tag:blogger.com,1999:blog-51701041139409673332024-02-20T07:19:55.749-08:00Loboe Project The Future of the Oboe Starts with an "A"Alisonlowellhttp://www.blogger.com/profile/05089256887151906866noreply@blogger.comBlogger59125tag:blogger.com,1999:blog-5170104113940967333.post-75129537083365180612014-05-20T04:29:00.001-07:002014-05-20T04:29:27.679-07:00Brahms...for Wind Quintet?<div class="separator" style="clear: both; text-align: left;">
This week I am very proud to present a live performance of one of the greatest Romantic chamber works, the Brahms Piano Quartet No. 1 in g minor, op. 25 - for wind quintet and piano! Impeccably transcribed by composer <a href="http://www.davidplylar.com/">David Plylar</a>, this iconic work of the string chamber repertoire works incredibly well for winds, leaving the piano part unchanged. As anyone who has played in a wind group knows, convincing a pianist to learn something beyond the Mozart and Beethoven quintets, and if you are especially lucky the Poulenc sextet, tends to be next to impossible. And not without reason; we simply do not have the repertoire that string players do and their works happen to be some of the greatest written in general, especially Romantic music. As much we believe that our parts are difficult, the pianist will always have the most labor-intensive music to learn and probably will not have opportunities to perform the said work again like they will for standard repertoire. </div>
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This transcription is done with such reverence for the music of Brahms, as it brings out inner lines and harmonies through the expanded color pallet of the wind instruments. My quintet, <a href="https://www.facebook.com/District5quintet">District5</a>, had a wonderful time working with our pianist, Dr. Mayron Tsong, a faculty member at the University of Maryland. To collaborate on music of this level was a very rewarding experience and challenged everyone to truly embrace every aspect of this piece. </div>
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The Loboe also makes a wonderful addition to this work. In movement I, at 3:38, the Loboe and clarinet have the unison melodic line, the lowest pitch being the A3. It is a subtle inclusion, but one that is very supportive of the music by not having to have a voice drop out at that pivotal point.<br />
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Needless to say, the wind quintet can consider this transcription an olive-branch from the pedestal of iconic Romantic chamber music; winds can not only make an attempt at this kind of music, but through an exceptional transcription, honor the music of Brahms by bringing out new elements of his masterful chamber music.Alisonlowellhttp://www.blogger.com/profile/05089256887151906866noreply@blogger.com0tag:blogger.com,1999:blog-5170104113940967333.post-41310000323788887292014-03-21T08:15:00.001-07:002014-03-22T14:09:59.588-07:00Composer Profile - Alexandra Fol<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Georgia, Times New Roman, serif;">One of the most enjoyable aspects
about the Loboe Project is the anticipation of new works! There are several
original compositions and transcriptions in various states of progress at the
moment, all of which should result in excellent pieces. Today's feature
is about composer Alexandra Fol who is currently writing a work for Loboe and
piano.<o:p></o:p></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">I had the pleasure of meeting Alexandra while studying at the Eastman School of Music in 2002. Her enthusiasm for new works was contagious; she championed the music of her fellow composers as if they were her own. Her dedication to contemporary music was obvious but her skill set was not limited to composition. As a talented church organist and conductor, she is able to bring a very unique perspective to her work as a composer. Since our overlapping time at Eastman, she has continued to have a distinguished career and currently resides in Montreal. Needless to say, I greatly await the completion of her Loboe Project piece! </span></div>
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<b style="font-family: Georgia, 'Times New Roman', serif;">Alexandra Fol</b><span style="font-family: Georgia, 'Times New Roman', serif;"> is a Bulgarian composer and organist and
has composed more than 50 works in different mediums. Fol's "Two Songs for Voice and Orchestra" were performed by the Tokyo Symphony Orchestras and her Concerto for Violin was premiered with the Boston University Orchestra. In 2005, Fol was one of four composers commissioned to write a children's work for the 70th anniversary of the Montreal Symphony Orchestra's Children Series. "Pegasus", Op. 37, was performed during the 2005-06 Montreal Symphony Orchestra's Children's Series and included an educational CD. Fol's commissions include chamber music premiered at Carnegie Hall, two short film scores, a work for the McGill University Orchestra, choir works, a piece for the orkestr de ereprijs in the Netherlands, corporate commissions, etc. Her works have been played by the Sofia Philharmonic Orchestra and the Young Artists Orchestra. Fol was a finalist for the 2006 Gaudeamus Prize in composition and a 2007 Tanglewood Music Center composition fellow. Born in Sofia, she studied composition at Boston University, the Eastman School of Music and McGill University where she earned her Doctorate. She currently works as an organist at Missione Maria Ausiliatrice. </span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">You can learn more about Alexandra by visiting her <a href="http://alexandrafol.blog.com/">blog</a>.</span></div>
Alisonlowellhttp://www.blogger.com/profile/05089256887151906866noreply@blogger.com0tag:blogger.com,1999:blog-5170104113940967333.post-71542056190667136682013-12-20T06:49:00.002-08:002013-12-20T06:50:37.988-08:00Loboe Project - Video RecordingsThe following two works were premiered at the 2013 IDRS convention - I recorded them in October and feel that both works truly embrace the full artistic and technical range of the extended-range oboe. It is an honor to have them in the Loboe Project collection!<br />
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"Lobotomy" by David Plylar<br />
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"South View" by Clare Loveday</div>
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<br />Alisonlowellhttp://www.blogger.com/profile/05089256887151906866noreply@blogger.com0tag:blogger.com,1999:blog-5170104113940967333.post-78351011559185440192013-07-11T06:20:00.003-07:002013-07-13T09:29:23.003-07:00International Double Reed Conference - 2013<div class="separator" style="clear: both; text-align: center;">
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At some point in nearly every oboist and bassoonist's life, they make the important pilgrimage to an IDRS conference which are held annually in different cities across the world. Only there can we let our guard down and discuss the differences between dry gougers and regular ones, the latest shaper tips and try new instruments for hours on end. It is an amazing collection of over-achieving high school students (we've all been there), college students, professionals and the "legends" of the trade. There is a seemingly endless list of concerts, master classes, competitions, lecture recitals and ensemble performances; I was thrilled to finally contribute to this double-reed tradition!<br />
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In a short recital, I gave two world premieres and one US premiere of solo works written for the extended-range oboe. Each work celebrated the unique attributes of the instrument, from consistent use of the "low-A" itself to techniques such as over-blowing, flutter-tongue, multi-phonics. Certainly the use of these techniques is hardly new at the IDRS convention, but it was showcasing these elements in the context of the "low-A" that made this performance what it was.<br />
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The first work was <i>Silvers</i> by Hannah Lash, a beautiful work that makes very demanding dynamic challenges in the lowest register. Claire Loveday's <i>South View</i> is an elegant work that takes some inspiration from South African musical traditions. I simply adore the distinct rhythmic section towards the end along with the very elegant lyric passages. Both works are very well executed in terms of giving the performer time to breathe (or in reality, recover) and are each about six minutes in duration.<br />
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The final work was David Plylar's <i>Lōbotomy</i>, a virtuosic tour-de-force that while absolutely playable, demanded some substantial endurance, both physically and mentally. A common concern with the "Loboe" is that the instrument is simply too heavy and taxing on the wrist/thumb to play for long periods. The IDRS recital was easily the most concentrated 24 minutes of playing I have ever attempted and while the performer's height and general wrist strength will always be a variable, I can honestly say that the weight of the instrument was not an issue for me. Honestly, keeping focus mentally was by far the greatest hurtle to overcome as the Plylar work is over eleven minutes of straight music with only very short breathes between sections. Of course, it is this extra demand of focus and endurance that gives the piece the incredible energy and excitement that it has. Not fearing any territory on the instrument, the "Loboe" is allowed to showcase its abilities to the fullest. All three works had such sharply contrasting characters and overall moods, yet each created a sound world that was totally unique and well-written for the oboe. To have this chance to perform "low-A" works in front of a crowd of double-reed players was truly wonderful (if not a bit intimidating!) and I am thankful for the opportunity.<br />
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Myself, composer David Plylar, oboist John Rojas and his wife</div>
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<span style="text-align: left;">In true oboe fashion, some of my previous teachers came to support me including Mr. Richard Killmer and Mr. David Weiss! I also caught up with my high school teacher, Mr. Robert Morgan, at the convention hall along with the fantastic staff of RDG Woodwinds from Los Angeles. Perhaps the biggest surprise was running into oboist John Rojas, a USC alum and a regular sub with my old orchestra in South Africa! He is a long-time resident of Cape Town but is originally from California. With every turn one seems to run into someone familiar and for a few days, it feels a bit like being back in college where there is that constant feeling of musical exploration and general oboe excitement. </span><strike><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEix_HNo31AAtL0N_eXzG4TAExUcggV7A81AsiO5dqo3gEdw4lhriNw35ZttOso01V-Jg-wGgLwrPRjfg83-7ntdsOe942gO-AWiY253E9opKVEi_HnhOMlHY1Atv3X66AkJOJv30JQL3OI/s200/IDRS+5.jpg" width="160" /></strike>A much anticipated moment for me was after the concert and took place in the convention center. Any instrument maker who can ship their instruments creates beautiful displays of oboes and bassoons. While it is always a pleasure to try out new brands, much excitement was being generated from a back room. Here the display looked more like a Tim Burton-style instrument workshop than a typical double-reed display. The Lupophon, developed by Guntrom Wolf, was the crowning achievement in a room full of gorgeous, if not often strange, instruments. I have already dedicated a whole blog entry about this instrument and I am happy to say, it did not disappoint in real life! I think every oboist yearns for that ability to play really low and with some power, not to mention it is just a fantastic looking creation. The learning-curve for the additional fingerings does not seem like it would be terribly long and the reed feels like a cross between a bassoon and a regular bass oboe reed (at least I think it does, its been a few years since I have played the traditional bass oboe!). Alas, despite the appeal, sound and general greatness of this instrument, its current price range is a bit out of most players' budget (as in none have been sold in the US yet). Perhaps the difficulty in obtaining one only adds to the allure! </div>
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While my time at the conference was brief, I enjoyed every minute of it and would highly suggest attending one. Playing works written for the "Loboe" by such talented composers was an honor and I hope to perform them all again sometime soon. These works proved that the possibilities of the "Low-A" oboe are really just beginning to be explored. </div>
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One of the most rewarding parts of working in South Africa was the realization that there is a small but very dedicated contemporary music movement that includes many extremely talented individuals. The new music reading sessions that occurred with the KZN Philharmonic Orchestra every few months enabled my husband and I to not only meet many wonderful composers, but to then hear their latest works read on the same day. On one such occasion, we met Clare Loveday, a passionate and diverse composer with a strong background in wind writing (such a rarity!). Clare is very representative of the composers in South Africa; they are extremely committed to developing the new music scene within the country and work tirelessly together with other musicians and academic institutions. One often finds this same group of people behind most of the major new music festivals, concerts and events and it truly shows just how dedicated they are to the promotion contemporary works. </div>
