WEBVTT 00:00:16.600 --> 00:00:18.420 Hi there, and welcome to Notes from the Stage, 00:00:18.539 --> 00:00:20.539 a show from the musicians of the Calgary Philharmonic. 00:00:20.780 --> 00:00:22.280 We're the people playing our hearts out every 00:00:22.280 --> 00:00:25.260 week of the orchestra season. I'm Adams Innatelli. 00:00:25.519 --> 00:00:27.260 Usually I play first trumpet in the Calgary Phil, 00:00:27.260 --> 00:00:29.620 but today I'm your host and I'm here with Jocelyn 00:00:29.620 --> 00:00:32.020 Calhoun, Assistant Principal Clarinet of the 00:00:32.020 --> 00:00:34.460 Calgary Philharmonic. Hi, Jocelyn! Good morning. 00:00:34.640 --> 00:00:36.380 It's great to be sitting down with you. Thanks 00:00:36.380 --> 00:00:38.520 for having me. Oh, a pleasure as always. Now 00:00:38.520 --> 00:00:41.600 we usually... sit about this close together, 00:00:41.859 --> 00:00:43.840 but usually you're facing the other way and I'm 00:00:43.840 --> 00:00:45.960 seeing the back of your head. Yes. So it's nice 00:00:45.960 --> 00:00:49.640 to see your face. Absolutely. I hear every note 00:00:49.640 --> 00:00:53.240 you play. And the good news is that after 37 00:00:53.240 --> 00:00:55.719 years with your orchestra, after having my hearing 00:00:55.719 --> 00:00:57.960 test, I don't have any hearing loss. It's miraculous. 00:00:58.000 --> 00:01:00.719 It is miraculous, but great. I love sitting in 00:01:00.719 --> 00:01:03.960 front of you. Your rhythm is so exact. I can 00:01:03.960 --> 00:01:07.500 just fit in there. Oh, thank you. It's a wonderful 00:01:07.500 --> 00:01:10.400 compliment. I mean, just to sidetrack on this 00:01:10.400 --> 00:01:12.480 a little bit, like hearing, taking care of our 00:01:12.480 --> 00:01:14.980 hearing is a really important thing in our job, 00:01:15.000 --> 00:01:18.180 because not only is it a critical tool, but it's 00:01:18.180 --> 00:01:20.340 also something that can really take a beating 00:01:20.340 --> 00:01:22.939 over the years. Absolutely. I know a lot of us 00:01:22.939 --> 00:01:25.099 use musicians earplugs on stage sometimes, especially 00:01:25.099 --> 00:01:28.480 in amplified concerts. I think every one of us 00:01:28.480 --> 00:01:30.900 sort of has an emergency regular squishy pair 00:01:30.900 --> 00:01:33.519 of earplugs in our case, just in case. There 00:01:33.519 --> 00:01:36.019 are often plexiglass shields on stage. You know, 00:01:36.079 --> 00:01:38.299 that's just a reality of playing in an orchestra 00:01:38.299 --> 00:01:40.400 and especially in the setup that we're in now 00:01:40.400 --> 00:01:42.859 where the brass are in a row right behind the 00:01:42.859 --> 00:01:44.980 woodwinds. You know, there's there's very often 00:01:44.980 --> 00:01:47.459 some shields right in front of us to protect 00:01:47.459 --> 00:01:49.599 your hearing. I'm glad they're doing their job. 00:01:49.700 --> 00:01:52.579 Yeah, absolutely. I've tried all the above. I 00:01:52.579 --> 00:01:55.500 have the squishy ones. I have the custom made 00:01:55.500 --> 00:01:58.670 ones, some expensive, some less expensive. I 00:01:58.670 --> 00:02:01.969 do find it's very hard to play with earplugs 00:02:01.969 --> 00:02:04.290 because you feel like you're plugging your nose 00:02:04.290 --> 00:02:08.150 sound -wise. For a really loud pops concert, 00:02:08.330 --> 00:02:11.409 it's okay to not get every detail of the violin 00:02:11.409 --> 00:02:16.710 players. Most playing you really want to be able 00:02:16.710 --> 00:02:19.590 to hear well So I do find that the screens behind 00:02:19.590 --> 00:02:22.490 my head seems to be the best for me because it 00:02:22.490 --> 00:02:25.590 just takes the the point off Yeah, the sound 00:02:25.590 --> 00:02:28.689 