Correction/Clarification/Apology
Tuesday September 11 2007
My watchdog eye contacted me this morning that I was way out of line in my recent post regarding guidelines. And looking back, she was right. It was both 1. Arrogant and 2. incomplete. The irony is that they were in response to the same attitude I portrayed.
Before I go further, I’ll try to state it the best of my ability, through the eyes of another music grad student.
Our guidelines were set after her lowdown of basically reintroducing me to the “Music School World”, a land where many think they’re “up and coming” and “God’s gift to music”. I hated this when I was at NEC…, specifically because I knew just how good those guys at Curtis and Juilliard were, many of whom I went to the Interlochen Arts Academy with and were my stand partners. I hated the same attitude at Michigan State University, because it seemed that much more ridiculous at a public university. And now, my friend was telling me about this same attitude that pervades in even the University of Oregon. Perhaps this attitude is just universal and can be found at any music school? In any case, I know I used to be part of the problem at NEC…, and even Michigan State before I realized that 1. I wasn’t and 2. this behavior is purely destructive; self destructive and destructive to relationships around. And so, the guideline #1 was more of an emphasis upon the fact that a lot of players, particularly younger, aren’t always willing to work with others around them, which I find is the joy of chamber music, and I don’t want to work with others who aren’t willing to work as a team. Hence the term “small ensemble“. Unfortunately my post portrayed me as having this very attitude!
The second guideline was grossly simplified, and it was so clear in my head (isn’t it always the way?) Some local players are a lot of fun and enjoy collaborating with others and sharing the gift of music. Others don’t have the time, or aren’t interested, or have absolutely no desire to play with lowly Grad students. Helena kind of ran down a list of local players that I’ve known for 10+ years and her experiences of trying to work with them, some successfully and others unsuccessfully. Therefore, as I previously stated, I’d be overjoyed to play with other local players who would enjoy sharing the gift of music with me, but I wouldn’t want to play music with someone I’d have to beg and plead and bribe to play with. In fact I would refuse to. So, clarification #2.
The third guideline was my own stubbornness. It comes from the fact that my Junior year I was playing on very large reeds, developed a rip-roaring case of TMJ…, and was forced to stop playing for 6 months. I no longer can really bite. It’s dangerous to my health (if my TMJ… gets serious enough, I would need big surgery) and to my career. If a group wants to start at 442, then be my guest! As long as you give me enough time to make a reed up to that pitch. But Helena was complaining about pitch problems starting at 440, and spiking as high as 444! Yikes! All I could think about was the screaming pain in my jaw. Oh yes, and did you know once the disc has slipped from your TMJ…, it never pops back into place? That’s what surgery is for.
One final note is this: for the record, and I suppose this is the first time I’ve admitted this publicly, I don’t believe I am going to be a concert oboist in a full-time orchestra. I don’t think I have the talent (nor ever will), and I don’t think I have the “practice room passion”. I’d love to play in a part-time orchestra, and I’d like to play chamber music. But I’d really rather just hide away in an oboe shoppe, making reeds and repairing oboes. I’d love to teach some students here and there, but the instrument’s technical aspects are what really intrigue me the most. That’s why I’ve started my reed business NOW… instead of later.
If you made it to the bottom of this lengthy explanation, I pat you on the back.
cjwrightoboe
Sep 11, 2007
Amen sister! Preach it! (for all of those wondering if I’m mocking her, no. I am a real, born-again Christian.)
Suvayd
Sep 12, 2007
Cooper,
Have you ever heard John de Lancie’s lecture on the history of pitch? TMJ problems aside, something tells me he would more than agree with you. The lecture is now on a DVD sold by Weber Reeds as part of the Muncie Master Class series… whose next installments have been mighty long in coming due to copyright problems, etc. The lecture is so clear and interesting that even I, a non-musician, understood most of it!
Suvayd
nat*
Sep 12, 2007
That was well written, Cooper. 
What did you do regarding the TMJ you had? I know I’m having it too, but thankfully it’s not from biting reeds ;P
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Jan 24, 2010
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Sep 11, 2007
Okay ... my thoughts? (As if I haven’t given you enough of them already?!)
This is the human condition. It’s not just in the music world. It’s in the world. Period. I’ve seen it with academics. I’ve certainly seen it with doctors. And, sadly, I’ve seen it at churches.
If I were to call it as it is, my “easy word” would be ... and some will cringe at this ... sin. We are a fallen folk.
Okay. Off of my soap box.
For now.
Well written entry, Cooper. Thank you for the clarification!
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