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I will have the honor of performing Clare's new work for solo Loboe this June at the 2013 International Double Reed Society Conference at the University of Redlands. This will be a short recital of solo pieces written specifically for the Loboe Project. Thanks to the conveniences of the internet, we have been able to work together despite the large distance that separates us; I am very excited about this beautiful work and am looking forward to performing it in the next few months!<o:p></o:p></div>
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Be sure to visit Clare’s <a href="http://clareloveday.co.za/biography.html">website</a> to learn more about her amazing musical journey and accomplishments! <span style="color: #500050; font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
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Alisonlowellhttp://www.blogger.com/profile/05089256887151906866noreply@blogger.com0tag:blogger.com,1999:blog-5170104113940967333.post-58361390671887413362013-02-04T06:55:00.000-08:002013-02-04T06:58:02.743-08:00A Doubler's Take on the Loboe<br />
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<span style="font-family: 'Times New Roman', serif;">Joseph
Tomasso is a musician who exemplifies talent and patience; he is an
accomplished woodwind specialist and also a friend from my high school
district-band days. Specializing in all of the wind instruments, including the
saxophone family, this demanding career presents one with the unparalleled
challenge of countless reeds. Despite his busy schedule, he was nice enough to
share his thoughts during a recent purchase of a new oboe. Oboists are
frequently loyal to their brand of instrument and it is refreshing to see
someone explore multiple instrument maker choices; Joseph outlined his quest to
find the best oboe for his doubling career which included the Loboe.</span></div>
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<span style="font-family: "Times New Roman","serif";">Below
are his thoughts comparing instruments; I am most appreciative for his time and
expertise. While he did not ultimately go with the Loboe for his needs, he
made the right choice for his career needs so I won’t hold that against him! <o:p></o:p></span></div>
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to check out his </span><span style="font-family: "Times New Roman","serif";"><a href="http://josephmtomasso.com/">website</a></span><span id="goog_1834950498"></span><span id="goog_1834950499"></span><a href="http://www.blogger.com/"></a><span style="font-family: "Times New Roman","serif";">
to learn more about his incredible career!<o:p></o:p></span></div>
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<i><span style="font-family: "Times New Roman","serif";">The lower register was really
"free" without being "flexible" - it might be because I am
a doubler, but as a saxophonist generally if there is not enough resistance the
tone goes crazy in the low register of the saxophone. This [Loboe] had a great
mix of comfort and power, without losing any sense of tone. It was really
remarkable in the low register.<o:p></o:p></span></i></div>
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<i><span style="font-family: "Times New Roman","serif";">The extreme high register was also
really excellent. I am not sure if it was because the bottom joint adds a
little extra wood to vibrate, but the F and above spoke cleanly with standard
and short cut fingers. I preferred to use the back octave as the third octave
was a bit sharp (but that could be because I am a saxophonist and have a
tendency to bite the notes out) or maybe the vent was opening too much or too
little. <o:p></o:p></span></i></div>
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<i><span style="font-family: "Times New Roman","serif";">The short version is really that
the problem with [the Loboe] had nothing to do with the lower register, but
everything to do with the left hand notes. A, B, C were very hard to play with
any sense of focus/tune (they were oddly sharp and I'm not sure how to
compensate for that because my older marigaux 901 was flat on b and c). When I
switched the top joint, oddly enough, the instrument was really gorgeous (even
though it looked hideous with a grenadilla top and violetwood bottom). The
problem there was that the top joint was from different horn and of course was
not set up to play the low A the right way (which was sort of sad because low
makes everything more exciting).<o:p></o:p></span></i></div>
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<i><span style="font-family: "Times New Roman","serif";">I actually found this instrument
to project very well, more so than the Howarth XL in cocobolo that I tried
(which was also a very nice instrument). I just wish the pitch center was more
stable! One other really cool thing about the low A was how easy B and Bb
seemed to be in comparison. There is something really pretty about the 2nd to
lowest note on oboe. I tried to pick the best oboe for someone who plays oboe
every day, but maybe isn't trying to be in a major symphony.<o:p></o:p></span></i></div>
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<i><span style="font-family: "Times New Roman","serif";">I ended up picking the Buffet
Orfeo (In green line) because it had a really covered/dark sound (very similar
to the Laubin I tried) but also an extremely even scale (more even than the
Yamaha Duet+ I tried as well). It does not offer quite as ... sparkly or
shining of a tone, but I think I can try and alter my reeds a bit to get the
instrument to sing. <o:p></o:p></span></i></div>
Alisonlowellhttp://www.blogger.com/profile/05089256887151906866noreply@blogger.com0tag:blogger.com,1999:blog-5170104113940967333.post-5393337477661192882012-12-14T20:20:00.001-08:002012-12-14T20:20:24.982-08:00A Case For Music <div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEWyr_lEZDMpcHrrXL7wugqe3oY1GVce3B66sdZ06g9Hmci9x8vVsTd8S1mempWCG6-Tret5Ue6J7peUN09cp4fw3z7f69BDn2-gwySHNGDQVhXAoDWITHaQ3wo_pawuPgIKItFmFo1Lw/s1600/ballet+photo+1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEWyr_lEZDMpcHrrXL7wugqe3oY1GVce3B66sdZ06g9Hmci9x8vVsTd8S1mempWCG6-Tret5Ue6J7peUN09cp4fw3z7f69BDn2-gwySHNGDQVhXAoDWITHaQ3wo_pawuPgIKItFmFo1Lw/s320/ballet+photo+1.jpg" width="320" /></a></div>
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Tonight was one of countless Nutcracker performances taking place across the country. Considering the magnitude of the Connecticut school tragedy today, one might ponder the appropriateness of going to a lavish ballet production when so many are dealing with unimaginable pain. <div>
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But tonight provided a chance for a theater filled almost completely with parents to escape for a few hours. The unique atmosphere created by having live musicians, as opposed to a recording, is something incredibly special and something only live ballet can provide. I think we were able to help transport parents and their kids to a very different world, one literally as far away from reality as possible. If only for an evening, this ballet that depicts fantasy and frills took on an especially important role. In the midst of the unthinkable, thank goodness for live music. </div>
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Alisonlowellhttp://www.blogger.com/profile/05089256887151906866noreply@blogger.com1tag:blogger.com,1999:blog-5170104113940967333.post-72119538968121717252012-10-30T18:30:00.005-07:002012-10-30T18:31:22.013-07:00Three Romances by Schumann<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1UY5H0e0rxr0hWBu1i9RpLpOdXJuiK2-gTsAAoBUKSfp5QkxO6QOVKtnf_MqkRPl2kSWTGwkZdVuSIeCmJoYX9DKLHeUiU4xF7h6WJ_gzphhlrx-WXrO5wHHZPDkdL0jb1xrq5xz-mWA/s1600/Schumann+Romance+Cover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1UY5H0e0rxr0hWBu1i9RpLpOdXJuiK2-gTsAAoBUKSfp5QkxO6QOVKtnf_MqkRPl2kSWTGwkZdVuSIeCmJoYX9DKLHeUiU4xF7h6WJ_gzphhlrx-WXrO5wHHZPDkdL0jb1xrq5xz-mWA/s320/Schumann+Romance+Cover.jpg" width="320" /></a></div>
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<i>Drei Romanzen</i> by
Robert Schumann is one of the finest works that oboists have from
this period which so sorely neglects the double reeds. While the simple,
elegant lines may sound effortless to the audience, this piece takes an
extraordinary toll on the performer’s endurance. As a former teacher instructed
me once –</div>
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<o:p></o:p></div>
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<i>Always program this piece first
on your program so late-comers will enter after the first movement and give you
a chance to breathe!<o:p></o:p></i></div>
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It is a work that I frequently find myself returning to but tonight it felt as though I saw part of this music for the first time. I was
playing through the work and had reached the final movement when I made an
abrupt stop; the written "low-A"! Originally for violin, oboists have adopted
this piece and will fiercely defend it as <i>really</i>
belonging to our side, thus being able to mentally block out the <i>ossia</i> parts. After all, the
scales are absurdly tipped in the violin’s favor when it comes to quality
Romantic music. The third movement is characterized by a unison melody line between the oboe and piano. The free-flowing line is suddenly interrupted by a <i>f</i> pick-up note into an articulated octave motive. It is one of the few
moments of outright playfulness that exists in the entire work. Uses of unique
articulation and octaves are special moments in this piece as compared to the array
of lyrical passages. The unfortunate drawback of the standard oboe is that it prevents
this particular moment from being played when the material returns a third lower.
Instead of octave “A’s”, one can only extend the first "A" of the bar into a
quarter note. <o:p></o:p></div>
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<o:p> </o:p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiK256GStVEEWMgjN_SZws_4FdAfpWDpwBm66_Me54UJtylphOUQDEKue5KwKmof1iVsahxhcuj3qzJYRb_40BVxjEl1Sc-uD-4ruYwucpq-GdzqiSW-rg9b8uZVG8rmJ4X2uhGb8bv2Ok/s1600/Schumann+Romance+oboe+score+first+half+ex..jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" height="149" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiK256GStVEEWMgjN_SZws_4FdAfpWDpwBm66_Me54UJtylphOUQDEKue5KwKmof1iVsahxhcuj3qzJYRb_40BVxjEl1Sc-uD-4ruYwucpq-GdzqiSW-rg9b8uZVG8rmJ4X2uhGb8bv2Ok/s200/Schumann+Romance+oboe+score+first+half+ex..jpg" width="200" /></a><span style="text-align: center;"> </span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgllNA_NXB0fa8nR0YUBmgC8PgwaDbQnKKJjYN0I5iioROhqMxElYI-oLtUR6w7tFZBbDmfGEgwK-eHfTptrr47RkR4DW4Mape1dL7QBvRovirwctgocgZzbq58IfM_3NhMteDne6tC3bs/s1600/Schumann+Romance+oboe+score+ex..jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" height="149" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgllNA_NXB0fa8nR0YUBmgC8PgwaDbQnKKJjYN0I5iioROhqMxElYI-oLtUR6w7tFZBbDmfGEgwK-eHfTptrr47RkR4DW4Mape1dL7QBvRovirwctgocgZzbq58IfM_3NhMteDne6tC3bs/s200/Schumann+Romance+oboe+score+ex..jpg" width="200" /></a></div>
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Looking at the version for clarinet that also came with my
Breitkpfe edition, the instrument’s naturally fitting range allows the music to
be played with the original material.<br />
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<o:p></o:p></div>
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<o:p> </o:p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBBHxfBN7bfu4mHCI7hM3se_pR4zwTuskFBSJW_Jsjv86dqwJcI531GQPpA8sDb-kNG34KHbq4_iRy3niVRlxbUkxpGKZEQRIoYOoeHMAVDVXFbWzlConJ0V6_9qsr5Pda_oi-Y_gJVC0/s1600/Schumann+Romance+clarinet+score+ex.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" height="149" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBBHxfBN7bfu4mHCI7hM3se_pR4zwTuskFBSJW_Jsjv86dqwJcI531GQPpA8sDb-kNG34KHbq4_iRy3niVRlxbUkxpGKZEQRIoYOoeHMAVDVXFbWzlConJ0V6_9qsr5Pda_oi-Y_gJVC0/s200/Schumann+Romance+clarinet+score+ex.jpg" width="200" /></a></div>
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Below is the passage as viewed from the piano score. <o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAM3RIC4VyIXpH3EEAFY14sqpo9dqw5aXIP08Sy30wjYYT2jTVqGe5y7UXzCR0hDlRFeCJZ021sJzYQzjD6ggsDPq1pXsZ617vSXE_BbS-aksNJcCtMbIGkOwYJcCwUSrNENWqnK77m-4/s1600/Schumann+Romance+piano+score+ex.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="149" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAM3RIC4VyIXpH3EEAFY14sqpo9dqw5aXIP08Sy30wjYYT2jTVqGe5y7UXzCR0hDlRFeCJZ021sJzYQzjD6ggsDPq1pXsZ617vSXE_BbS-aksNJcCtMbIGkOwYJcCwUSrNENWqnK77m-4/s200/Schumann+Romance+piano+score+ex.jpg" width="200" /></a></div>
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<o:p> </o:p>Of course, I now only want to play this piece “as written”,
so much as it is a violin piece. Essentially being able to double the amount of
“jaunty” moments in the third movement makes this additional note well worth
having. I am intrigued to examine other Schumann works to see what else can be
adapted but for the moment, I am satisfied with playing through my very worn
copy of the <i>Drei Romanzen</i> for what
feels like the first time. </div>
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<o:p></o:p></div>
Alisonlowellhttp://www.blogger.com/profile/05089256887151906866noreply@blogger.com3tag:blogger.com,1999:blog-5170104113940967333.post-69310225612664391252012-08-30T05:38:00.003-07:002012-08-30T05:38:50.408-07:00Unyazi Electronic Music Festival - South Africa<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhg9STdgf_ynXMV5nab9E97NO8o3EwlbYG6nok6jeZjOfV3AHB54DjUD13Epzcf3m0m99sJKcpyI2FleA2hcyAQfoW9z1oRTE_IW4cnCwHQj3E2PlfdIErPlFK69sn_smdmSJiuFm_oI-A/s1600/unyazi-2012-poster.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhg9STdgf_ynXMV5nab9E97NO8o3EwlbYG6nok6jeZjOfV3AHB54DjUD13Epzcf3m0m99sJKcpyI2FleA2hcyAQfoW9z1oRTE_IW4cnCwHQj3E2PlfdIErPlFK69sn_smdmSJiuFm_oI-A/s320/unyazi-2012-poster.jpg" width="226" /></a></div>
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<span style="color: #222222;"><span style="font-family: Georgia, Times New Roman, serif;">Next week
is the annual Unyazi Electronic Music Festival at the University of KwaZulu-Natal.
