"It's almost like group therapy. " That is what one of the participants said during a session of the Thomas Stacy International English Horn Seminar held at Oglethorpe University in Atlanta, Georgia. The seminar was sponsored by McFarland Oboe Shop on the campus of Oglethorpe University. June 26 through July 4, 1983. Mr. Stacy's teaching style emphasizes "the positive. " In his opening session he stated that he felt we could all benefit from looking at what each person we would hear during the week did best. By taking what each individual does well and incorporating those aspects of playing into our own we would benefit more than if we concentrated on the negative or poor areas of performance. Psychologists have used this approach to build a more self confident person by using positive reinforcement rather than a list of "don'ts" or negative reinforcement. I feel this approach worked well for the participants in this seminar. This approach broke down some of the competitive barriers that occur at summer seminars. Students began openly sharing their own ideas and approaches to problems they had conquered or were trying to conquer. We found ourselves listening to each participant to find what it was they did best that we would like to incorporate into our own playing. This opened up a new way of listening for some people. He encouraged us all to "Play the way you are. You're not like any other person in the world. "
The week opened with a Sunday evening recital by Mr. Stacy accompanied by Beverly Gilbert of Atlanta on piano. The program opened with Berceuse by Hans Wolfgang Sachse, followed by Piece en forme de Habanera by Maurice Ravel. The first half of the program ended with Paul Hindemith's Sonata for English horn. After intermission Mr. Stacy began with Sonate in F-moll by G. P. Telemann. The program ended with a sparkling performance of the Concerto on Motives from the Opera "La Favorita " by Donizetti-A. Pasculli. A reception followed the recital.
Other activities during the week included a mock audition, two participant recitals and an evening of chamber music reading. One of the most popular sessions is the mock audition which is held behind a screen. This gives the participants who act as auditioners some experience at auditioning and those who listen a chance to hear what types of things stand out in your mind as you listen to many people play. There were no winners or losers except for the benefit of the discussion about what was heard. Our chamber music reading session included a reading of the Trio for Oboe d'amore, Horn and Bassoon by Graun with assistance from Carl Nitche, Principal Bassoonist with the Atlanta Symphony and Brice Andrus, Principal Horn with the Atlanta Symphony.
On Tuesday and Wednesday evenings we held our participant recitals. Those performing on Tuesday evening dune 28 were:
Susan Eischeid, Sonata by B. Marcello
Richard Kravchak, Parable for E.H. by Persichetti
Ruth Brook, Recitative and Rondo by Reicha
Marsha McFarland, Suite for E H. & Piano by Handel Arr. by R. Rosenblatt
Linda Gilbert, Adagio K. 580a by Mozart
Caroline Foshee, Siciliene by Fauré
Donna Tuel, Divertissement by Bozza
Joyce Sidorfsky, Canzonettino by R. Herman
Wednesday evening, June 29:
Katie Tibbitts, Sonatine by P.M. Dubois
Susan Vought, Adagio K580a by Mozart
Frances Estes, Concertino by Fauré
David Sussman, Concertino by Donizetti
Patrick McFarland, English hornist with the Atlantic Symphony, gave a lecture/demonstration on instrument care and adjustment. As a result of the many lectures on instrument adjustment and repair he has published a book titled Oboe Adjustment Guide which includes a section on English horn. He was on hand during the week to check everyone's instrument over as well as perform a "swabectomy" when a pull through swab became stuck in the top joint of someone's English horn. Accessories and tools were displayed from McFarland Oboe Shop for participants to see items available.
Literature for the Oboe d'amore was covered in the Master Class sessions as well as English horn excerpts, etc. Many of the participants performed on Oboe d'amore therefore this seminar is a wonderful opportunity for the participants to hear the Oboe d'amore and develop a concept of sound for this infrequently used instrument. Reedmaking for the Oboe d'amore was also covered.
During the reading session Graham Powning's Octandre for eight oboes was performed using 16 English horns by doubling all parts. It was definitely a sound you won't often hear or easily forget!
I received many thank yous from participants and I would like to share one from Joyce Sidorfsky of Gonzalez, Florida, which echoes my own feelings about the seminar. Joyce wrote, "There were so many really wonderful things about the Stacy Seminar that I don't know were to start... You were certainly right about Mr. Stacy. He was terrific--so helpful, so understanding of individual's problems, so articulate and willing to share information, and so supportive of everyone's efforts. I particularly liked the feeling of there being no pressure yet plenty of opportunity for playing... I appreciated Pat's practical lecture and demonstration on adjustment as well as the hours he spent checking each participant's instruments... I hope you will continue to sponsor this outstanding event. "
We look forward to renewing friendships and making new ones next summer.
NOTE: This year's 6th Annual Stacy Seminar will be in Atlanta again July 1-7, 1984. Contact McFarland Double Reed Shop for further information. P.O. Box 13505, Atlanta, GA 30324. (404) 321- 5356.