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Where are all the Oboists..

A resurrection thread

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#61 A.U.K

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Posted 28 June 2017 - 20:57

Hello All, apologies for my absence, It's been a busy few weeks but I have been Oboe-ing devotedly every day and making steady headway..I;m re posistioning my right hand as its become very bent out of shape which in turn has not helped me with the new  slightly different key layout, it's only a fraction different but it has caused me problems which has been a pain..I will overcome it but its been a struggle

 

I sadly didn't get to the Big Double Reed Day (silly name for it IMO but there it is)..I hope that if anyone went from this group that you had a good time and it was good value..I do tend to feel that this day is aimed at younger players so I hope it was geared up to adults as well..

 

Pieces I am working on are Debussy, Reverie which is rather lovely, very floaty and lyrical, Herbert Howells Sonata and  Odermatt, Les Coulours de L'eau which is very challenging for many reasons..

 

So its onwards and upwards and keep practicing..

 

Regards

 

Andrew


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#62 polkadot

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Posted 28 June 2017 - 21:32


Pieces I am working on are Debussy, Reverie which is rather lovely, very floaty and lyrical

Hello A.U.K., good to see you back, you knew me as skylark :)

 

Reverie is lovely, and I used to like playing an arrangement on clarinet, but being a 1930s freak, I also like this vocal version, My Reverie :

 

 

 

Yes, I know... I'm probably in a minority :D


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#63 Oboedad

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Posted 30 June 2017 - 13:24

First serious outing for my daughter's new toy at the weekend - thanks to doting Grandparents and the VAT scheme she's the proud owner of a rather lovely Howarth XL Cocobolo cor - way more instrument than she'll ever need I expect but it is a thing of beauty! At least she had something decent to debut it - The Pines of Rome which she didn't do a bad job of. I think the orchestra were a bit surprised too - the XL really projects the sound and we could even hear it over the brass section on some of the massed parts. She's happy anyway - and apparently the XL is a lot easier to blow than the borrowed cor she was using. 

 

It's only slightly nerve wracking when she decides to take it to school with her - my insurance bill has gone up a bit! 


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#64 A.U.K

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Posted 01 July 2017 - 21:32

 


Pieces I am working on are Debussy, Reverie which is rather lovely, very floaty and lyrical

Hello A.U.K., good to see you back, you knew me as skylark :)

 

Reverie is lovely, and I used to like playing an arrangement on clarinet, but being a 1930s freak, I also like this vocal version, My Reverie :

 

 

 

Yes, I know... I'm probably in a minority :D

 

Hello Polkadot, aka Skylark..I am going to have to get used to calling you Polkadot..

 

I wondered where you had gone..I remember all the early days with great fondness and all that you did here at the forum and organising events in Stalybridge wasn't it..?

 

I love Reverie, it's a lovely piece, terribly simple but there is a lot of detail dynamically and some lovely "float to" notes which uses allsorts of harmonic fingerings..I will have a listen to your vocal video but I am mid "Kon Tiki" on BBC4 and its fabulous.

 

So yes I am returned once again and keeping the Oboe going..

 

Best regards and lovely to hear from you

 

Andrew 


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#65 A.U.K

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Posted 01 July 2017 - 21:46

First serious outing for my daughter's new toy at the weekend - thanks to doting Grandparents and the VAT scheme she's the proud owner of a rather lovely Howarth XL Cocobolo cor - way more instrument than she'll ever need I expect but it is a thing of beauty! At least she had something decent to debut it - The Pines of Rome which she didn't do a bad job of. I think the orchestra were a bit surprised too - the XL really projects the sound and we could even hear it over the brass section on some of the massed parts. She's happy anyway - and apparently the XL is a lot easier to blow than the borrowed cor she was using. 

 

It's only slightly nerve wracking when she decides to take it to school with her - my insurance bill has gone up a bit! 

 

My word what a super gift to get, a Howarth Cocobolo XL Cor is quite the thing, they are lovely and have wonderful projection..The Pines of Rome is a great way to debut it as well so I hope she enjoyed it, I feel sure she did..Funnily enough a friend of mine was playing French Horn in this work as well recently in Chippenham I so wished I had been able to go to hear it, it s a fabulous work.

 

..As for insurance if your insurers are a bit picky and pricey talk to New Moon, they are very competitive and always helpful, they used to be the staff at British Reserve and seem very good at what they do..you could also try Allianz who are the big name in musical instrument insurance..always food for thought..

 

Regards

 

Andrew


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#66 dumdidum

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Posted 03 July 2017 - 10:42

The date for my teacher's concert had to change and I can't make it as away  :crying: so very disappointed not to have my debut performance. Oh well she will have a christmas concert too so will have to wait till then.