This is a fantastic event that attracts the musically adventurous of South
Africa. The line-up is amazing, featuring incredible talents such as pianist Jill
Richards, composer Lukas Ligeti and a wide range of experimental artists from
Europe. The event is a series of concerts and workshops for the greater Durban community. As my penultimate concert in
this country, I am thrilled to be performing Cameron Harris’s work <i>Lullabies
for Philomel</i> for solo oboe and electronics. It is a beautiful piece and is particularly well written for the oboe, though not surprising since Harris is an oboist himself. It may be a brief moment, but the work does delve
into the Loboe range. I have included the program notes and bio for Cameron Harris:<o:p></o:p></span></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><b><i><span style="color: #222222;"><br /></span></i></b></span><b style="background-color: white; font-family: Georgia, 'Times New Roman', serif;"><i><span style="color: #222222;"><br /></span></i></b></div>
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<b style="background-color: white; font-family: Georgia, 'Times New Roman', serif;"><i><span style="color: #222222;">Lullabies for Philomel</span></i></b></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><b><i><span style="color: #222222;">for solo oboe and electronics</span></i></b><span style="color: #222222;"><o:p></o:p></span></span></div>
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<span style="color: #222222;"><span style="font-family: Georgia, Times New Roman, serif;">1) Prelude: Inside a metal cage, a solitary lovebird laments and
dwells on the time when there were two<o:p></o:p></span></span></div>
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<span style="color: #222222;"><span style="font-family: Georgia, Times New Roman, serif;">2) Philomel's cry<o:p></o:p></span></span></div>
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<span style="color: #222222;"><span style="font-family: Georgia, Times New Roman, serif;">3) A serpentine question<o:p></o:p></span></span></div>
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<span style="color: #222222;"><span style="font-family: Georgia, Times New Roman, serif;">4) Metamorphosis: bells and birds<o:p></o:p></span></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><i><span style="color: #222222;">Philomel, </span></i><span style="color: #222222;">for soprano, recorded soprano and synthesized sound was a
pioneering electronic work by Milton Babbitt, who died last year. Composed in
1964 using a very early RCA synthesizer, the emotional power and effectiveness
of the piece is remarkable. The music tells the tale of one of Ovid’s <i>Metamorphosis</i>:<i> </i>Philomela
is the victim of incredible brutality at the hands of her brother-in law, the
King of Greece, who cuts out her tongue to prevent her revealing the crimes that
have been perpetrated against her. The gods intervene and turn her into a bird
so she can be free and sing once more. She then sings her story with great
intensity.<o:p></o:p></span></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><i><span style="color: #222222;">Lullabies for Philomel</span></i><span style="color: #222222;"> is a homage to Babbitt in this, our first electronic
festival since his death. In the piece I mirror elements of the story but also
offer Philomela music that I hope provides her with some comfort after the
trauma she has suffered. There are certain parallels between the two pieces:<i> </i>both
works focus on E, the madrigalists’ symbolic pitch for a cry of anguish.
Also,<i> </i>in<i>Philomel </i>the interplay between the live voice
and its manipulated version is key, whereas in <i>Lullabies </i>I
have retained this idea but have metamorphosed solo soprano voice into a solo
oboist. All the sounds of the piece are created from oboe samples and therefore
the entire texture emanates from the sound of the instrument. In the choice of
oboe soloist I pay a further homage, this time to Benjamin Britten, whose
haunting and energetic <i>Metamorphosis after Ovid </i>for
unaccompanied oboe has become a central piece of repertoire for the instrument
and is also a great source of inspiration for me. <o:p></o:p></span></span></div>
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<span style="background-color: white;"><span style="font-family: Georgia, Times New Roman, serif;"><b>Dr Cameron Harris - Bio</b><o:p></o:p></span></span></div>
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<span style="background-color: white;"><span style="font-family: Georgia, Times New Roman, serif;">Cameron Harris is a
British composer and oboist who has lived in South Africa since 2006. He is
the chair of <a href="http://www.newmusicsa.org.za/info.html"><span style="color: #036796; text-decoration: none; text-underline: none;">NewMusicSA</span></a>,
the South African section of the International Society for Contemporary Music
and from 2007-2009 he coordinated the New Music Indaba festival, which
combines workshops for emerging composers with performances of South African
and international contemporary music. (<a href="http://www.newmusicsa.org.za/"><span style="color: #036796; text-decoration: none; text-underline: none;">www.newmusicsa.org.za</span></a>)<o:p></o:p></span></span></div>
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<span style="background-color: white;"><span style="font-family: Georgia, Times New Roman, serif;">Cameron studied at the
Universities of Edinburgh, Manchester and Pennsylvania with composers
including Nigel Osborne, John Casken, James Primosch and Jay Reise. In
America he was the recipient of a Thouron and a Benjamin Franklin fellowship.
He also won the Network for New Music Composition Competition in Philadelphia
and the David Halstead Composition Prize. In 2007 he performed at the Ostrava
festival (Czech Republic), which included works by Stockhausen and
Ustvolskaya and the premiere of <i>Quodlibet</i> by Christian Wolf. His orchestral work, <i>Three Night Pieces</i> , was also read at the festival. Cameron
coordinates the first- and second-year Music Literacies and Skills courses,
and teaches music theory and a fourth-year module on electro-acoustic
composition.<o:p></o:p></span></span></div>
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Alisonlowellhttp://www.blogger.com/profile/05089256887151906866noreply@blogger.com1tag:blogger.com,1999:blog-5170104113940967333.post-79592042534743939512012-04-05T05:17:00.000-07:002012-04-05T05:17:34.501-07:00Audience vs. Recitalist<div class="MsoNormal"><br />
</div><div class="MsoNormal"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiywHgUIj19hEXFPqvMWD3srY0wEBJlRC_qDWurGJFhFsgLv-11mPlCe6WeCvdVci1Xu97aB95v4LpwGW0sTcjZgjhM6bLnb4uLSUQf0VSVXF2ntDVYx-q0GK2d6GUnG2cyZQisdVjT6ys/s1600/Africa+Week+12+e.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiywHgUIj19hEXFPqvMWD3srY0wEBJlRC_qDWurGJFhFsgLv-11mPlCe6WeCvdVci1Xu97aB95v4LpwGW0sTcjZgjhM6bLnb4uLSUQf0VSVXF2ntDVYx-q0GK2d6GUnG2cyZQisdVjT6ys/s320/Africa+Week+12+e.JPG" width="240" /></a></div>I receive more e-newsletters than I remember signing up for. Most of these e-newsletters are from music ensembles and arts organizations from various cities I have lived in, covering everything from upcoming performances to thoughts on the arts industry. I’ll admit I always give them a quick glance, as living in South Africa does tend to leave one feeling a bit isolated from the rest of the artistic world... <br />
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Last week an email caught my attention as I felt it raised several positive points yet at the same time, perpetuated one of the most common myths about programming music. I highly respect the organization that sent this particular e-newsletter and I write about it here only in that it represents a wide-spread misconception about the connection between the performer and the audience.<br />
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<o:p></o:p></div><div class="MsoNormal">I was sitting in my husband’s office, killing time before a rehearsal, and I was giving my daily influx of e-newsletters a more thorough reading than usual. There was one that caught my eye as the subject was about how to pick your repertoire for a solo recital. I was intrigued that the advice was essentially that the main focus of your recital should be the audience, not you as a performer, and that one should push themselves as a performer, just so long as they didn’t push the audience too far in doing so. I will say that the newsletter also stressed that in addition to the above, expanding one’s focus beyond giving a flawless performance will in turn help make a stronger connection with the audience. I agree whole-heartedly here as there are many ways to engage with the audience in addition to repertoire choice.<br />
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<o:p></o:p></div><div class="MsoNormal">One of the frequent discussions (well let’s be honest, more like arguments) I have had with different ensembles is about what role the audience plays when programming a work. In my experience, there is no such thing as “the audience” in terms of a single entity; it is in reality a collection of individuals of whom one has little to no knowledge of their capability of perceiving any said work. Now this is not to say that certain concerts result in certain decisions, such as performing an educational concert for second graders or a retirement home at Christmas time. However, even these types of concerts do not necessarily mean the end of interesting programming. If your audience is all under the age of eight, than one probably should avoid performing nothing but lengthy slow movements, for instance.<br />
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<o:p></o:p></div><div class="MsoNormal">But the crux of the matter is when the decision is entirely yours, should the audience really be the determining factor? With my own ensembles, I tried to steer away from “safe programming”, meaning that someone like me would be disappointed that the group didn’t take any chances and I would likely not become a repeat customer. I had the luxury of hearing the superb oboist Albrecht Mayer (principal of the Berlin Phliharmonic) perform a solo recital in Lucerne, Switzerland. To make it even better, I attended with a group of oboists and the excitement level was palpable from our back of the church seats. Not surprisingly, he was fantastic and it was a true joy to hear him in person (the only time I have ever been able to hear him live); however, I was a bit let down by the programming. He performed very typical recital works (I remember Saint-Saens and Schumann), which don’t get me wrong, are great works, especially the Schumann. But the house was packed because of his reputation; I felt he missed a chance to perform something even slightly more unusual or daring. Though he addressed the crowd in German, Mayer did speak about the works during the recital and by the little chuckles of laughter, it was clear that he had this Swiss audience eating out of his hand. I think he could have performed anything and they would have adored him. <o:p></o:p></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Between the musician and the audience, I want the recitalist to be the most informed and education about the music being presented; they then should be able to convey this knowledge through a quality performance, as well as taking steps to further engage everyone involved. Recitals and self-programmed concerts are amongst the few ways that we can as artists have any real contribution to the greater artistic world. In an orchestra, we may play fantastic works but at the end of the day, someone else is choosing the music and we will simply whatever is put in front of us. I feel strongly that the musicians needs to make smart musical choices (yes, there are just as many sub-par contemporary works as there are baroque trio sonatas) but the audience needs to be told what is important, not the other way around. It is a unique chance to expose people to works they have never heard and chances are, if one can find ways to engage them, they will actually enjoy it. Not every recital needs to be a soap box for new works or transcriptions, but the audience should never hinder one’s artistic choices. <o:p></o:p></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">This newsletter certainly got me thinking about what my dream solo recital might look like and instantly two works came to mind: Steven Jaffe’s “Chamber Concerto” <i>Singing Figures</i> and Penderecki’s <i>Capriccio</i>. Both works are for solo oboe with small ensemble and are incredibly exciting and beautiful pieces. The Jaffe work is recorded by oboist Stephen Taylor and Speculum Musicae and is performed to perfection. It is scored for solo oboe, strings, piano and harpsichord/celesta; despite being a fantastic work that I would play in a heart-beat, the logistical factors of his orchestration might be a reason why it is not a main-stay on recital programs. Divided into three movements, the effort of finding all the keyboards is well worth it as there is some very interesting timbres created by these particular sounds mixing with the solo oboe. The Penderecki is a little more intense and requires some real commitment on the string players’ part. The character of this piece and the visual effect of the soloist set against this collection of string players would make for a very engaging experience for the audience. <o:p></o:p></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Recitals are a requirement while one is studying but they become a sought-after luxury once you have graduated. They are a chance to yes, engage with the audience, but the method in which we do that is entirely our own and the audience plays no part in whether or not the performance was successful or not. How many times in history has a single music critic literally crippled a composer’s ability to write because of their perception of a single performance? A quality work is a quality work and in terms of its reception with an audience, it may run the gambit of loathed to universal appraised. Finding those ways to engage with the audience is critical, so long as we do not allow the audience to run the recital for us. <o:p></o:p></div>Alisonlowellhttp://www.blogger.com/profile/05089256887151906866noreply@blogger.com0tag:blogger.com,1999:blog-5170104113940967333.post-90678035516528566762012-02-28T13:12:00.000-08:002012-02-28T13:12:01.448-08:00The Many Complexities of One Note<div class="MsoNormal"><div class="separator" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: left;"><span style="font-size: 19px;">While most audience members view the oboe’s tuning “A” before the concert as they would a preview at the movie theater (and continue to talk through it), most are completely unaware of the long and complicated relationship that most oboists have with this particular note. There are actually many factors to consider and it is never as straight-forward as simply playing one pitch. There is no universal standard when it comes to the tuning “A” but ask an oboist and they will likely convince you that in fact they have discovered the perfect method. Here is a quick look at the many elements of tuning; the cue to tune, tuning pitch, tuning device, crescendo vs.static volume, use of vibrato and general orchestral acceptance. </span> </div></div><div class="MsoNormal"><div style="text-align: center;"><strike style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgW4KfGEvnbse_5SHS1X7KFBsOYd83GF2HBpB2dZ_wixndZPyONNwRD6JAeByqqKb3kUr3v4TjiidlE2zvN0heih3Q1XvpC-SBW2NTV3SNJU0vV2E6-tFJWnGr4u-QtEBSvCq7nwGPRm_I/s200/Africa+15.jpg" style="text-align: left;" width="150" /></strike><span style="font-size: 14pt;"></span></div><div style="text-align: left;"><span style="font-size: 14pt;"><span style="font-size: 14pt;">The tuning note occurs traditionally only after the ceremonious cue from the concert master and this is true for rehearsals as well. However, there is the tradition of having the concert master simply come take his bow and be seated instead of giving the cue for the “A” first. In this case, the assistant concert master gives the cue beforehand and only for the concert. I learned from a colleague that in the Netherlands, it is tradition to have the principal oboist stand to give the tuning “A” instead of remaining seated.<br />
