Mike is a great musician (and wonderful reed maker too!). I highly recommend this recital … hoping to make it there myself.

The San José State University
School of Music and Dance Presents
A Faculty Recital
Michael Adduci, oboe

With Guest Artists
Victoria DiMaggio Lington, piano
Barbara Day Turner, harpsichord
Laurie Camphouse, flute
Carolyn Lockhart, bassoon
Tuesday, 9 February 2010, 7:30 p.m.
Concert Hall, SJSU School of Music and Dance
Tickets available at the door: adults $10, students $5,
benefiting the SJSU Music and Dance scholarship fund
Featuring the premiere of a new oboe work by Bay-area composer and SJSU alumnus, Kerry Lewis!
The SJSU Music Building is at the corner of 7th and San Antonio in downtown San Jose.
Parking is available nearby in the garages at 7th and San Salvador or at 4th and San Fernando.


Thomas Vincent: Sonata in A Minor for Oboe and Continuo, Op. 1 No. 2 (1748)
Gordon Jacob: Sonatina for Oboe and Harpsichord (1962)
Joseph Schwantner: Black Anemones (1980)
Kerry Lewis: Suite for Oboe with Piano Accompaniment (2009)
Madeleine Dring: Trio for Flute, Oboe and Piano (1968)

I read it here.

04. February 2010 · Comments Off on BQOD · Categories: BQOD

But there was my solo, shared with the oboe and one of the trumpets, I think. It was out of tune, although I blame the oboe, like I always do (What? Do you know how much trouble I had in GBYSO my first year during the Suk? DO YOU? When a flute and oboe are playing together in a duet, and the flute is in tune with the orchestra while the oboe isn’t, the flute sounds out of tune. If the flute tries to play in tune with the oboe, the flute sounds out of tune again. I say [expletive deleted] it, and blame the oboe).

04. February 2010 · Comments Off on These Days · Categories: Oboe, Videos

… I can’t quite post as much as I usually do. (Of course I usually post a bit too much, so maybe this is a good thing?) But during these busy times I can always find a video or two to entertain you now and then!

04. February 2010 · Comments Off on TQOD · Categories: TQOD

Every band would be cooler with an oboe

04. February 2010 · Comments Off on I Might Have To Eat My Words · Categories: Books, Ramble

… or just disagree.

I’m reading Martin Schuring’s book. He is saying you should keep your thumb on the bottom octave key when you go to the side. I have always taught my students not to do that. I understand his reason; when you use the side octave key it takes over and the bottom octave key closes. His point is that moving the thumb off of the octave key is an unnecessary and extra movement. We usually want to move as few fingers as possible. Makes sense, I suppose.

BUT … I have students who use both even when they aren’t coming from a bottom octave key note. So, for instance, if they are playing octave leaps from low A to high A they use go to both octave keys, moving the thumb when unnecessary.

So perhaps we should split the difference? When coming from a note (or going to a note) with the bottom octave key, the thumb could be on the bottom octave key. But why in the world would you move your thumb to that key when it doesn’t need to move at all?

I’d love to chat with him about this!

I must say, though, that I am enjoying his book tremendously. I went to the later chapter on our behavior … and I wish everyone would read that chapter! (I’d name it, but I foolishly left the book in the orchestra pit … oops!) I think this book should be required reading. Really.