Skip to main content

Summer options for High School Students

Are there any high school oboists reading this blog?  I wanted to let you know that IN ADDITION to Oboe Reed Boot Camp which will be in South Bend and at Valparaiso University in June and July and open to oboists of all ages, I will be teaching at two fantastic camps this summer.  

The Dake Summer Music Academy will take place here in South Bend at the end of June. It's five busy days of chamber music, seminars, masterclasses, conducting classes, and orchestra, all working closely with the great principal musicians of the South Bend Symphony Orchestra.  I always enjoy this camp enormously, partly because my colleagues are SO good, and partly because I love coaching chamber music and meeting new oboists. The other great benefit of this experience is that it is SUPER affordable, although you do have to be able to commute there daily all week.  

I will also be teaching this July at the terrific Pine Mountain Music Festival in Michigan’s beautiful Upper Peninsula. The Honors Orchestra Program, offered through Michigan Tech, is an amazing experience. ONE high school student gets admitted, and that one student sits second oboe, right beside me, in the orchestra for an entire week, and we learn BEETHOVEN’s NINTH SYMPHONY and perform it at an amazingly high level.  The campus is gorgeous, the musicians are friendly, and the conductor is great.  I love this festival.

Applications were due already, but I’ve just learned that there is STILL AN OBOE OPENING.  I’m attaching application materials in case anyone is interested.  It is, regrettably, a little bit expensive. But what an experience!  


Feel free to contact me - in the blog comments, or through my website, or at jennetinglereeds (dot) com if you have any questions about these events.  


Comments

Popular posts from this blog

Discouraging Words

I can remember at least two old cranky violinists coming to talk to young me about NOT going into music.  There was a session, for example, during a Rochester Philharmonic Youth Orchestra retreat in which a real RPO professional (who was probably 47 but whom I remember as ancient) told us that, statistically, no one who graduates from music school wins auditions for jobs because there are only like 4 jobs out there in the world and 7000 hotshots coming into the job market every week. 

Quit NOW. 

I may have misremembered the details of this speech, but I remember the emotional jolt.  It was designed to discourage.

Last weekend I was presenting at a Double Reed Festival, and heard some oboists grumbling about another presenter who had evidently given something of the same talk to a roomful of masterclass attendees and participants.  High school students and cheerful adult amateurs.

And look, there's an element of truth to this.  Classical music is not a growing field, and it is leg…

Generosity in Programming

I had the most interesting conversations with a few of my students after my first recital performance last weekend.  One thanked me for exposing her to so many interesting new pieces that she had never heard before.  One admitted unabashedly that his favorites were the familiar ones, the ones he already knew from his previous listening.  And both of these observations rang true to me.

See, I LOVE learning new music.  I really enjoy digging into a piece and breaking through an unfamiliar harmonic language to get to the depths of it.  To discover the composer's intention, and to find the universal emotion or experience at the heart of the work, and then to communicate that meaning back out to an audience.  This challenge is fun for me, and I think I do it well.

I have to be fair, though.  By the time I have put that kind of work into a new piece, it's not new to me anymore.  By the time I get it to the recital stage, it's an old friend.  I find great pleasure in performing i…

Self-Talk

When we started the opera cycle (An American Dream, showing at the Harris Theater tonight and Sunday afternoon), the four woodwinds were sitting stacked in a rehearsal room.  In other words, the flute to my right, the bassoon behind me, the clarinet behind the flute, just like in the orchestra.  And it was OK.  We were fairly close together, the room was resonant, and we were working on orchestral details.  But when we moved into the pit, this seating felt VERY isolating.  The four of us were far apart, on two different levels, the wall was right next to me, and intonation and ensemble were very much more difficult.  Our entrances and releases were not clean together, and because we had to balance to the singers on stage, I found my playing getting more and more tentative.  Don't be too loud, don't come in early before the clarinet, keep everything in the box, try to lead the entrances but stay in the texture... And it felt like everything that was not quite great was my fault…