</span></span></div><span style="font-size: 14pt;"><u></u><o:p></o:p></span></div><div class="MsoNormal"><span style="font-size: 14pt;">The precise tuning pitch of the orchestra is so critical that it is a part of every orchestral musician’s contract along with salary and health benefits. This is vital information as it affects not only traditional orchestra instruments, but those that need advanced tuning such as pitched percussion, piano and harp. In my experience, I have found the majority of orchestras in the United States tune to A=440 and occasionally A=442 (there are of course exceptions). In Europe, the trend seems to be higher starting pitches, even cases of A=444. Of the one South African orchestra of which I am aware of the pitch, it stands at A=441. <br />
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<o:p></o:p></span></div><div class="MsoNormal"><span style="font-size: 14pt;">I personally always use a tuner, despite the rapidity of this task for one main reason; a machine is perfect, oboists are not. There are many who feel confident enough not to use a tuner, but then again, when needing to convince other musicians, there is little debate when the little light flashes green. <br />
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<o:p></o:p></span></div><div class="MsoNormal"><span style="font-size: 14pt;">When I have attended concerts, there are typically two approaches to the start of the actual tuning note; gradual crescendo or immediate forte. I personally like the gradual approach seeing that the oboist is the only member of the orchestra who is not allowed to be heard “fixing” or dare we say “tuning” a pitch. The quieter starting volume demands more attention and concentration from the string players and as more join in, I increase the volume. Once the note begins, the question of vibration immediately arises; should one use vibrato or use a straight tone? While oboists rarely will ever play senza-vibrato tone in orchestral works, to me the vibrato interferes with the basic function of tuning. I would personally find it easier to tune to a straight-tone even though the use of vibrato is more in synch with what I would here in the concert. <br />
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<o:p></o:p></span></div><div class="MsoNormal"><span style="font-size: 14pt;">Then of course there are those situations where an orchestra veers off the traditional path. The Boston Symphony Orchestra has taken this element of tuning one step further and in fact has absolved the oboist of the responsibility all together, well, almost. The principal oboist actually turns on a tuning machine that gives a straight-tone pitch (though not a recorded oboe sound). I admire this system and would personally have no problem adapting to it. There have been two occasions where “creative tuning” made for an interesting concert experience. I can remember a concert where the conductor felt so strongly about having the oboist play a concert “D” then an “A” every time as part of the tuning process and the result was a most confused audience. It is amazing how audiences zone out of this process but the moment one adds a note, the chattering simply will not die away. The other occasion was attending the performance of Beethoven No. 4 in Bb Major in which the work begins with unison Bb. This presented an interesting challenge as tuning to the 7<sup>th</sup> of a particular key is not ideal; the strings were tuned first to “A” and the winds and brass followed on a concert “B”. While it made the most sense for the sake of the musicians, deviating from the system even slightly draws a great deal of attention to the tuning process. <br />
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<o:p></o:p></span></div><div class="MsoNormal"><span style="font-size: 14pt;">While studying at the Eastman School, the art of tuning was a topic discussed thoroughly. Playing the perfect tuning note was given the same weight as an Olympic performance, such as instituting a point system and talking about the success of the classes’ collective tuning “A”s during our weekly master class. With all of the guidelines we were given to think about, we also received different advice when it came to keeping ourselves in tune. The thought was that simply by warming up within the wind section, one could find where the pitch center was and where we fit in. It was even suggested that the second oboist not tune directly on an “A”, but on a low “D” instead as to get the section thinking about intervals instead of tuning one pitch. In recital settings, one needed to hear or play with the pianist beforehand instead of opting to “tune” to a piano pitch once on stage. Of course, not every work is written in a key that is compatible with the “A” pitch (if it is in a key at all…) which was all the more reason to opt out of the whole process and simply come to the stage in tune. <br />
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<o:p></o:p></span></div><div class="MsoNormal"><span style="font-size: 14pt;">Looking back, I am most grateful for the intense experience of weekly tuning- judging sessions as it made one examine the many elements that go into this unique responsibility. <o:p></o:p></span></div><div class="MsoNormal"><br />
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</div>Alisonlowellhttp://www.blogger.com/profile/05089256887151906866noreply@blogger.com0tag:blogger.com,1999:blog-5170104113940967333.post-49075627855979387572012-01-19T12:57:00.000-08:002012-01-19T12:57:21.200-08:00An Unexpected Fiend...<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtaTUXdoc3a8pGjNO7efwWZLsZM6-AnFuANUhuv2PTtNWX6utlDaTA4KBHEUWt1jD2Y5OsKlTW9xqQLvsrHujgWBr5hLiGXjmwaNRAZsR6FRKDttd1KkjzJnoQTFyEGuPLKPNyc_HBdVE/s1600/Africa+Week+8+4a.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="136" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtaTUXdoc3a8pGjNO7efwWZLsZM6-AnFuANUhuv2PTtNWX6utlDaTA4KBHEUWt1jD2Y5OsKlTW9xqQLvsrHujgWBr5hLiGXjmwaNRAZsR6FRKDttd1KkjzJnoQTFyEGuPLKPNyc_HBdVE/s200/Africa+Week+8+4a.JPG" width="200" /></a></div><div class="separator" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: left;"><br />
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<span style="text-align: left;">I took a very highly anticipated trip to RDG Woodwinds in Los Angeles last week in order to have all of my oboes professionally looked at for the first time in a year. While always good news to hear that cracks and major malfunctions were not discovered, an unusual culprit was the cause of much distress this visit; mold.</span> <br />
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The eastern coast of South Africa, specifically in the KwaZulu-Natal province and right off the Indian Ocean coast, is an obvious vacation destination for many people within the country, and for good reason; it is a beautiful location and the sub-tropical location is incredibly alluring. Of course, having lived there now for a year and a half, we constantly battle to achieve bio-sphere levels of regularity when it comes to the environment inside our flat. The constant moisture in the air, along with something about the hilly area that we are in, results in a perfect combination for mold. While very easy to brush off, there is no surface that it avoids including fabric, wood, tile, paper, etc.; it's all fair game. The only method that prevents the steady accumulation is regular breezes, as in every single day. Instruments that do not get daily use and remain snug in their cases, be at a BAM case or other, will almost certainly succumb to some level of mold resulting in drier wood. Putting in a humidifier theoretically would prevent this from happening, but the catch is that it is also acting as a magnet for mold. This mostly effected my back-up oboe, (not the Loboe), as I had not actually used it consistently in rehearsals. The Loboe actually had a great check-up and because of its regular use, was not really effected by the fiendish mold.<br />
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<div class="separator" style="clear: both; text-align: center;"><strike style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgs9e9qugHuVEJQZA9xTSt5MscyO9LMRYfxF-3Z1J0s1Zqiq-uZqj-56uPTYbo8njt4EAW1Dj3ImsnU9LR1VXUV921Rpus3ymYpsC2vRKpmXPkah_IaQmtBpweLd3YIYP1nnhia7YO_DCI/s200/Oboe+shot+1.jpg" width="98" /></strike><u></u></div>The advice is this for all of you sub-tropical wind players; regular open-air contact (as in keep that case open!) and play the instrument at least once a week if it is not your primary instrument. My strategy is that I will leave the case open on a chair that faces our terrace door since we try to keep it open as much as possible. Keeping doors and windows open is essential since we do not have air conditioning, however, we also have the unique dilemma of potential monkey invasions and yes, I am serious. In Durban, South Africa, vervet monkeys roam the streets with the same frequency as squirrels in the United States. For some illogical reason, screen windows do not exist there, though I am fairly certain the monkeys could figure out a way to get through them. There are also two house cats on the property, Mango and Max, who also frequent our place but they are more likely to be found sleeping on the couch than puttering around a case. So, as long as I am in the room keeping an eye out for unwanted guests, I think my other oboe stands a much better chance for a great check-up next year.Alisonlowellhttp://www.blogger.com/profile/05089256887151906866noreply@blogger.com0tag:blogger.com,1999:blog-5170104113940967333.post-41115731170467946632011-11-05T05:25:00.000-07:002011-11-05T05:53:08.901-07:00When the Audience Impresses the Orchestra<div class="separator" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZBUXh0N8xob3SIBA8VPlkpDEgatjTpmHcfTENCsogtfJ_D_QLoiEbKVClbdMQBEv_Jl1F11zswpFgGKIWtpejnvT2E6_GLi_yIOstLW6jKtBSyWCA3-YG5Cr9BRYV8UZiu-vrNI0PpcQ/s1600/Hans+Huyssen+1.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZBUXh0N8xob3SIBA8VPlkpDEgatjTpmHcfTENCsogtfJ_D_QLoiEbKVClbdMQBEv_Jl1F11zswpFgGKIWtpejnvT2E6_GLi_yIOstLW6jKtBSyWCA3-YG5Cr9BRYV8UZiu-vrNI0PpcQ/s200/Hans+Huyssen+1.JPG" width="127" /></a><span class="Apple-style-span" style="font-family: Cambria, serif;">For most orchestral musicians, community concerts and educational performances are generally not embraced with quite the same enthusiasm as a concert featuring a work like Bartok’s “Concerto for Orchestra”. However, in the last few months, it is during these more intimate concerts that I have been privy to some rather interesting behavior from outside of the orchestra. <br />
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T</span><span class="Apple-style-span" style="font-family: Cambria, serif;">he first instance that comes to mind was during a typical community engagement concert. Along with a narrative guide, the orchestra performed a series of typical symphonic works for an attentive audience. Likely a first exposure to classical music for most of the crowd, the orchestra’s speaker for the program encouraged participation during a march by prompting them to clap along. Unintentionally, he set up an 8-bar beat pattern that happened to correspond to the phrase we were just playing (the music naturally dictated an increase of beats at that moment). I was a bit taken aback when the audience didn’t continue the faster beat pattern but in fact returned to the start of pattern and continued it in its entirety. And perfectly together at that! Musicians generally try to tune out group-clapping as the sound falls behind the beat almost instantly.</span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span style="font-family: Cambria, serif;">Perhaps the next instance exemplifies the age we live in more than anything else, but an amusing interaction happened recently between the orchestra and a guest soprano. I could not help but notice that during a rehearsal for a pops concert, the soloist kept glancing down at something, yet she held no score or sheet music. She had no trouble with the words, so it was not a series of memory lapses that was causing her to continually glance downwards; what was she doing? And then I realized, of course! She was using her iphone to check the lyrics as she performed. It was no different to her than a soloist having a score off to the side during the dress rehearsal (it should be noted that she sang all the words beautifully during the performance, without the help of her phone).<o:p></o:p></span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span class="Apple-style-span" style="font-family: Cambria, serif;">The final instance that comes to mind is something one never sees in the United States; people singing a national anthem in tune. In purely musical terms, it is quite a feat to sing the US anthem well and thus makes everyone wait with baited breath for a guest singer's inevitable "really high note" before a baseball game starts. Growing up, I remember reciting the Pledge of Allegiance daily but when we did sing something patriotic, it was usually "America the Beautiful". I think many young kids probably assume that is our national anthem; goodness knows it is sung more than the real thing in schools. Of course, I'd be remiss if I didn't admit that I have always enjoyed the following interpretation of the anthem from a classic "Simpsons" episode:</span></div><div class="MsoNormal"><span class="Apple-style-span" style="font-family: Cambria, serif;"><br />
