I’ve just left Ohio University, where I performed my CHROMA recital, which I love so much, for a small but enthusiastic audience. I was in town for two days, and managed to take in a fascinating masterclass by Stephen Secan of the Columbus Symphony and to hear the university orchestra perform and to enjoy Dr. Michele Fiala’s Mozart Oboe Concerto and to have a reed-making session with a pair of students and to play in some oboe ensembles with Michele’s delightful studio.
I rehearsed Sunday night with Ohio University’s piano professor, Youmee Kim. She is marvelous, and nailed all of my repertoire without even breaking a sweat. We played through everything once, rehearsed a spot or two, and then it was all just fine, which is exactly what you want from your professional piano accompanist.
And I am publishing this after our performance, and indeed everything was just fine. We had a great time and the audience seemed to enjoy it all. But. This thing. Does this happen to other people, or is it just me?
Believe me when I say that I came in prepared for my rehearsal. This is music that I know cold. I’ve been practicing and performing it for three years. And I can play the oboe. I have a selection of good reeds in my case, and I had warmed up in the afternoon and played through everything in the hall, and was feeling great.
But when we actually met, it was in her studio on a different floor. It was very warm and humid. I had just eaten a large dinner. My reeds reacted like crazy to the changed atmosphere, as did my oboe (I had to pull my screwdriver out and adjust some connections.) We rehearsed for just over an hour, but within minutes I was tired, sweating, and fighting my instrument and reeds. Losing attacks, losing slurs, squeaking. Struggling, generally, like a student, or like an amateur, and embarrassed about it. Lovely Dr. Kim, at her own piano in her own office, laid all the notes down and patiently waited for me to catch my breath after each piece.
And this is not the first time things have gone this way for me. I feel that I often fail to impress new pianists in initial rehearsals, and even though I can deliver good performances I would also like to feel that the rehearsal period is a meeting of musical equals. Is it really THAT much more difficult for an oboist to change venues than, say, a violinist or cellist? I can manage a first rehearsal in an unfamiliar orchestra without embarrassing myself.
Of course, orchestral playing is easier and less exposed than recital repertoire. Of course, there’s a lot more time to rest and recover between entrances. Of course, I would always have been sitting there in my seat warming up and tweaking my reeds for at least 20 minutes before the downbeat, whereas in this situation I walked into her studio at my rehearsal time and immediately noticed the atmospheric difference but didn’t have the opportunity to scrape or adjust anything. Professionalism dictates that I not waste her time with my fussing, and I am the Unfussy Oboist, or at least that’s who I want to be.
But I just feel that I should be able to do better. A real grown-up would do better. I intend to do better. I will strive to do better next time.