Thursday, 27 February 2014

Double Reed Weekend

Only a couple of days to go...

Remember to bring:

  1. Your instrument and reeds
  2. A NAMED music stand
  3. Your music for Double Reed Band (downloadable on the post below)
  4. Some money for lunch

Dinner on Saturday night has been booked for 7.30pm at a great place in Takapuna: The Elephant Wrestler. We have our own space, not in amongst everyone else!

On arrival at Carmel College, you will receive a welcome pack which includes a booklet with all the information you will need. Make sure you get yours!

Here is the current version of the timetable: (this is in the booklet so you don't need to print it out!)


Monday, 17 February 2014

DOUBLE REED WEEKEND


March 1 - 2, 2014
Carmel College
Shakespeare Rd
Takapuna
Carmel College has a new performing arts centre with an excellent auditorium and comfortable foyer and practice areas.

Elise Millman


Eve Newsome


We are very pleased to announce that Eve Newsome, Oboist from Brisbane, and Elise Millman, Bassoonist from Melbourne Symphony Orchestra, are our guest tutors for Double Reed Weekend. 






The weekend is for everyone- all ages and stages!



 Extra Information
·       Double reed band
NZDRS has commissioned a new work by NZ composer Anthony Young, especially for our 2014 weekend. There will be parts for oboe, oboe d’amore, cor anglais, bassoon and contra bassoon. The composer will rehearse and direct the first performance at the closing concert. Download your part from our website.  www.nzdrs.org.nz from 17 February 2014
Ensembles
Participants will get the chance to play in groups with other players of their level, coached by professional double reed players
·        Public Recital
On Saturday evening, there will be a recital from our guest artists and professional double reed players from around NZ. Works include the Poulenc Trio for oboe, bassoon and piano. Free to weekend participants
·        Fun activities
Including Long note competition, Reed darts, Sports, Have a go on an oboe or bassoon, Reed sculptures


This weekend would not be possible without generous support from our sponsors. 
Please visit their websites.  (Click on the links on the right)



Gold Sponsors:






Silver Sponsors:


Bronze Sponsors:



Sunday, 16 February 2014

DOUBLE REED WEEKEND Parts for Double Reed Band

Here are the parts for the Double Reed Band.  Please print off your own copy and bring to the Double Reed Weekend. 
***Make sure you read 
the performance notes below from Anthony Young.***












Suite for Double Reed Band
by Anthony Young
Performance notes for First Draft (13/2/14)

Please be aware that there maybe a few alterations and changes on the 1st March in rehearsals. This has been a challenging ensemble to write for, and I cannot be sure of being certain of every detail of the mechanics of double reed instruments.  If something seems too difficult or unidiomatic, please don’t fret: it may very well be changed during the rehearsal. 

2ND MOVEMENT 
There is a solo for oboe d’amore at the start. The following instructions mean: 
Colour trill – creating the a trill without pitch change by trilling with a finger that doesn’t change the pitch, though possibly shifting it microtonally.
Key clicks – after a diminuendo to as quietly as possible, cease pitch altogether to allow only the sound of
the keys continuing to click.  This may require other keys to be used that weren’t needed for the tremolo.
Vibrato – notes marked with vib. and the wavy line require extra strong vibrato.
Lip bend - (bar 58) using the embouchure, flatten the pitch of the A natural as far down to the next note as possible to create the impression of a glissando. 
First and second oboe parts have densely written ornamentation. This is not intended to sound in perfect unison. Notes written as hemidemisemiquavers should be played confidently to each player’s best ability as an ornament.  Note that the ornamental notes are printed with smaller noteheads. Players should aim to be in unison on notes with regular‐sized noteheads, the overall effect being that of heterophonic chaos suddenly unifying on certain notes.  If not all the notes are played, or there is an error in the order of the pitches, this is not a problem.

3RD MOVEMENT 
Some parts include a few notes surrounded by a box with an arrow pointing to the end of the bar.  This indicates to the player to play those pitches in the written order repeatedly and rapidly, as far as indicated by the arrow. These are not meant to sound in unison and each player should play them as fast as is possible.