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</span></div><div class="MsoNormal"><span class="Apple-style-span" style="font-family: Cambria, serif;">While the South African National Anthem does not have the vast pitch range that the US anthem requires, it does boast an impressive language requirement; the South African anthem consists of versus sung in five different languages. Our outreach concerts take us to many schools around the KZN province and are always concluded with the students singing the anthem along with the orchestra. Without fail, students and community members alike not only sing this anthem with a </span><span class="Apple-style-span" style="font-family: Cambria, serif;">noticeable</span><span class="Apple-style-span" style="font-family: Cambria, serif;"> sense of pride, but also a noticeable since of pitch. Frequently the students sing the anthem complete with harmonization and always with a dramatic crescendo at the end which leads to them erupting in applause. For an anthem sung in Xhosa, Zulu, Sesotho, Akrikaans and English, all while modulating to a different key in the middle, it is most enlightening to see students as young as five and six that seem to have no trouble at all with this repertoire. It is an anthem that does its best to represent a country with eleven official languages, as well as a troubled political past, with music that is both compelling and easy to sing. While a midi-version hardly embodies the emotion that one typically hears the anthem sung with, the first Youtube clip gives a clear idea of the languages/lyrics used. See how accurate your African language pronunciation is as you read along; my attempts only make me respect these students all the more. In terms of sheer musicality, I quite like the anthem and that it even features a meter change (be it one measure). Interestingly, the second Youtube clip features the South African anthem from 1957-1994; note that is only in Afrikaans and just a bit different in tone and feel…</span></div><div class="MsoNormal"><br />
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</div><div class="MsoNormal"><span style="font-family: Cambria, serif;">Indeed, most orchestral musicians, if given a choice, will prefer to perform concerts that features serious classical literature, but then again, the smaller outreach concerts are certainly not without their valuable points. There are countless musical differences from living in the US vs. South Africa, and one certainly learns more about their audience through these more intimate performances. As always, just like in the US, I feel that both country’s audiences are ready for more contemporary music…<o:p></o:p></span></div>Alisonlowellhttp://www.blogger.com/profile/05089256887151906866noreply@blogger.com0tag:blogger.com,1999:blog-5170104113940967333.post-77021158523041077482011-07-07T13:50:00.000-07:002011-07-07T13:50:00.789-07:00Chills at the National Arts Festival - Grahamstown<div class="separator" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlJyUY69HXR8BHkILsZCN2gw6OtlSCQgdmvw5OkE2R9jl8L2FDfoGCQG2WzguDzFNlLjtT620eGwds4v8ZqFD7Bm19RCbV21QwZiOjKwiNoQwUIQLnRAKKQnTkRjbjQ0Dh-h8HMNcKVMs/s200/Grahamstown+National+Arts+Festival+Logo.jpg" width="191" /></div><br />
The National Arts Festival is an impressive collection of diverse musicians and artists representing the best of South African culture as well as from overseas. These two weeks of non-stop events is a testament to the incredible marketing and management staff of the festival who attract audiences ranging from the conservative to the thoroughly Bohemian. Grahamstown is a charming college town which one would imagine is quite peaceful and tranquil for 50 weeks of the year. Theatre, classical music, jazz and everything in between finds its niche at Grahamstown and everyone seems eager to be a part of the events, resulting in a few more daring repertoire choices by a few ensembles which was nice to see.<br />
Our own experience at the festival was overwhelmingly positive with one distinct exception; the temperature. Now writing as someone who has spent 22 years living in Chicago and Rochester, NY, I am no stranger to the cold. I am not used to, however, having the cold follow me into the pit. The beautiful Monument Theatre, one of the central venues of the festival, is built of stone and quite massive. The pride in this venue comes from the tragic burning of the last theatre, a result of a faulty heating system. Thus the situation today is that the theatre simply has no heat. When performing "Swan Lake" with the Cape Town City Ballet Company, the frustration would mount as we huddled by the small space heaters that our orchestra managed to fit in the tight space. As an oboist, temperatures dipping below 13C/55F not only affected one's concentration on a rather demanding part, but made for a simply exhausting performance experience. The moment we had a few bars rest, I would begin the ritual of attempting to keep the oboe's head joint from freezing, swabbing out the instrument and re-wetting the reed as to compensate for the exceptionally dry atmosphere that the little space heaters were creating. As if that wasn't enough, this particular production of "Swan Lake", while beautifully performed by the ballet company, chose to frequently release dry ice "forest mist" which would then cascade down into the pit causing a briefly moist breeze followed by extreme cold when it evaporated. The audience was not spared from these chills as they all came prepared with heavy coats and blankets for the performance. I suppose one amusing element was that the loboe was so cold once that I could actually get the "low A" to sound as a "low A-flat"...<br />
Cold weather aside, it was inspiring to see the enthusiasm and excitement of the festival, especially when it came to advertising. With literally hundreds of performances, lectures, and exhibits to see in such a short time, the marketing prowess of certain artists really came through as they battled for their next audience. There was everything from strategically placed flowers with performance info at restaurants, free demos and excerpts of shows at the restaurants and creative Facebook updates.<br />
The overall impression of the National Arts Festival is that the organizational staff should be commended on their year-long efforts to promote, run and report back on all of the high-quality events. This festival has everything going for it, with the exception of unnecessarily cold venues which is a turn off for both artists and audiences. With that being said, I still greatly look forward to returning next year!Alisonlowellhttp://www.blogger.com/profile/05089256887151906866noreply@blogger.com0tag:blogger.com,1999:blog-5170104113940967333.post-15318344167052876072011-06-12T13:07:00.000-07:002011-06-12T13:07:22.531-07:00Outreach with Prokofiev 7<div class="separator" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjM89fWYqYYEZOUT-PrHrjtUd6VZTsfPjghr0bTUKEeqiwGRAejNNbpN2MJt7d2D2LdMsxGQY4w4QRtkKUrXfyVIYGpLXGtkM-6wPdUheJOZtQJLoph_LklL6bDb9kO7r-PF-Qcejwrq1Y/s200/Morningside+Primary+10.jpg" width="200" /></div><br />
Prokofiev's Symphony No. 7 was originally commissioned for a children's radio program yet unlike the iconic "Peter and the Wolf", this symphony has no story, no characters or even as much as a hint as to what the composer intended his young listeners to imagine while hearing this exceptional work. Fortunately, this total lack of guidance was the perfect blank canvass (literally in our case) to help local primary school students connect to classical music. With the help of a fellow orchestra colleague, we were able to connect to students in a multitude of different ways, all of which culminated in the KZN Philharmonic Orchestra's performance of the full symphony and the creation of the Prokofiev "Children's Art Gallery" at the Durban City Hall.<br />
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<div class="separator" style="clear: both; text-align: center;"><strike style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1VHDXEStuQDJgGtC4pVB2gxD8VoXWooJ9H7UxDysTMKsmkO4DDcMJHhvozx7kX7YM07ibPWfSM0l1tyvkw-CuYO6AfLGTQwaivc1-NVT4uYon_vyMwLHyqi0kdFfJmSxfOuMuof1OfDE/s200/Morningside+Primary+11.jpg" width="182" /></strike><u></u></div>Knowing that we wanted to introduce as much of the full work as possible during the hour long presentation, we selected both short themes and full movements in our agenda for the students. Normally educational programs involve our entire orchestra so with just two presenters, we started with the very basics: what is music? We wrote down word associations like colors, shapes and emotions on the board. We attempted to delve deeper than the typical first responses of "happy" and "sad" as our aim was to teach specific classical music listening skills if they were going to make it through an entire symphony concert the next week.<br />
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Before we even played a note of the actual symphony, we turned the tables on the students and had them create music for us to play. I was particularly excited about introducing some basic graphic notation and improv concepts to them. While they drew simple lines and shapes on the board, we "played" the music through our own interpretations on oboe and cello. The students connected with the idea of this new sound being our own personal creation and there was no wrong interpretation (though they could visually follow our musical choices which were not held hostage by a set tonality). With the presence of lines and shapes that coincidentally looked like certain extended technique indications, it was fantastic to introduce flutter tongue and other techniques to the students (and of course, a few "low A's"!).<br />
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Finally, it was time to get to the Prokofiev. We isolated two main and contrasting themes from the first movement. After listening via a cd player, they broke up into small groups and came up with short story ideas inspired by the theme. There was everything from kids at a playground and ballet to a mouse sneaking into a kitchen and mountain ranges.<br />
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Up until this point, the students were working from their desks. For the next part, we got them up out of their seats and into the action of the second movement, a waltz. This humorous music is a great example of excellent orchestration choices and the students learned to identify these musical attempts at humor through our three "characters"; free waltz/dance, interrupting/pounding and mischief/jester. Each time one of these "characters" appeared, we would all do the body movement we associated with each (so much easier to demonstrate in front of kids than adults...). We could go beyond simply identifying a free waltz feel to the music by adding elements of growth and decline through the height and width of the body gestures.<br />
<img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjE-c7RifPw8W7AKyuAfrNXX_v3jXsosefpLvN0RGpWoQyvONFF2cY8DXREbxD6pFoEKD4m9wkwhyvoCNR75jLPeX5XJWCYzV9OiBoUJXVw9MDHa6DvS9haScGghiNOD9fQXzamdPayr38/s200/Hillcrest+Primary+32.jpg" style="cursor: move;" width="166" /> As the third movement is quite calm and nostalgic, it was time for the students to tackle their blank sheets of paper in order to create a drawing inspired by the symphony. As we let the third and fourth movements play, we noticed a whole range of methods taking place. Some students immediately began creating very specific nature scenes while others choice to listen and create abstract art. My favorite was a student who literally drew to the phrasing of the music.<br />
<img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEyVEe1qFvH72wolO0dTEOnDvJLqI-TVhTI2XwSTCRkYH1zOb177XfVd1V9qwxrc95HZZmLSXvkWwfErF-X93XWablMpz2k5QPoEytxKsW9sr1bgGjSizxfHZFX6rQWd2YhmDoAojSuVo/s200/005.JPG" style="cursor: move;" width="150" /> We would see the finished creations only on the day of the concert as they were mounted in make-shift gallery walls in the Durban City Hall. Musicians and audience members alike stood and absorbed the incredible range of creativity. Interestingly, most students picked up on the slight ominous quality to Prokofiev's symphony. Most students showed this stark contrast in mood in some way, though I really enjoyed the drawing that included both the sinister "Friday the 13th" half with the contrasting "Thursday the 12th" half. Our concert days include a dress rehearsal which is open to the public. Both schools, despite one being on a holiday, attended the rehearsal and saw their creations first-hand. They were all eager to tell us which one belonged to who and what their picture meant. A considerable number of students returned that evening to attend the full concert with their parents.<br />
<img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXc7srymMDG-h-hFonwZZ-kTlsOU0xK-Y959pb12t66DCAUdGfB3T3qgi8fnWVoUqYpDNJUDE8LKtk_GttfnseaJ_8qdcRpQvzX9ZzH7yyAe2S2BwlZgtyg-qLBDQ864_5mlJBH_O5Gis/s200/006.JPG" style="cursor: move;" width="150" /> It was inspiring to see that even young students were able to grasp more than just a movement of Mozart and in fact tackled an entire symphony (and a 20th century one at that, imagine that...). There is something rewarding about being able to engage with a group of people, whatever age, who have not been corrupted yet as to the labels that are so often associated with this "more modern music" by parents and others. Whether it is Beethoven or Boulez, it is all new to these students and without some basic methods of interpreting and grasping this type of music, students and audience members alike too easily gloss over anything they do not already know. The experience left me with the pleasant image of these primary school students showing their parents how they learned to listen to a symphony.Alisonlowellhttp://www.blogger.com/profile/05089256887151906866noreply@blogger.com0tag:blogger.com,1999:blog-5170104113940967333.post-59914572067606862682011-05-29T22:59:00.000-07:002011-05-29T22:59:41.218-07:00"Schallbecher auf!"<div class="separator" style="clear: both; text-align: center;"><u style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="98" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjd-h3EEwiy6SManXITgIAmHduAlEoq7GSgE_guMgjRlNMdumRFYm-ui6iaWFTNxbw-JttbEuaNIeOeK1pETfxOiVUdpmpVIxWiCsh_tXw-g6RhHuxQOzDcnUzpFUI2GjXwN1PVzNHFAf8/s200/red-arrows-up.png" width="200" /></u></div><span class="apple-style-span"><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">The purpose of the Loboe Project is primarily to serve as a forum for topics relating to the unique instrument. For the first time, I must share a slight drawback that I have discovered about this otherwise exceptional instrument; it’s really difficult to do “bells up” in Mahler 5. <br />
