice? Do we hear differently on different days, in different moods, in different weather? Do we “hear better” after a nice dinner or a good glass of wine? Do we “hear worse” after a fast food meal? (Or do we just feel worse?)

Just thinking.

I enjoyed the opera last night once I finally got into the hall and into the pit. Prior to that I just felt lifeless. As I was walking to the hall I met up with a few friends and they could tell from my demeanor that I wasn’t “all there”. I wanted to be home. Under some blankets. Staying warm and content. But I can’t always do what I want, so there I was, walking to the theatre. Still, I was with my lovely friends, and that was great. Once in the pit (continuing a bit with my pathetic whining) I saw a fellow oboist peering into the pit. Sigh. This is something that can really do me in sometimes … I was concerned that from then on I would worry about every note I played. That can happen. And that can really ruin a performance, at least personally.

Thankfully, I managed to delete his presence from my brain for the most part, and I began enjoying playing, even while being a bit of a tired wimp. Solos went well (if I dare say that!). I enjoyed the opera. I went home happy.

Today I taught three students but there is no opera tonight. So NOW I’ll crawl under my blankets and enjoy my time.
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