 

Have gone back to the Albinoni on the grade 6 syllabus - still finding it a fingering challenge! New syllabus out this week so will be interested to see if any significant changes ...


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#67 Oboedad

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Posted 05 July 2017 - 16:18

 

First serious outing for my daughter's new toy at the weekend - thanks to doting Grandparents and the VAT scheme she's the proud owner of a rather lovely Howarth XL Cocobolo cor - way more instrument than she'll ever need I expect but it is a thing of beauty! At least she had something decent to debut it - The Pines of Rome which she didn't do a bad job of. I think the orchestra were a bit surprised too - the XL really projects the sound and we could even hear it over the brass section on some of the massed parts. She's happy anyway - and apparently the XL is a lot easier to blow than the borrowed cor she was using. 

 

It's only slightly nerve wracking when she decides to take it to school with her - my insurance bill has gone up a bit! 

 

My word what a super gift to get, a Howarth Cocobolo XL Cor is quite the thing, they are lovely and have wonderful projection..The Pines of Rome is a great way to debut it as well so I hope she enjoyed it, I feel sure she did..Funnily enough a friend of mine was playing French Horn in this work as well recently in Chippenham I so wished I had been able to go to hear it, it s a fabulous work.

 

..As for insurance if your insurers are a bit picky and pricey talk to New Moon, they are very competitive and always helpful, they used to be the staff at British Reserve and seem very good at what they do..you could also try Allianz who are the big name in musical instrument insurance..always food for thought..

 

Regards

 

Andrew

 

Thanks for the insurance tip Andrew - currently with Allianz but it's good to have options come quote time!  The sound is worth every penny!


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#68 katica

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Posted 08 July 2017 - 16:10

Interesting to hear AUK's story of dodgy finger work. When I got the XL I had all sorts of trouble with a particular change (2nd 8ve C to Eb) - the Eb wouldn't speak cleanly. I knew it must be down to me as playing slowly everything was fine. Turned when I was rolling my 1st finger LH to open the half hole for the Eb above, by 2nd finger LH was sliding very slightly and opening the hole in the A key. Funny never happened on my S40 so there must be some subtle difference.

 

Exactly the same happened to me because my previous oboe (a Patricola) had fully covered holes and evidently I was using a finger position that was slightly off. Unfortunately other bad habits set in as I tried to compensate - still trying to correct them!

 

Andrew - I also have EXACTLY the same problem as you. Ab is a problem and E major (on the whole) isn't. In fact no scale is as bad as Ab, even if it has exactly the same Db/C# to LH Eb/D# move. My teacher says that this is quite normal but I can't for the life of me figure out why.

 

Hardying - I do hope you're continuing to improve. Well done at the OAE event (so envious!). Evidently your diaphragm has stayed in shape even if your embouchure hasn't...  :D

 

Good luck with the Albinoni, dumdidum. I had the same problem at the outset and possibly would still if I went back to it after a long break. But I think with time you'll find it gets loads easier.

 

As for that cocobolo cor, oboedad - totally green with envy!  :sick:  (that's for greenness, not disgust!).

Cocobolo grows over here. They make quite a lot of nice wooden bowls and stuff out of it because it has a really beautiful contrast between the red of the heart wood and the pale colour of the external layers. You don't see that contrast on oboes or cors because they can only use the denser heart wood. It's slightly less dense than grenadilla so the sound can be a bit lighter. I tried one when I bought my XL oboe. The sound was sweet and lovely, so I was very tempted but I decided I needed a bit more muscle to help me darken my tone, which tends to be on the light side anyway.


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#69 A.U.K

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Posted 11 July 2017 - 12:00

I am I think winning the battle over the slightly different placement of the keys on the new Oboe, lazy fingering seems to have been the issue and a poor hand position which has been adjusted by playing in front of a mirror which was not a heartening experience for a whole myriad of reasons..Ab is now much improved and I even using the left hand Eb when playing Eb major, it saves a whole lot of flapping around with the right hand..I use both of course when playing the scale, sometimes the left hand and then the right hand which all makes for fluency overall. This fairly intense study of hand and finger placement has also improved how close to the keys my fingers remain which in turn has sped things up considerably which is good. Kate I am exactly the same as you Emajor is a doddle but Ab has been a challange..my teacher said I was being cack handed lol

 