While it is not impossible with the Loboe, and goodness knows it is not a natural position for any oboist, I think I had far more difficulty than the rest of my section when the instructions read “schallbecher auf” simply due to the slight increase in length and weight (which otherwise are never a problem during performances). On the plus side, knowing that there is an additional note on the instrument increases one’s confidence of very delicate entrances in the lowest register, which Mahler 5 is also full of, and thus my overall opinion is that the benefits outweigh the one small drawback.<br />
It seems every wind player can put their two cents in about the purpose and practicality of this motion. Having performed Mahler 5 last week, the perception I am left with is that there is an impact both audibly and visually. One audience member made the comment that the “bells up” sections instantly gave the winds a “band” quality to the sound in addition to just increased dynamics; an overall positive effect. <br />
Personally, I am all for doing these sections even if the instrument is a little heavier (this technique is called for multiple times in every movement that the winds play in). It is also refreshing to know that wind sections everywhere just go with these directions; if Mahler were a contemporary composer today asking for this, one would wager that there would be major backlash from players for the exact same request...thank goodness Mahler has proven himself beyond a shadow of a doubt the he knows what he is asking for in his music. <span style="mso-spacerun: yes;"> </span></span></span>Alisonlowellhttp://www.blogger.com/profile/05089256887151906866noreply@blogger.com1tag:blogger.com,1999:blog-5170104113940967333.post-4376745230350800082011-05-06T12:10:00.000-07:002011-05-06T12:10:21.270-07:00"Winnie: The Opera" - a view from the orchestra pit<div class="MsoNormal"><span class="Apple-style-span" style="font-family: Cambria, serif;"><br />
</span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDY8NEMUuuK8WrT9DsMe2HJ3FfDcCkUphxaql1sxJRWM3M1N75iOMJmGufuVmNfer_yrBhfNaQ0r3PYlBDpV-GoC-WdeYqVwtdYAwZB23w2XoNCkjs4y5rY_cluZCQNBAaJfXsJiLZCrA/s1600/Winnie.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="120" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDY8NEMUuuK8WrT9DsMe2HJ3FfDcCkUphxaql1sxJRWM3M1N75iOMJmGufuVmNfer_yrBhfNaQ0r3PYlBDpV-GoC-WdeYqVwtdYAwZB23w2XoNCkjs4y5rY_cluZCQNBAaJfXsJiLZCrA/s200/Winnie.jpg" width="200" /></a></div><div class="MsoNormal"><span style="font-family: "Cambria","serif"; mso-ascii-theme-font: major-latin; mso-bidi-font-size: 12.0pt; mso-hansi-theme-font: major-latin;">Unlike most Americans, my exposure to the life-story of Winnie Mandela this year will not come from the upcoming feature film starring Jennifer Hudson, but instead through the production “Winnie: The Opera” which took place last week in Pretoria, South Africa. I sat directly below the highly controversial political icon in the orchestra pit as she gave live feedback about the premiere performance she had just witnessed. But unlike most of the opera’s reviews, I will focus on the musical experience first; politics will come second. <o:p></o:p></span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span style="font-family: "Cambria","serif"; mso-ascii-theme-font: major-latin; mso-bidi-font-size: 12.0pt; mso-hansi-theme-font: major-latin;">While new operatic productions do occur in South Africa, it would be incorrect to imply that they happen with the frequency that they do in the US and in Europe. To the chagrin of new music lovers everywhere, I did overhear a few instances of singers uttering the classic notion that “well, it’s contemporary music, nobody will know if I make a mistake”. <span style="mso-spacerun: yes;"> </span>While certainly the score was modern sounding to the audience, at the end of the day the music was completely tonal.<span style="mso-spacerun: yes;"> </span>The difficulty for some singers in tackling this work simply reflects the need for more contemporary opera and a resurgence of classic opera of the 20<sup>th</sup> century in this country. <o:p></o:p></span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span style="font-family: "Cambria","serif"; mso-ascii-theme-font: major-latin; mso-bidi-font-size: 12.0pt; mso-hansi-theme-font: major-latin;">In general, there was a very noticeable determination on everyone’s part to master the challenges that the opera provided. <span style="mso-spacerun: yes;"> </span>The conductor, Jonas Alber, showed an excellent knowledge of the material and ability to work with singers of different levels of experience.<span style="mso-spacerun: yes;"> </span>For an opera written in both English and Xhose (mother-tongue of the Eastern Cape), Alber managed to give vocal cues in either language with ease to the singers on stage. <o:p></o:p></span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span style="font-family: "Cambria","serif"; mso-ascii-theme-font: major-latin; mso-bidi-font-size: 12.0pt; mso-hansi-theme-font: major-latin;">In terms of language, Xhosa (featured in the opera) and the Zulu language (spoken in the province where I now reside), there is a great deal of potential when it comes to new music. The naturally occurring “clicks” of these languages were of course featured in the opera but simply as part of the natural occurring words. The sound that these “clicks” make when a chorus of 15-20 sing in unison is truly fantastic. <o:p></o:p></span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span style="font-family: "Cambria","serif"; mso-ascii-theme-font: major-latin; mso-bidi-font-size: 12.0pt; mso-hansi-theme-font: major-latin;">A nice moment in the opera was the theme that occurred whenever “Desmond Tutu” sang. I later learned that this theme was a quote from an African lullaby called “Thula, Thula” and was very recognizable to the more musically-inclined members of the audience. As an outsider to the heated world of South African politics, this idea of needing to be South African to catch certain allusions was prevalent throughout the opera. <o:p></o:p></span></div><div class="MsoNormal"><br />
</div><div class="separator" style="clear: both; text-align: left;"><span style="font-family: "Cambria","serif"; mso-ascii-theme-font: major-latin; mso-bidi-font-size: 12.0pt; mso-hansi-theme-font: major-latin;">There was one scene in particular where my lack of personal knowledge about the specific details of Winnie Mandela’s life resulted in my missing a key allusion. <span style="mso-spacerun: yes;"> </span>Winnie sings an aria in which she ponders the impact that her imminent militant actions will have on her own political perception. She sings “for what I am about to do…with our rubber tires and boxes of matches, we will liberate this land” and general chaos/rioting immediately follows. Below is a photo (by </span><em><span style="color: black; font-family: "Cambria","serif"; font-style: normal; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Arial; mso-bidi-font-size: 12.0pt; mso-bidi-font-style: italic; mso-hansi-theme-font: major-latin;">Thrishni Subramoney</span></em><span style="font-family: "Cambria","serif"; mso-ascii-theme-font: major-latin; mso-bidi-font-size: 12.0pt; mso-hansi-theme-font: major-latin;">) from earlier this month at the University of KwaZulu-Natal where students were setting tires and debris on fire in acts of protest. This was the general association I gave to Winnie’s aria but learned only later that this scene was representing Winnie’s support of the “necklacing” style of execution; the placing of a rubber tire filled with petrol around a person’s chest and arms and then lighting it on fire. As an audience member, it would have been more intriguing to see how the opera dealt with this barbaric practice directly instead of only referencing it. Of course, to an all-South African audience intimately familiar with the story, this was hardly a problem. </span></div><div class="separator" style="clear: both; text-align: left;"><span class="Apple-style-span" style="clear: left; float: left; font-family: 'Times New Roman'; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="126" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlEANMTBjxpB_-AjdvIlRwjc4YK8A5ZDlIttnw-SSiFRN7k5GYmUTvNRVeWtWmvqRskQ-lQb06stYODCOLBGc0Q-I1iSTNUrhSbVCa2674StSFZs5_axP5m3edU8vUcqgRWUARk9Whs7k/s200/UKZN+protest.jpg" width="200" /></span><span style="font-family: "Cambria","serif"; mso-ascii-theme-font: major-latin; mso-bidi-font-size: 12.0pt; mso-hansi-theme-font: major-latin;"></span></div><div class="MsoNormal"><span class="Apple-style-span" style="font-family: Cambria, serif;"><br />
</span></div><div class="MsoNormal"><span class="Apple-style-span" style="font-family: Cambria, serif;">In the US, some of the most anticipated productions are those based on larger-than life figures.</span><span class="Apple-style-span" style="font-family: Cambria, serif;"><span style="mso-spacerun: yes;"> </span></span><span class="Apple-style-span" style="font-family: Cambria, serif;">Whether it is out of musical respect or just sheer curiosity, there is something intriguing about controversial productions like “Grey Gardens”, “Anna Nicole Smith”, David Lynch’s “Lost Highway” and even the now tame by comparison, “Nixon in China”. While I do not think that this production of “Winnie” was in any way trying to be outrageous or avant-garde, the perception of Winnie Mandela in this country is sharply divided and like any Michael Moor documentary, one probably will not go to see it unless they already fundamentally agree with his viewpoint. When Winnie took the stage immediately after the performance, she revved up the crowd with some protest chants before she gave her glowing praise for a production that was attempting to not take sides. For a grandmother in her 70s, even an outsider like myself could see how her demeanor still connected with the crowd and incited a new level of energy in the theatre. She said that this production was the greatest accolade her country had ever given her. She followed this with a laugh and said that it was her first time in the State Theatre; her militant group had never been successful in bombing it back in the day. </span></div><div class="MsoNormal"><span style="font-family: "Cambria","serif"; mso-ascii-theme-font: major-latin; mso-bidi-font-size: 12.0pt; mso-hansi-theme-font: major-latin;">(<i>Top photo by Themba Hadebe of The Guardian</i>)</span></div><div class="MsoNormal"><br />
</div>Alisonlowellhttp://www.blogger.com/profile/05089256887151906866noreply@blogger.com1tag:blogger.com,1999:blog-5170104113940967333.post-49886374393475552102011-04-09T08:30:00.000-07:002011-04-09T08:30:58.054-07:00Loboe and New Music in South Africa<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOvEHwvKsh8ezZ-tjvNaSQNgDJjH-h2KOcDJoF017CnwP0RmhEO9cxO-EP0cPkvN465p2WvlpJA84xqvExZcJcjmK-xpnriIbuBkY1cin0TnvmnUAn9TzHB3_4cD4fwn7YsrVl93wCZBU/s1600/David+at+piano+bw.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOvEHwvKsh8ezZ-tjvNaSQNgDJjH-h2KOcDJoF017CnwP0RmhEO9cxO-EP0cPkvN465p2WvlpJA84xqvExZcJcjmK-xpnriIbuBkY1cin0TnvmnUAn9TzHB3_4cD4fwn7YsrVl93wCZBU/s320/David+at+piano+bw.jpg" width="240" /></a></div><div class="MsoNormal">This week we presented a concert of contemporary chamber music, including the world premiere of American composer Hannah Lash’s piece for the solo Loboe, <i style="mso-bidi-font-style: normal;">Silvers</i>. What made this a unique experience was that the concert almost didn’t happen due to a combination of increasingly violent riots and strikes at the University of KwaZulu-Natal campuses last weekend. Indeed, Durban is not immune to academic budget cuts, though the official reasoning from the student-base was never completely made clear in the papers covering the story. What was made very transparent to us on the day of the concert was that after a weekend of rubber bullets and protesting, about half of the University staff was on strike and the concert hall management could not guarantee that we would even have an audience, should we choose to go ahead with the performance. <o:p></o:p></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Well, the threat of a small audience is hardly a set-back for new music people. We preceded anyway, considering the concert involved three other members of the KZN Philharmonic and rescheduling would have been a nightmare. As long as there was no immediate threat of tear gas at the concert, we were on.<o:p></o:p></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Despite all of the drama over the weekend and that morning, we had a good turnout of University students, orchestra colleagues and other guests. There were several people who later said that they could really hear the distinct timbre of the “low-A”, especially as it is featured in the ending of Hannah Lash’s work. A few words were said about each piece and the program was as follows:<o:p></o:p></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><i style="mso-bidi-font-style: normal;">Sylvia </i>by Moerane/Blake<o:p></o:p></div><div class="MsoNormal">Violeta Osorhean, Violin and David Plylar, Piano<br />
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<i style="mso-bidi-font-style: normal;">Partita Canonica</i> by Hofmeyr<br />
David Cohen, Clarinet<br style="mso-special-character: line-break;" /> <!--[if !supportLineBreakNewLine]--><br style="mso-special-character: line-break;" /> <!--[endif]--><o:p></o:p></div><div class="MsoNormal"><i style="mso-bidi-font-style: normal;">Phantom Vignettes </i>by Plylar<br />
Violeta Osorhean, Violin and David Plylar, Piano<br style="mso-special-character: line-break;" /> <!--[if !supportLineBreakNewLine]--><br style="mso-special-character: line-break;" /> <!--[endif]--><o:p></o:p></div><div class="MsoNormal"><i style="mso-bidi-font-style: normal;">Skirmish</i> by Plylar<br />
David Cohen, Clarinet, Alison Lowell, oboe and David Snaith, viola<o:p></o:p></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><i style="mso-bidi-font-style: normal;">Silvers</i> by Hannah Lash (<b>world premiere</b>)<br />
Alison Lowell, oboe<o:p></o:p></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><i style="mso-bidi-font-style: normal;">Fractured Colloquy </i>by Plylar<o:p></o:p></div><div class="MsoNormal">Alison Lowell, oboe and David Plylar, piano<o:p></o:p></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><i style="mso-bidi-font-style: normal;">Solace; A Mexican Serenade</i> by Joplin/Plylar <o:p></o:p></div><div class="MsoNormal">Ensemble<br />
