It’s time again for the annual post-mortem on my on-campus faculty recital. This year’s program was all Telemann, which was fun. Since some of my most formative years as a musician happened back when I was primarily a saxophonist, I still feel a little out of my depth with Baroque style, and preparations for this recital turned into a great opportunity to study, listen to recordings, and work on my ornamentation skills. (I found Victor Rangel-Ribeiro’s Baroque Music: A Practical Guide for the Performer to be invaluable, and it even has a chapter specifically on Telemann.)
I’m fairly pleased with how the A-minor oboe sonata turned out. My intonation has improved in leaps and bounds since I got some excellent reed advice at the John Mack Oboe Camp a summer ago (what a difference a change in tie length can make!). I did struggle a little bit on stage with the Mississippi Delta August humidity making its way into my octave vents, which you can hear in places in the following clip.
I have also been working on my double-tonguing on the oboe, and while it’s not perfect yet, I think it turned out quite well here. The fact that I wanted to use it on this piece probably belies some issues with my Baroque interpretation: it might have been more authentic either to slow down or to slur more, but I liked the effect and felt good about at least partially mastering the technique.
And, of course, it is great fun to play with harpsichord and cello. As we sadly do not have a full string faculty here at Delta State, I had to convince a cellist to come in from out of town. It’s scary to meet and rehearse with someone for the first time on the day of the recital, but the recommendations I had gotten for her turned out to be solid, and she played like a total pro.
I was determined to finally perform some recorder repertoire on this recital. My initial thought was to do the Telemann recorder suite, but since I already had the basso continuo lined up, I did some more research and discovered the delightful sonata in F major. The humidity had a fairly significant effect on this instrument, too, especially with me perhaps over-practicing on it in the weeks prior to the recital, so my tone and stability aren’t what I would have liked them to be. Too many cracked notes and response issues in the extreme upper and lower registers. Still, bucket list item checked off.
One definite doubling blunder: I went from oboe to recorder on stage, and wasn’t fully in recorder mode when I started the first movement. The recorder’s breath requirements are much lower than the oboe’s, and so I started off the movement with a rather ugly cracked note (not included in this clip…). But I am quite happy with how the slow movement turned out; here it is in its entirety: