I will be playing a piece with Dave on his recital, Paganini's Moto Perpetuo, arranged for flute, oboe, clarinet (played by Dave on soprano sax) and piano. I am pretty much certain that my fingers will be the slowest-moving on that stage. To sight-read, I was taking it at quarter=80 (or so), and Dave wants to take it between 120-130. I CAN play my scales and pieces that fast (and faster), but this piece at constant sixteenth notes, in a very precise line passed from instrument-to-instrument, is making me a little nervous. I don't want to let my hubby down. I have until September to learn it. (Maybe I shouldn't admit that this is hard for me? Other oboists might read this, know the piece and scoff!...Please don't scoff.)
I just got a reed in the mail, intended for one of my students, but I thought I'd try it out (and maybe keep it for myself if I loved it)...I did not love it. In fact, it was completely buzzy, flat (you'd think clipping it would help, but it didn't), and pretty much unbearable to play. I won't even be passing this along to my student. I'm not normally one to ask for my money back, especially on reeds, which can generally be adjusted to your or your student's liking, but where do you draw the line? This person is usually a great reed-maker too, so this is disappointing--in fact, this was a replacement reed from an order in which one was already broken when I took it out of its tube. Sigh.
Anyway, I practiced about two lines of the Paganini on this reed to see how it played, and I had to stop. Need better reeds. Haven't made any myself in a little while. Still, I need to practice, no matter what. Maybe I'll have more time this week before we leave for Calgary.