QUOTE(katica @ Dec 1 2011, 09:56 PM)
Lucky you with extra teaching time, kerioboe. I am missing my teacher SO much!
When's your next doctor's appointment to see if you've got the "all clear" for going back to the oboe?
I have to confess I don't really notice how difficult piano accompaniments are for the pianist. I ought to pay more attention because it's often so difficult to get an accompanist here too.
I usually play through the piano parts to get an idea of what they sound like and how the oboe fits with them. If I can "bash" my way through at more or less the correct speed the first time I play them, I class them as "easy". The first two pages of the Molique are easy enough but unfortunately what would be the slow movement if it was a proper concerto doesn't end with a cadence, it moves straight into the fast movement. I had decided I would play the 1st page and a half of the fast movement as well in order to end on with a cadence but this is considerably harder to play at speed (even though my "speed" is not that fast). More problematic is that at one point the oboe has triplets while the piano has quavers and I have already had an unfortunate experience of this with the pianist, which I would rather not repeat
For the Stalybridge concert earlier this year flobiano opted for Piazzolla over Schumann (which I was very happy about) because the Piazzolla is easier. It would be rather a simple piece for you to play, though. But quite possible to jazz up a bit to make it sound more impressive and it's the kind of thing that goes down well with unsophisticated audiences.
I don't know the Piazzolla (and haven't got a copy of it) and I'm not sure that his music is really "me".
How long a piece would you have to play? What do you think you'll play?
No idea! He told me this as I was walking out the door. I'm going to suggest a duet with him but if he really wants something with the cor anglais by itself then probably something out of Rothwell's "Difficult Passages for Bach" book (whichever one I can remember best).
I'm going to make a bit confession here. I know the Swan of Tuonela
is often considered the "piece de resistance" on the cor anglais but I don't find it terribly inspiring. Does anyone else feel that way?
(I hope our resident Sibelius fan doesn't come down too hard on me!
Maybe I'll feel different when (if) I actually get to play it...
I feel a bit the same and in fact haven't ever felt any desire to play it despite having a cor
The piece I really want to be able to play well is Bozza's aria (which I have on a CD played by Lajos Lecences).
Our band did our first educational concert a while back - for the local volleyball teams, goodness knows why!!!
Maybe they were hoping to convert them into musicians when they are too old for volleyball