I have of late, been incredibly busy, not to mention unbelievably tired but have tried to practice every day for at least an hour, even if it's only scales to keep my embouchure going and my fingers on the move and it's paid off, things being far more consistent and reliable..My studies are going quite well though the one in Db has proved fiddly from a rhythm standpoint, it's in 9/8 and has allsorts of cross beat passages which has had me tapping my toes frantically in quaver beats then trying to feel the dotted crotchet instead..it's tied me up in knots several times..The study in Bb minor is lovely..I haven't even begun to look at the Bmajor study or the G# Minor one I have just been too tired to tackle something new..Anyway it's lesson day tomorrow so we shall no doubt read them through along with the pieces I am working on which strangely never seem as difficult or frankly as awkward, the Herbert Howells 2nd movement is dicey stuff with some serious challenges and one heck of a slip between 2nd Octave C# down to 1st Octave C# but that is the worst of it really but it's a lovely work though hellishly long..I think I'd rather be playing Finzi's Interlude which though difficult isn't as long and has some stand out melodies, the Cadenza is particularly lovely..

 

Anyway it's tipping down with rain here and I am having a quiet day at home, so shall polish up my keywork and make things all sparkly and do my practice..

 

Oh as a foot note I had considered going to the Bournmouth Rainbow Rusties day, (yes really that's what it has been called this year due to it being the 50th anniversary of the legalisation of LGBT rights..though why it's necessary I can't say and I am a member of said community)  but it's a heck of a schlepp, nearly a 100 miles there and then back so I am dickering a bit..Do I fancy the program..meh, not overly, William Tell Overture (loud), Britten Soiree Musicales (downright tedious in parts) and Swan Lake Overture..not exactly rivetting stuff so even though its the 50th anniversary of my peoples walk to freedom I am in two minds..Yes Yes I know I should go, be supportive etc but the thought of huge sections of flutes, rafts of clarinets and a small hoarde of Oboes does not fill my soul with excitement, the tuning issues alone are enough to dissuade me  and though it might be an unpopular thought I can't see why they have to make it "Rainbow Rusties" as if you need to mark out the anniversary..why can't it just be Rusties as usual, why mark it as any different..We have just had "Pride" all over the globe pretty much, not that I go to that either, I went once,decades ago, never again, the thought of thousands of people making an utter spectacle of themselves, and believe me they do, fills me with horror, they seem hellbent on screaming as loudly as possible which does not appeal to me one bit. I don't need a parade to acknowledge my existence or confirm that which I already know, to be honest I find it rather tyrannical to keep pronouncing our identity like this. I think the thing is why make an orchestral day about human sexuality and identity, why is it relevant to the making of music..I just can't see how it's linked nor why it is necessary and the tagging it onto what is normally lovely music making day seems a bit off putting.

 

hey ho, onwards and upwards

 

Andrew


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#70 A.U.K

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Posted 15 July 2017 - 19:36

Well this is a hot bed, heavens we have all gone quiet.


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#71 katica

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Posted 26 July 2017 - 00:47

Deathly!

 

Everyone must be away on hols, with better things to do than be on the interweb.

 

I'd love to get to a Rusties event, AUK, Rainbow or otherwise. For the mo I'm in the tropics, so no chance. If plans go well (not that they are right now) I will be back in the UK more next year.

 

I've had a couple of weeks off the oboe too. I ended term with a nasty allergy attack - right in the middle of a concert in fact. Half way through I realised that hands were prickly and swollen (in fact I'd noticed my right hand looked very red earlier) and then I started having difficulty breathing and tingling around my mouth, not long before I had to do a little solo that's given me nerves in the past. I hadn't been too nervous this time round but with breathing trouble I was beginning to panic. As it turns out it was the best thing that could happen to me since self-generated adrenaline pretty well did the job of epinephrine and put the breaks on what turns out was probably anaphylaxis. I even managed to continue playing, though I was dizzy and seeing stars and my neighbour said my lips had gone black (probably blue, actually). Things had calmed down buy the end of the concert and I was able to get myself home but it took a lot longer for the hand symptoms to go away. They looked as though I'd been badly burned and I kept getting new blisters emerging for nearly two weeks afterwards, despite being on steroids and anti-histamine. Looks like it's an allergy to latex.

 

So not much oboistic to report but I've got to get into gear for lessons starting again next week.


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#72 flobiano

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Posted 30 July 2017 - 14:46

That sounds quite scary Katica - glad you are Ok.

 

I've been away too so just getting back into the swing of things. Lessons and orchestra have all finished for summer now so trying to keep things going over summer. Working on Don Quixote and Dulcinea by Ranki. The 5/8 time signature and numerous mordants are keeping my brain occupied and tying my fingers in knots at the moment. Really love the piece though.


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