<< -- 2 -- Jennifer Paull WHAT DID YOU SAY YOU PLAY?
This was the time of the reign of Pierre Boulez and I was delighted to
discover just how much contemporary music called for the oboe d'amore. With
the ECO, I took part in the recording of the ornamented version of The
Messiah which was to change my vision of baroque performance for ever.
How lucky I was to have experienced that!
I had to do something to obtain original music. I think I pestered every
composer I knew personally, and a good few I didn't. I worked as an agent
for several, and then became the Promotion Manager for Novello in an all
out attempt at reaching as many composers as I could. That was a really
heady moment. Suddenly, there were 56 composers I could contact. I won't
say they all wrote for me, but several did and amongst those who did, figured
John is a remarkable pianist and we gave concerts together. He wrote
me a piece for oboe d'amore and piano and a lovely Concerto with chamber
orchestra. He also included what could be called an obligato for oboe d'amore
in his 2nd Violin Concerto. Since then, two more concertos have been written
for me in America. But, more important than the concerto or chamber music
to me, was the oboe d'amore's introduction and acceptance into the standard
orchestration palette of my composer friends. I didn't want this d'amore
breakthrough for me personally, but for the instrument itself.
I travelled a great deal at home and abroad for Novello and subsequently,
when I opened the London office for a Dutch Impresario, I followed my artists
to concerts and festivals in many countries. I had the honour of working
closely with figures such a Bruno Maderna and Cathy Berberian. I learned
far more about music than I had ever known existed during those wonderful
years, and I continued nevertheless to give recitals and work as a soloist.
Copyright © 25 January 2001
Jennifer Paull, Iowa, USA
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