Skip to main content

Upcoming Recital!

I'm performing the first of my Spring recitals this weekend - Sunday the 18th at 3pm (Central time) in the Duesenberg Recital Hall at Valparaiso University. This is the same marvelous music that Paul and I played in Chicago back in January and February, and I was delighted with its reception back then. I'm presenting this Sunday's concert with pianist Joseph Bognar, who is a great colleague of mine at Valpo.

I think one of my favorite aspects of this program is how smoothly it flows from one piece to the next and how nice the energy arc is over the hour. Although there are only four pieces, and only three composers, we have a lot of variability of mood and character which keeps the program from bogging down and gives me a lot to do in performance. Moving from the clarity and structure of the Telemann Fantasie to the crashing opening of the Dring Showpiece is jarring, yes, but the intimacy of the Romance brings the audience and performers back together to explore the whimsy of her Finale. The Pasculli is hard, hard work from my perspective, but its mix of familiar themes and tunes with spectacular oboe fireworks makes it exciting and fun for the listener.

The final Telemann oboe d'amore concerto has been the biggest challenge for me - in preparing the piece I struggled to make it interesting and exciting, and it never does compete with, say, the Pasculli in virtuosity and drama. But I think that's what makes it a lovely end to the concert. When I just back off a little, and let the music speak for itself, in its own language, without pressure, the intelligence and beauty do come through. The Dring and Pasculli works are showpieces for me and for the oboe, and Telemann displays the beauty of the hall, the sound of the oboe d'amore, and the intelligence of the composer. It restores our jangled nerves and sends us out feeling refreshed and clean.

Future performances of this program will be presented in South Bend on May 4, and in Chicago on May 21.

And here I play the opening movement of the opening piece, and Paul films me beautifully.

The Art of Playing the Oboe, Jennet Ingle from Paul Hamilton on Vimeo.


Popular posts from this blog


When my students get too MOUTHY with the oboe, I put them in a corner.


They tend to play the oboe only from the TOP of their body, north of the collarbone, and it winds up unsupported.  Fussy.  Weak.  And out of tune.

So I back them into a corner, and have them stand a foot or so out from it, facing out into the room.  And I challenge them to find a sound that resonates BEHIND them, out from the corner of the room that they are not facing, to fill the space without blowing directly into the space.

It's a weird metaphor.  I wouldn't have any idea how to describe the physical technique to do it. When I find it in myself, it feels like my back is puffy and my body is round, and large, and barrel like, and also collected and zipped up, and supremely powerful.  If you know me, you know that these statements about my body aren't remotely true.  But that's what I feel when I'm blowing well, and filling the room, and owning my resonance.

I teach resonance.  I talk …

Five Minute Reedmaker: Length of the Windows

My Five Minute Reedmaker Season Two seems to be largely about experiments.  People ask me how LONG, how THICK, how SLOPED, etc - and I'm running the experiments for them and for you.

I've been posting these videos on YouTube, and sharing them from my Facebook Page, but haven't totally kept up with sharing here on my blog.

Here are the ones you may have missed:
Length of the Heart
Fallacy of the Long Tip
Moldy Cane

And here's the new one:

Here's the YouTube playlist with all of my other Five Minute Reedmaker videos.  You could subscribe right there if you wanted to - I'm dropping a video each week until I run out of ideas this season.
Here's my website, where you can order reeds or cane or ask me questions.  Questions will keep these videos flowing! 

Here's how you can send me your own reeds to analyze and improve on video for your learning pleasure!

Never Trust an Oboe, Part 2

(Part One HERE)
(Similar story HERE)

Mercifully, THIS one didn't happen to me.  But my poor student was playing an audition for his orchestra, and reached up with his right hand to turn the page of his music.  And heard a "plink".  And when, a split second later, he returned his hand to his oboe to continue playing, he found that his entire thumb rest had fallen off onto the floor, leaving only the post it had been mounted to.

With his hand now contorted uncomfortably, he finished the audition - ably, I am sure - and tracked down the crucial little piece of metal.  Evidently the screw that secures the adjustable thumb rest into its most optimal position had come out - never to be found again - so the thumb rest itself now can escape at will.

He devised a workaround - teflon tape to keep the thing in - but let this be a lesson to all of us.

Seriously, the oboe is not your friend.  It's like a cat trying to slip out the door - it's just WAITING for an opportunity …