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<o:p></o:p></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0YVB1FyPQIOiwillZEP0MhqPHXPXCgQFVEVYx9pBkyEK3QCuaoQCeJq6Pubxgo57JGykTGPidGTsZ4yF_boPRsYk1qYok0rYGElR1aygMWLgYo4Hi4_B6kAcYAK8-KbOWyEU5fUoGvec/s1600/David+Cohen+and+Alison+bw.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0YVB1FyPQIOiwillZEP0MhqPHXPXCgQFVEVYx9pBkyEK3QCuaoQCeJq6Pubxgo57JGykTGPidGTsZ4yF_boPRsYk1qYok0rYGElR1aygMWLgYo4Hi4_B6kAcYAK8-KbOWyEU5fUoGvec/s200/David+Cohen+and+Alison+bw.jpg" width="132" /></a></div><div class="MsoNormal">My colleagues all performed beautifully and it was very enjoyable to work on contemporary music again with such fine players. It was wonderful to see so many curious audience members come back stage and ask questions about the works, how certain effects were notated, etc. <br />
Durban is not exactly over-run with new music yet, but performing at a University is a good place to start. </div><div class="MsoNormal"><o:p></o:p></div>Alisonlowellhttp://www.blogger.com/profile/05089256887151906866noreply@blogger.com0tag:blogger.com,1999:blog-5170104113940967333.post-80799906371630083432011-03-20T13:14:00.000-07:002011-03-20T13:14:00.299-07:00Loboe Potential in Bach's "Magnificat"<div style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: none; clear: left; color: black; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="131" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLV7bOrvKP1tMUedQyCdJ12AkcAcs-BY5g2s2Sc5_B1PXo3zH6FLo9Fu_TsFgM1-8pSjQ-exx-VBeY_cNCqOdpQhLqDY_dCLY0NcFf1jT4e7kMMqLlp33VO6v78xgDQQLtKNTCxYPeVAk/s200/Midnight+Double+Reeds.jpg" width="200" /> </span><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: none; color: black;">Not every orchestra has the luxury of owning an extended range of auxiliary instruments, especially when it comes to the double-reed families. When the need for two oboe d'amores arose in our orchestra's performance of Bach's </span><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: none; color: black;"><i>Magnificat</i></span><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: none; color: black;"> last week, we faced the unique dilemma of being unable to find more than one working and available instrument within South Africa. While it is always preferable to perform works with the intended instrumentation, practicality and financial issues seemed to dictate the use of English horns over shipping instruments from Europe. However, it was interesting being able to offer the conductor the alternative of performing Mvt. III, "Quia respexit humilitatem"</span><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: none; color: black;"><span class="Apple-style-span" style="font-family: sans-serif; font-size: x-small;"><span class="Apple-style-span" style="line-height: 19px;">, </span></span></span><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: none; color: black;">on oboe as well as English horn. </span> An oboe transposition of the oboe d'amore solo line is actually provided in the part, but because of the one instance where the music reaches the "A" below the staff, the register has to be shifted up, thus breaking the original flow. English horn of course provides a closer color in terms of sound, but the transposition, while quite doable, sits very high on the instrument and frequently extends to the written "E" above the staff. For the Loboe, the solo line fits very comfortably on the instrument. It is <i>attaca</i> from Mvt. III to Mvt. IV and there are no register shifts for the English Horn II; this part could also conceivably be performed on a non-extended range oboe.</div><br />
<div class="separator" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: left;"><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: none; color: black;">While this is a very specific instance, it is refreshing to know that should an orchestra find itself faced with a lack of oboe d'amores, the Loboe can offer an additional auditory solution for consideration. </span></div><br />
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</div>Alisonlowellhttp://www.blogger.com/profile/05089256887151906866noreply@blogger.com0tag:blogger.com,1999:blog-5170104113940967333.post-48013673627963761272011-02-13T11:15:00.000-08:002011-02-13T11:15:16.886-08:00Artistic Strides Across the Pond<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCWKRtJtwtJni1vQ7PzJJM8C9TOl4MMX47SKgXbpymh0ykIvkMDpxwqOpfK8c0pGIl6i9HJ7TdQQlEDaKq3s85OJ0fzVhykq_2a5PRKm0SUTUNsVjduonus3XElXRMzLU1Fwq91jeX6KU/s1600/Africa+Week+12+e.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCWKRtJtwtJni1vQ7PzJJM8C9TOl4MMX47SKgXbpymh0ykIvkMDpxwqOpfK8c0pGIl6i9HJ7TdQQlEDaKq3s85OJ0fzVhykq_2a5PRKm0SUTUNsVjduonus3XElXRMzLU1Fwq91jeX6KU/s200/Africa+Week+12+e.JPG" width="150" /></a></div>Before too much time passes, I wanted to document my experience traveling back to the States for the first time since moving to South Africa. With a five week vacation, we were fortunate to have an ample amount of time to visit friends and family but more significantly, we also had a first-hand look at the speed and momentum at which music organizations and ensembles seem to be moving in the States. With so many talented musicians and so little funding to go around, competition for public attention is fierce. Despite a horrific economy for the arts, many artists seemed to be truly pushing forward and I wanted to share some of these inspiring achievements.<br />
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One of the first nights back I was flipping through the channels and low and behold, there was Gustavo Dudamel on Jay Leno along side Queen Latifaht! Having lived in Los Angeles for four years, I was struck by the major marketing campaign that the LA Phil created for their new conductor. Suddenly, Dudamel was not only gracing the newspapers and the Internet in the form of reviews, but his image was plastered on buses and tv commercials. This orchestra truly wants Dudamel to reach celebrity status and not just amongst music lovers. This is a unique approach and in the end, if it results in exposing new people to classical music without resorting to watered-down programming, I am all for it.<br />
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I spent a good deal of time surfing the Internet simply because I could (you can see my earlier posts about Internet usage in South Africa...). The level of expertise when it comes to website attributes continues to astound me. Carnegie Hall employs a beautiful, interactive and very user-friendly digital season brochure that truly captures the spirit and style of the organization. <a href="http://www.nxtbook.com/nxtbooks/carnegiehall/2011-2012/?lnkparams=%3Futm_campaign%3D2011_chc_single_tickets%26utm_medium%3DeBrochure%26utm_source%3D10286%2BW-CH_Website%26utm_content%3D1112_season%26sourceCode%3D10286#/0">Check out the digital brochure here</a><br />
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I'll admit that I discovered this next feature this summer and not while on break. Listening to the classical station in Los Angeles, I discovered that I was really enjoying whomever was leading the broadcast of the New York Philharmonic during their residency at the Aspen Music Festival, though I could not quite put my finger on it. And suddenly it hit me; that charming voice was actor Alec Baldwin. It turns out that he has been the host for the weekly symphony broadcasts of the New York Philharmonic since 2009. I tend to be one who prefers to hear more music and less commentary by the radio hosts anyway, but this combination just worked perfectly. I do not associate such actors with the classical world but because of that, there was no elitist air or over-the-top personal opinions about the music. There was something delightful about hearing this familiar voice in a totally unlikely setting.<br />
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Over all, it was encouraging to see arts organizations employing new tactics to maintain their place in the world without resorting to endless “pops concerts” or similar approaches. In the latest issue of <i style="mso-bidi-font-style: normal;">Opera Magazine</i>, Tim O’Leary, the general director of the Opera Theatre of Saint Louis, wisely gives this advice to struggling organizations;<br />
<div class="MsoNormal"><o:p></o:p></div><div class="MsoNormal"><br />
</div><div class="MsoNormal" style="margin-left: .5in;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman","serif"; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: "Times New Roman";">The biggest mistake in response to a challenging economy is to play it safe and scale back. You don’t have to be irresponsible, but you have to keep pushing forward. You have to produce work that makes your institution as indispensable in order to attract support from funders and audiences.<o:p></o:p></span></i></div>Alisonlowellhttp://www.blogger.com/profile/05089256887151906866noreply@blogger.com0tag:blogger.com,1999:blog-5170104113940967333.post-30932321208417514562011-01-19T13:41:00.000-08:002011-01-19T13:41:22.173-08:00A New Alternative in Oboe Cases<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7CcIqIbGcw6yYVT2RpSCXKYtjJAEgDTB2dyaRPaP5X5MZLoAxS0I0a0MXj9lqFvmxCf9zooJJNA49iuQJr-AxaLg-UxsVCRNoxyjY_ZjSyTDmeWY9oEGXmIFHkDZMWKSJUmCCtf-tvyg/s1600/003.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7CcIqIbGcw6yYVT2RpSCXKYtjJAEgDTB2dyaRPaP5X5MZLoAxS0I0a0MXj9lqFvmxCf9zooJJNA49iuQJr-AxaLg-UxsVCRNoxyjY_ZjSyTDmeWY9oEGXmIFHkDZMWKSJUmCCtf-tvyg/s200/003.JPG" width="200" /></a></div>There are many ways to house an oboe. Up until last year, the double backpack case made by the BAM company was my constant companion. Of course, an unexpected issue with the Loboe arose when it dawned on me that it would not fit in my double Oboe/EH BAM case (the oboe is an inch longer than the standard oboe). With airline restrictions as they are, carrying two cases when both instruments are needed is not a viable option. While the BAM case is a sturdy model, it relies on the oboe resting in a fitted molding, hence making an adjustment for the Loboe's additional length virtually impossible due to size constraints. In my search to find an appropriate case, I discovered an incredible new model.<br />
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The world of custom-made cases can be overwhelming, not to mention exceedingly expensive. For as much as I respect Loree instruments, the cases are a far cry from the exceptional craftsmanship of the oboes, a feeling that I believe is widely held in the double-reed community. I scoured the Internet looking for options and granted, I did come upon a few very good makers for both single and double cases based in Chicago and Boston. However, the right balance of quality, functionality and cost for my specific situation still eluded me.<br />
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After some investigation, I was put in touch with Sue Bohling, the principal Cor Anglais player for the London Philharmonic Orchestra. Though not a Loboe player herself, she also had been on a long quest to create a case that would provide superior protection and fit for her instruments, especially while touring internationally with her orchestra.<br />
<div class="MsoNormal"><div style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><div style="text-align: center;"><s style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzoknZwOqFfrpjC2r85q-VOzW-Y0nJ9fOnDvCdOaSHV_8SzSmb4X5_tpCSCTlXxwAghUoM0W4lJqw7c7viNmFOIy_gTuuvL-cm4FOkRJMfrbpjDCc1shxI1SQRcPZHchvhquvUXygBfwU/s200/005.JPG" width="200" /></s><u></u></div>The additional inch that I required was easily made possible due to the rather ingenious design of the “Bohling” case. State-of-the-art foam holds the instrument in place only by the end joints. With no pressure from traditional case molding on the top or bottom, the case perfectly secures any make or model of oboe. The oboe’s top and middle joint stay together and the bell is separate. I personally have found that the design and material of this case better protects the instrument from extreme temperature changes (tropical humidity to air conditioned buildings is the norm in South Africa). It restricts virtually all movement within the case while it is being carried.<br />
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I took the Loboe in for its farewell tune-up at RDG in Los Angeles last August. It then endured a 4-day odyssey in a moving truck across the US and then a 2-day flight covering over 10,000 miles; goodness knows how many temperature changes! Fully expecting the worst from such travel brutality in such a short period of time, I was stunned to find the instrument feeling just as it had at RDG. The last two times I traveled with the Loboe (Los Angeles to Colorado and then Los Angeles to Charleston, SC, both times before I received the Bohling case), I discovered a small crack in the instrument in addition to the typical minor adjustments that had to be made. My current situation in South Africa means that I will not have easy access to a repair shop for about a year and having a case that provides the maximum amount of protection and structure is of critical importance. </div></div><div class="MsoNormal" style="text-align: left;"><div style="text-align: center;"><div style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidvvmmw0X-6Cu7CIm_jHLXBnn_vGaTzcA9X-W5k5_62j7_oRbbhj3ZYjWxQTCe3VyxWiD6ILqv7lsxMC88YFcUMexOAQVC2-2jifCYZhzQpDQLkcAfsP_nRg9B88HzsIyv4PzL94xdetE/s200/015.JPG" width="200" /></div></div></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">I believe that this is due to the case’s superior ability to prevent jostling and slight movements that even the BAM case is unable to prevent. The case is fitted with both a shoulder strap and back-pack straps and most importantly, since the upper lid doesn’t come into contact with the oboe, one can easily place photos like the string players typically do…I chose to fit my case with pictures of Webster, my guinea pig. Going the extra mile for the right case has paid off, especially since I no longer live within 30 minutes of the nearest repair shop. The Bohling case is the perfect balance of protection and functionality and a great alternative for oboists looking for that extra degree of protection.</div><div class="MsoNormal"><o:p></o:p></div>Alisonlowellhttp://www.blogger.com/profile/05089256887151906866noreply@blogger.com2tag:blogger.com,1999:blog-5170104113940967333.post-81311091946670124962010-12-23T01:46:00.000-08:002010-12-23T01:48:45.807-08:00New Works for Old Instruments<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiB38vCLa37m96rWbq2vFEovT5Z9YJgRc__3009r-zgcZsDuxLd72Hc9AJda-xj3by3xE3ckyUwBKmqvdah1rtMHb2a62ng_L8UPJZQFASFk_nWvoSNmjwkrnJhGJfS8dJpojTZt2nXjco/s1600/Africa+Week+18+f.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiB38vCLa37m96rWbq2vFEovT5Z9YJgRc__3009r-zgcZsDuxLd72Hc9AJda-xj3by3xE3ckyUwBKmqvdah1rtMHb2a62ng_L8UPJZQFASFk_nWvoSNmjwkrnJhGJfS8dJpojTZt2nXjco/s200/Africa+Week+18+f.JPG" width="127" /></a></div>An interesting phenomena in the contemporary music world is that many of these advocates are also very well versed in the field of period music. Thus is the case for composer <a href="http://www.huyssen.de/Biography.html">Hans Huyssen</a>, a prominent figure in South Africa. Huyssen himself wears many hats; he is a baroque cellist, conductor and educator. With a recent reading of an original composition of his by the <a href="http://www.kznpo.co.za/">KZNPO</a>, I had an opportunity to discover that much of his compositional output is conducive for both modern and period ensembles. This can be a fascinating cross over and one that I personally hope will continue to grow in this country. Of course, the lack of period instruments and performers is the most obvious challenge. However, like most areas of the arts, knowledge and persistence can make a world of difference.<br />
