I’ll happily play a plastic reed when someone can make it work. So far that hasn’t happened and they’ve been pushing these things for a very long time. (I was handed one when I began oboe, and that was close to 40 years ago.)
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Then watch this. I’m not quite sure what to make of it, but you might find it tasty. 😉
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Price reduction for Verdi’s Requiem tickets. If you sing in a choir. That is part of the Catholic Church.
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Recently, I accompanied a faculty recital at UNM. In addition to being a well-liked and respected oboe professor, Kevin is the principal oboist of the New Mexico Symphony Orchestra. Afterwards, I was taken aback by the dearth of his colleagues that were in attendance in the audience. It reminded me that every time I take personal offense at other’s lack of support, I should remember that it isn’t about me. But I wonder, if we aren’t partly making music for one another, for whom are we making music? Another musician I worked with recently made recital flyers that read, “This isn’t your sister’s flute recital. Disrupt your day.” Disrupt your day. It may me laugh out loud, but his point was well taken. It may take some disruption of our schedules and our lives to get us to support one another.
Read here, a site I’ve only recently discovered … check it out! Great writing. Honest. Real.
… and how often do I manage to skip a colleagues performance? Too often, I’m sorry to say.
I know I’m not the only one. We are a funny (in a sad sort of way) bunch much of the time, or so it seems to me. I know, too, that we musicians often have certain expectations; we think we are deserving of free tickets to concerts. Heaven forbid we pay to attend a concert! I even heard one musician say that “a musician should never have to purchase a ticket to a concert!” I’m not sure why that should be the case, but there you go. Free CDs? We want ’em. We copy our friends’ CDs so we don’t have to buy anything. Music? Boy are we known for copying copyrighted music.
I think it’s because we often feel like we are underpaid and underappreciated. So we somehow justify these things we do. Go figure.
So buy recordings or music on occasion. And go to concerts. Pay now and then. Maybe someone will do the same for you! 🙂
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The news is quickly making it all over Blogland™, so no doubt everyone has heard by now that Rachmaninoff’s great great (or not so great?) grandson is planning on changing some of the composer’s music enough so that copyright is renewed.
It’s a money thing. And I’ve a feeling a lot of people the same age as the great great grandson will say, “What’s the big deal?” But maybe I’m wrong. Do tell!
But anyway … moving on …
Have you ever noticed the copyright dates in your newer church hymnals? (What?! You havent’ checked a church hymnal in a while? Well, if you haven’t looked recently, I can tell you that a good number of the copyright dates are rather recent, even though the hymns are quite old. (Okay, I can tell you that even if you have looked. Just so you know.) Those wonderful church music folks rewrite the hymns just enough to renew copyright too. They are nice that way.
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I used to think the oboe wasn’t a nice sounding instrument, but this has changed my mind! Guess I shouldn’t judge from the synthesised version on my keyboard lol
-“thelightisahead” – found on youtube, where you can hear and see Gabriel’s Oboe, the pretty little piece by Ennio Morricone, being played.
I’ve had the link to this video up before. Notice how the oboist holds her oboe? I’m a “close to the body” sort of oboist, so I find this fascinating to see. She plays beautifully; I wouldn’t sound like that if I were holding my oboe that way.
Thanks to Jill Cathey for this quote. 🙂
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Want to hear some oboists from Denmark? You can get a free download of Beethoven’s 2nd that was performed recently by the Danish National Symphony Orchestra.
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Maybe this is old news, but I just ran across this, FYI:
Alex Klein, former principal oboe of the Chicago Symphony Orchestra, has been named professor of oboe at Oberlin College in Ohio.
(As most oboists know, Mr. Klein had to step down from Chicago due to focal dystonia. This doesn’t mean he isn’t still playing; he was just unable, from all I’ve read, to play for as many hours a day as a symphony post like Chicago would require.)
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