Jenny Morris is an
oboe and English horn player who lives in Charleston. She has previously written for
Classically Speaking about her adventures playing outdoor summer concerts.
Leaving
“Oboes on the Ohio” on Saturday evening inspired a curious thought: Is this what string players feel like leaving
gigs? I had the pleasure to play in a
group with about 16 other double reed players, which was a first for me.
We oboists and bassoonists tend to work in
groups of 2 or 3, and for most of us, that is fine. Once in a while for a Mahler Symphony, or
perhaps Stravinsky’s Symphony of Psalms, our sections in the orchestra grow to
4 or 6 players, but in these days of cost-cutting repertoire, even those sizes
are considered huge. Unlike our
string-playing colleagues, we seldom experience playing in large groups
together.
“Oboes on
the Ohio” was a day-long gathering of oboists and bassoonists from Ohio, Indiana, and two of us from West Virginia.It took place in the Ariel-Ann Carson Dater Performing Arts Centre in Gallipolis, OH, which is also home to the Ohio
Valley Symphony.
It was a rare treat to
be amongst so many double-reed playing colleagues, and yet in an environment
still small enough to be able to speak to the vendors who had instruments and
tools available. Where else but a
double reed workshop would one encounter a session about knife sharpening, 63
different colors of reed thread, and a library of music for double reed ensembles?
One of the
highlights of the day was attending a masterclass led by Robert Sorton, who
teaches oboe at Ohio State University. Two young men aged 12 and 15 years
played amazingly well, and assured all of us who are two (or three!) times their
ages, that there will be fine oboe players in the future generation.
Guest
artist Colin Maier, whose usual performance venue is with Canadian crossover
group, Quartetto Gelato, talked with those gathered about the importance of
being passionate in our music making, and making a connection with our audiences. He encouraged us not to hide behind our music
stands, or the conductor, or even the composer, but to take ownership and
responsibility for what we do with our instruments. He also challenged us to learn from our
failures, and find the positives from them.
The evening
recital was a delightful informal gathering featuring Colin Maier’s incredible
virtuosity, a lovely woodwind trio of faculty members
from Ohio University in Athens, and a quartet of “ladies” that made
fabulous music. (Let’s just say that the
costumes will be somewhere on Facebook by now—and I love a man who can play the
oboe in a dress and high heels!)
A
beautiful Contra-bassoon solo played by Matthew Morris dispelled any myth you
might still have that the instrument is just a low-note machine, and the
closing ensemble group featured all the participants brave enough to play in a
presentation of Handel’s Music for the Royal Fireworks. Unlike the original
presentation of the work, the players did not have to sit on a barge in a
river, but perhaps that could happen if the festival repeats again in
Gallipolis!
Related links:
* Oboes on
the Ohio festival held this weekend
* Oboe on
the Ohio (William Baker interview)