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Other composers have delved into this strange territory. An incredible work by Mauricio Kagel entitled "Music for Renaissance Instruments" explores the sound possibilities of period instruments in an entirely new way. A quote from Kagel himself during an interview with <a href="http://bombsite.com/issues/88/articles/2667">Anthony Coleman</a> about this work:<br />
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<div style="text-align: left;"><span class="Apple-style-span" style="font-size: x-small;"><span class="Apple-style-span" style="font-family: Arial, Verdana, sans-serif; line-height: 17px;"> I really tried to understand the true function of some of these instruments. I read all that I could about the </span></span><span class="Apple-style-span" style="font-family: Arial, Verdana, sans-serif; font-size: x-small; line-height: 17px;">bizarre fingering techniques, because the instruments themselves are so primitively made that they are </span><span class="Apple-style-span" style="font-family: Arial, Verdana, sans-serif; font-size: x-small; line-height: 17px;">always damaged. This for me was the link to new music, because I was trying to work with the natural state</span><span class="Apple-style-span" style="font-family: Arial, Verdana, sans-serif; font-size: x-small; line-height: 17px;"> of the sounds, and each of these instruments was like a generator of denaturate sounds. So I wrote for </span><span class="Apple-style-span" style="font-size: x-small;"><span class="Apple-style-span" style="font-family: Arial, Verdana, sans-serif; line-height: 17px;">each instrument separately to make a unity of musical discourse and functional technique.</span> </span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-size: x-small;"><br />
</span></div><div style="text-align: left;">Kagel's composition dates from 1965-66 but this link between new and old continues to be explored. It appears that there will be three new additions to this unusual compositional experimentation list, as they have been comission to write for what is arguably the best known collaboration between contemporary and period ensembles; <a href="http://www.ensemble-akademie.de/index.php?option=com_content&view=article&id=62&Itemid=68&lang=en">ensemble recherche and the Freiburg Baroque Orchestr</a>a. Both groups are exceptional in their own genre, but also push artistic limits by offering a combined summer academy for students. At the 2011 academy, they ensembles will be performing three works by composers commissioned last year to write for a mixture of modern and period instruments. These progressive performances are yet another example of artists creating not only opportunities for themselves, but contributing to significant artistic growth as well. </div><div style="text-align: left;"><br />
</div><div style="text-align: left;">*<i>A shout out to oboists everywhere, if you can manage to attend the joint-masterclass held by oboist <a href="http://www.ensemble-akademie.de/index.php?option=com_content&view=article&id=48&Itemid=56&lang=enhttp://www.ensemble-akademie.de/index.php?option=com_content&view=article&id=48&Itemid=56&lang=enhttp://www.ensemble-akademie.de/index.php?option=com_content&view=article&id=48&Itemid=56&lang=en">Jamie <span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; font-family: Helvetica, Arial, sans-serif; font-size: x-small; line-height: 15px;">González</span> and baroque oboist Katharina Arfken</a> in Freiburg, Germany from March 17th-19th. </i></div><div style="text-align: left;"><i>I am quite certain that it will be an extraordinary event - the deadline is January 15th, 2011!</i></div>Alisonlowellhttp://www.blogger.com/profile/05089256887151906866noreply@blogger.com0tag:blogger.com,1999:blog-5170104113940967333.post-4653419584376426192010-11-26T05:43:00.000-08:002010-11-26T05:43:00.404-08:00Sticking to Your Word<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiuS-4iBapP1Wf1oJQPOFVAlvN7mtlohvsT-gmvRX6wP58gWYOCUzC09_HMu9Gq5IShDGZUQTqBorY-fBLWAve0duU6vHejTHmkE0tmpLkPO3NMkE7hpdnhJZ3IT_Ke2UfFOFLHuYNPGQ/s1600/Africa+Week+9+5.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiuS-4iBapP1Wf1oJQPOFVAlvN7mtlohvsT-gmvRX6wP58gWYOCUzC09_HMu9Gq5IShDGZUQTqBorY-fBLWAve0duU6vHejTHmkE0tmpLkPO3NMkE7hpdnhJZ3IT_Ke2UfFOFLHuYNPGQ/s200/Africa+Week+9+5.JPG" width="200" /></a></div>This week concluded the KZN Phil's collaboration with the Cape Town City Ballet Company; Prokofiev's "Cinderella". Needless to say, there was much neck-craning from the pit to catch a glimpse of the beautiful costumes and audiences full of little girls in their own ballet-inspired outfits. As the orchestra made its way to the parking-lot after the shows, one couldn't help but observe the many spontaneous reenactments of the ballerinas by little kids and their parents, who were already thinking of ways to prevent their offspring from winding up as another starving artist. It made me think about what pivotal words of advice had an impact on my ultimate decision to go into music, and interestingly, the words that stick out the most were not the positive ones.<br />
I'd like to think that my career has been filled with nothing but those Hollywood-style pep talks, like the one in the locker room right before the "big game". There are certainly words of confidence and encouragement that are meaningful to me, but it was the desire to overcome the negative feedback that I believe had the strongest impact on me. None of these comments stemmed from pure maliciousness; their power comes from the fact that they were said with no ulterior motive, simply very honest feedback.<br />
The earliest I can remember was some summer music teacher who graded me on how well I prepared a book of etudes. I can only imagine how dedicated I was to preparing scales and etudes when I was 11-years old...but I remember her writing a large "F" on one in particular. My total lack of preparation resulted in an unacceptable rendition; it was a very small but visual symbol of failure. I was the only oboe student I knew of at the time, and therefore I believed that my achievements should be setting the standard; how could I fail with nobody to compare to? Perhaps I wasn't actually fooling anyone when I didn't practice...for as much encouragement as I am sure I received during that first summer, I only remember that lesson.<br />
It was during this same summer that our neighbors next door called and asked, in all seriousness, if I was taking up the bag-pipes. I'm sure it was an accurate description but I can remember vividly wanting to sound better. This strong desire to improve had a clear inception point, it did not stem from the words of encouragement that I had received. A few year later in middle school, my own band director would make the judgement call to introduce my oboe as "the nasal instrument" in front of the entire school; the Loboe Project itself is a manifestation of my determination to overcome that very perception.<br />
The words that stuck to me the most came at perhaps the most critical point in my education. I was fortunate enough to spend a summer at the Eastman School's "Music Horizons" program, a two-week crash course of what conservatory life is like, aimed at high-school musicians. Most students left the program with either a burning passion to make it into a music school or an extreme feeling of relief that they were going to avoid this path. I had not only decided that I wanted to go into music, but that I wanted to study at Eastman itself. Clearly, the school had made a good impression on me...<br />
However, it was during a lesson with the program's oboe instructor at the time, (a former alumna and incredibly talented oboist who would later go on to a successful orchestral career), that I received some shocking information. I played a solo oboe work and asked her if she thought I was on track to study music in college (I had two more years of high-school at that point). She said right away, "oh no, I don't think your conservatory material". I respected this oboist's playing so much and had been trying to soak up as much of her advice as possible; this was devastating to hear. Two weeks in this amazing environment were instantly replaced by the one candid opinion of a former student. I don't remember what the rest of the lesson was like, only my determination to overcome this verbal set-back.<br />
In the end, whatever one's motivation might be, or how it developed, perhaps it is the negative feedback that is the most powerful catalyst for success. Dance-class enrollment may have increased in Durban following the ballet production; I wonder how many students will be motivated to persevere beyond their own inevitable negative critiques...Alisonlowellhttp://www.blogger.com/profile/05089256887151906866noreply@blogger.com1tag:blogger.com,1999:blog-5170104113940967333.post-89968222217487618232010-11-06T23:29:00.000-07:002010-11-06T23:29:46.744-07:00What Would Your 50 Pounds of Music Look Like?<span id="goog_516986067"></span><span id="goog_516986068"></span><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghTsO9Srf0PkFmv7t-_NJ16GhNvawA7wVdoRD-vLKoY9ZjiYU6khbiIMS-6HpG1QUsvCzFQSknS3uRlaOv8lsEwPN6_KUhbkLNc13zZqqt39TdoSR7M0DEcr2oDyYdzdkk_DD88kLlq1U/s1600/Africa+Week+6+1.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="141" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghTsO9Srf0PkFmv7t-_NJ16GhNvawA7wVdoRD-vLKoY9ZjiYU6khbiIMS-6HpG1QUsvCzFQSknS3uRlaOv8lsEwPN6_KUhbkLNc13zZqqt39TdoSR7M0DEcr2oDyYdzdkk_DD88kLlq1U/s200/Africa+Week+6+1.JPG" width="200" /></a></div><b>What Would Your 50 Pounds of Music Look Like? </b><br />
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The reality of musicians moving abroad is that space for our scores and sheet music is severely limited to a mere fraction of its original amount. Thanks to the flash drive, scanner and programs like Google Documents, we can still bring most of our music back to life, though be it through a printer. But there are some scores one simply cannot part with, not to mention bigger collections of work, no matter how practical their use may be in the new location.<br />
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Between chamber music, solo literature and other technical books, filtering out which physical scores made the cut was a process that took a great deal of editing; no musical “Kindle” equivalent would cut it for these. As we all know, music adds up fast. I think for all musicians, there are those certain scores that have been through countless master classes, lessons, and performances and have those personal markings that make them invaluable to us. Of course, one can have things shipped and bring additional materials over on subsequent trips back home, but for me, the following music felt as vital to have as the Loboe itself:<br />
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In no particular order...<br />
<i>Concerto for Oboe</i> - Mozart<br />
<i>Fractured Colloquy</i> - David Plylar (oboe and piano)<br />
Gillet Etudes<br />
<i>Musik fur Oboe und Orchester</i> - Wolfgang Rihm (solo part and piano part)<br />
"The Oboe" - Geoffrey Burgess and Bruce Haynes<br />
<i>Sequenza VIIa per Oboe</i> by Luciano Berio<br />
<i>Silvers</i> - Hannah Lash<br />
"Patterns for Improvisation" - Oliver Nelson<br />
"Techniques of Oboe Playing" - Peter Veale and Claus-Steffen Mahnkopf<br />
<i>Ten Klezmer Duos</i> by M. Curtis<br />
<i>Wildlife</i> - Robert Morris for oboe, piano and percussionAlisonlowellhttp://www.blogger.com/profile/05089256887151906866noreply@blogger.com0tag:blogger.com,1999:blog-5170104113940967333.post-69731891577851158472010-10-14T08:19:00.000-07:002010-10-14T08:19:42.948-07:00Music and the Internet - Food for Thought<img alt="winston the pigeon" height="130" src="http://i.dailymail.co.uk/i/pix/2009/09/09/article-1212333-065BB883000005DC-172_468x305.jpg" width="200" /> My last post was dedicated to the very serious issue that South Africa's artistic communities face when it comes their relationship with the Internet. I learned of an incredible news story that I feel sums up the problem quite well, click the headline below to read the full story.<br />
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<div style="text-align: center;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif;"><i><a href="http://www.dailymail.co.uk/news/worldnews/article-1212333/Pigeon-post-faster-South-Africas-Telkom.html">Carrier pigeons are being used to transfer data between offices because bosses believe it is quicker than broadband</a>. </i></span></div><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: 5.78704px;"><span><br />
<span class="Apple-style-span" style="font-family: 'Times New Roman'; font-size: medium;">Indeed, a carrier pigeon named "Winston" was able to deliver 4GB of data faster than the Internet. And not just by a little bit. The pigeon flew 70k and yet still managed to deliver the data card strapped to his leg and have the information successfully delivered in just over 2 hours, whereas the same information sent via </span><span class="Apple-style-span" style="font-family: 'Times New Roman'; font-size: medium;">ADSL</span><span class="Apple-style-span" style="font-family: 'Times New Roman'; font-size: medium;"> downloading was only at 4% complete by the time the pigeon experiment was complete. </span></span></span><br />
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It should be a fundamental right for musicians to be able to refresh the "job opportunities" page on a site like MusicalChairs.info or stay current with arts journals and such without it costing a small fortune. Once musicians leave the music conservatory, access to opportunity listings is greatly diminished simply by not being in an academic environment with artistic networks. The image of the 21st century classical musician is evolving quickly and so is the way we learn about other opportunities.<br />
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Since we couldn't bring our beloved pet guinea pig Webster with us to South Africa, perhaps we should consider getting into the pigeon scene; this new pet could really come in handy.Alisonlowellhttp://www.blogger.com/profile/05089256887151906866noreply@blogger.com0