On a whim, I decided to join the Australian Double Reed Society (ADRS), which, according to its website, promotes and enhances knowledge of double reed instruments (oboe and bassoon family). https://adrs.org.au/The annual conference was to take place at Scotch College, which is a kind of alma mater for me because that’s where had I my very first music lesson (piano) at the age of four.
The conference was held in the James Forbes Music Academy at Scotch. It is a most impressive resource and it is pleasing to see an independent school open its facilities to an ‘outside’ organisation such as ADRS. This academy was built quite recently. When I was four Scotch had a ‘music school’. I remember shady trees, possibly elms, a row of about six music rooms with soundproof double doors, a classroom, a performance hall and towering above all of this the school library. Returning to the school was quite a welcoming experience for me – I used to know it well because my grandfather was the principal and my grandparents lived in a large flat in one of the school boarding houses. I loved visiting them.
As I approached the foyer of the James Forbes Music Academy I could hear oboes and bassoons being tried out and the squeaking of reeds being tested. Recently on a breakfast program, listeners were asked to come up with a collective noun for a gathering of oboes. Unfortunately the chosen word was a ‘migraine’ of oboes. I guess that’s the way some music teachers feel – but I think that a ‘moan’ of oboes is better! There was a large display of ‘wares’: oboes and bassoons of all kinds, reeds, reed making equipment … I enquired about various kinds of reeds and looked at new oboes, though at $14,000 I wasn’t tempted to buy one. My impression is that professional oboists change their oboes frequently, whereas I have had my two oboes since student days.
Participants ranged from school students – some as young as ten – to the principal oboe of the Melbourne Symphony Orchestra. A few presenters had come from overseas and a lot of people were from interstate. I was expecting to feel like a fish out of water because I haven’t played in an orchestra or been involved in teaching for many years, but there were a few familiar faces and I was soon involved in ‘oboe talk’, which is usually about reeds.
The James Forbes Academy is big enough to have many sessions running concurrently: recitals, bands, workshops, master classes … The first recital I attended was by Briana Leaman – Pipe Dreams. She walked into the room playing Debussy’s Syrinx, written for unaccompanied flute. It worked well on the oboe. This was followed by Benjamin Britten’s Pan, also unaccompanied. The centrepiece of her recital was the Australian première of Eric Ewazen’s concerto, Hold Fast Your Dreams. On this occasion it was played with piano. The piece was inspired by an oboist’s mother who, through the tribulations of life held fast to her dreams. Briana is from South Carolina but she now resides in Melbourne with her saxophonist husband.
I then heard Heather Killmeyer, from East Tennessee, play Coal Trails on Rails, a piece for oboe and electronics, written for her by Brian DuFord. Heather comes from a railway town in the Appalachian region of North America. She had recorded the sounds of different kinds of trains shunting, blowing their whistles – all kinds of sounds – and sent them to the composer. There are train sounds throughout the piece, with the oboe playing quite often rollicking tunes that blend with them. The electronics sound track includes accompaniment by instruments that lend a blue grass element to the music – particularly banjo – blue grass music is strong in the Appalachian mountains. Heather is an associate professor at East Tennessee University and after the performance she chatted about commissioning work such as this. I had imagined that the oboe in this work might imitate train sounds, using multi-phonics and other tricky devices, but the oboe part is quite accessible to play – much of it jazzy blue grass melodies.
There was a workshop on the basics of oboe playing where young beginners (and one brave older woman) got out their oboes and learned techniques for breathing and tone control. Then there was ‘Mass Double Reed Ensemble Playing’, where everyone who wished, assembled with their instruments and played a short piece written for a collection of oboes and bassoons. I had brought my oboe, so I joined in.
In the afternoon, Jeff Crellin, Principal Oboist of the Melbourne Symphony Orchestra gave a master class where promising young oboists performed their chosen pieces and were given advice by Jeff: think of yourself as singing the piece, remember to breathe out before you take a breath – make a panting sound, like a dog. All participants improved noticeably when they followed his advice.
Then to the final concert for me, Ben Opie, Jasper Ly, Edward Wang and Brienne Gawler playing several contemporary pieces for combinations of oboes and cors anglais (or should one say cor anglaises?). A cor anglais is an alto oboe – rather like the viola of the oboe family. Most oboists can also play cor anglais. The first piece I had heard before, Jonathan Harvey’s Ricercare una melodia (To seek a melody) written in 1984 for oboe and feedback tape – the feedback is now accomplished by computer. Jasper played oboe, hooked up to a laptop manipulated by Ben. To me, a novice, it seemed that the computer manipulated the sounds as they were played by the oboe and blended them into an accompaniment. We then heard Paul Stanhope’s Aftertraces, written in 2011 – it was a trio for oboes, two of them sometimes doubling (changing to) cor anglais. The final piece was Scottish composer James Macmillan’s Intercession, written in 1991. The piece depicts a peal of bells and like bells, as the composer says, the notes are ‘thrown from one player to another’, it then moves to a somewhat more jaunty dance movement, which I thought particularly suited the three oboes.
There was another concert, but by this time I felt I had absorbed sufficient. It had been good to immerse myself again in a moan of oboes.