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Doublereed Archive - Posting 000053.txt from 2006/11

From: herb fawcett <herbgosia@-----.net>
Subj: Re: [DR-L] Re: Blair Tindall's Mozart in the Jungle
Date: Wed, 15 Nov 2006 07:23:24 -0500

Total agreement.
When I left school, I went directly to work in the Houston Symphony. I had
already played a season in the Philadelphia orchestra and learned how tiring
it can be. I also played Boston, Santa Fe Opera, and Phoenix Symphony, all
great experiences. There were many other musical experiences, but not enough
joy to leaven the weight of the effort necessary to produce quality
performance constantly. A career musician needs to derive all of his needs
from music, as there is no time for anything else. Then there are the reeds!
My wife and I decided to find a way for me to finish dental school and for
us to raise two kids in relative sanity. It worked beautifully, and while I
didn't make a lot of money, we were secure. We also had opportunities to
play for the following 40 years without fear of losing the job at any moment
for whatever weird whim might present itself. I have met many "professional
quality" players who have become dentists, medical doctors, and lawyers as
well as all the other things that people do in careers. My life has been
happy and full, and while I do not lament the time spent in developing my
musical craft, I also do not lament that it did not take me into a lifelong
career in music.
In her little talk to us when we were leaving Curtis, Mrs. Curtis/Zimbalist
acknowledged that not all of us would have full careers in music, but she
hoped we would find joy in bringing music to wherever we went. She was a
wise and gentle lady.
Herb

On 11/13/06 2:18 PM, "Dr Murray Finkelstein"
<murray.finkelstein@-----.ca> wrote:

> I have just finished reading this book. As an avid amateur oboist I
> found it fascinating and couldn't put it down. As an avid reader, I
> found the writing less than first class, but that doesn't stop me from
> recommending the book very highly. I recall that there was heated
> discussion about this book on the list last month. In retrospect, I
> think that all those who raged against it without having read the book
> have missed the point. It is true that Ms Tindall describes personal
> behaviours that I would be appalled to have my daughter indulge in. But
> the book is really about music education and associated false
> expectations, the difficult lives of most musicians, and societal
> support for the arts. These discussions are well woth reading and
> contemplating. I was fortunate that I recognized in university that I
> didn't have the talent to earn a living in music. One conservatory
> friend is scratching out a living as a musician 35 years later. Another
> colleague from the National Youth Orchestra of Canada has a chair in one
> of Canada's leading orchestras... not long ago he told me that he
> couldn't wait to retire, put away his oboe and never touch it again. All
> this, and much more, is captured compellingly in Ms Tindall's book. I
> think that this book should be required reading for all students
> applying for entry to faculties of music.
>
> Off to rehearsal... I still love to play.!!!

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