Author: jamesoboe
Date: 2004-07-27 14:44
Hi. there! Oboeblank and Obois
I've just got back from London, after having played our first of three concerts at the Royal Albert Hall Proms. I know the UK is tiny compared to the USA, but it felt like a lot of travelling. Our next visits include both Beethoven's and Mahler's 7th symphonies. I believe you can listen to every prom concert live on BBC Radio 3 online. And, thereafter, they remain online for a week. I thought you both might find it interesting to hear all the local and world orchestras during this festival. The Internet does make the world a smaller place. It's incredible really!
I thought both your threads were very interesting. It seems we really agree on virtually everything. Interestingly, I have never met Emily Pailthorpe, but I was at college with her future husband, Daniel Pailthorpe, who is now the principal flute in the BBC SO. Emily did a few weeks on trial for first oboe up here, in the other orchestra, recently. I believe the second oboe rather liked her playing and found it very expressive. However, that old brickwall of tone-compatability reared its ugly head and the orchestra began looking in more home-grown directions. Nevertheless, I believe she is making a success of a freelancing career down south, which is great news.
I am not really familiar with John Mack, but I have known of his name for many years. It takes a special quality to become an icon to other young oboists, and to forge a school, or lineage of playing. I had the good fortune, as a student, to attend masterclasses by both Ray Still and Thomas Stacy at the Royal Academy of Music. They both had such a great attitude towards their art, and knew instinctively how to get their ideas across in a really enjoyable manner. To me, instilling in the student a wish to play and improve, well beyond what they initially believed possible, is a great gift.
To british players your culture of college bands is so alien. It's something we just don't do. There are, of course windbands and brassbands dotted about the country, but mostly it's about youth orchestras, which select from the local community, yet have nothing to do with schools or colleges, on the whole. Youth orchestra is what stimulated my interest in oboe, leading to the job I have now.
I am curious to hear the playing of Richard Woodhams. I see on Amazon.com he's the featured soloist in concertos by Herschel. There even seems to be a spurious Mozart concerto in E flat on the disc.
I don't think any oboist exists solely as a soloist without adding to his income via teaching. This isn't such a bad idea. Players learn while they teach, and often find themselves changing their minds about certain ideas when the student doesn't necessarily accept what they are saying. I teach at the RSAMD in Scotland and wonder sometimes if I am helping or hindering my students. It's all about experience and having a keen eye to spot when to send a student in a certain direction. Personally, it worked for me to go abroad, and if my students can do the same, I am always glad to advise them on how to do this. Unfortunately, for Europe and the USA, it can be extremely expensive for students to study on the other side of the pond. However, our co-principal doublebass and the principal flute of the RSNO both managed to secure funds to study at Julliard. It can be done.
That's all for now. I'd better go, I've got reeds to scrape!!!! Do listen online to the proms. It's a great festival.
Best wishes
James
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