you can hear extremely well, but it just doesn't 00:02:28.689 --> 00:02:32.020 nothing hurts. Yeah. Yeah, that's great and I 00:02:32.020 --> 00:02:34.159 think the most effective way to use them is like 00:02:34.159 --> 00:02:36.419 what we're doing. It's right behind your head 00:02:36.419 --> 00:02:38.520 to give you the most protection. It's not right 00:02:38.520 --> 00:02:41.560 in front of my bell. Right. And then as we do, 00:02:41.580 --> 00:02:43.639 you can always say, you know, can we move left 00:02:43.639 --> 00:02:45.400 or right? And because you don't want to be playing 00:02:45.400 --> 00:02:48.539 into a piece of plastic either. You want your 00:02:48.539 --> 00:02:51.139 sound to go out. Yeah. Yeah. You know, we we're 00:02:51.139 --> 00:02:52.539 all looking out for each other and we're trying 00:02:52.539 --> 00:02:55.319 to make it as easy as possible for us to do a 00:02:55.319 --> 00:02:58.889 great job every day that we're at work. and for 00:02:58.889 --> 00:03:01.710 years to come. So that means things like this 00:03:01.710 --> 00:03:04.710 are good. It's a good thing to be able to take 00:03:04.710 --> 00:03:08.270 care of your hearing and not try and be so tough 00:03:08.270 --> 00:03:10.370 that you don't need a shield. Well, my husband 00:03:10.370 --> 00:03:11.909 couldn't believe that I don't have hearing loss. 00:03:12.310 --> 00:03:14.689 Playing E -flat clarinet all those years and 00:03:14.689 --> 00:03:16.650 sitting in front of the trumpet, so we were telling 00:03:16.650 --> 00:03:18.849 our friend that neither of us had hearing loss. 00:03:18.969 --> 00:03:25.719 He goes, oh, so it's a listening problem. Boy 00:03:25.719 --> 00:03:29.539 oh boy, I have no comment. I can't relate to 00:03:29.539 --> 00:03:33.879 that at all. Well Jocelyn, this year you have 00:03:33.879 --> 00:03:36.620 been playing a lot of first clarinet in the orchestra, 00:03:37.080 --> 00:03:39.020 and that's part of your job as assistant principal, 00:03:39.159 --> 00:03:40.539 right? Usually you're playing second clarinet, 00:03:40.560 --> 00:03:43.139 but sometimes it's your job to step up and play 00:03:43.139 --> 00:03:45.319 first. And not only have you been in the first 00:03:45.319 --> 00:03:48.039 chair a lot, this is also your last year with 00:03:48.039 --> 00:03:49.599 the orchestra. You're retiring at the end of 00:03:49.599 --> 00:03:52.110 the year. Yeah, I was kind of thinking of sailing 00:03:52.110 --> 00:03:55.569 off into the sunset, taking it easy, you know, 00:03:55.810 --> 00:04:00.069 doing my job well. But I am on the hot seat. 00:04:00.169 --> 00:04:02.909 I've been asked to step up and play principal 00:04:02.909 --> 00:04:07.469 this year. So assistant principal, you do just 00:04:07.469 --> 00:04:09.449 about everything. There's a principal and assistant 00:04:09.449 --> 00:04:12.050 principal. So I play a lot of second clarinet. 00:04:12.449 --> 00:04:16.470 I also am responsible for the E flat clarinet 00:04:16.470 --> 00:04:18.920 parts, which are always I like to think of them 00:04:18.920 --> 00:04:21.660 as the icing on the cake. You know, we just played 00:04:21.660 --> 00:04:24.500 Symphonie Fantastique and the E flat clarinet 00:04:24.500 --> 00:04:28.100 is the witchiest witch you can make it. Then 00:04:28.100 --> 00:04:31.660 if the second part doubles on bass, I also play 00:04:31.660 --> 00:04:34.839 some bass clarinet. If the first player is sick, 00:04:34.839 --> 00:04:38.060 I can step up into that role. And if the first 00:04:38.060 --> 00:04:40.300 player wants to take a break from one of the 00:04:40.300 --> 00:04:42.519 pieces, say one of the concertos, then I will 00:04:42.519 --> 00:04:45.980 do that. Also, if the principal clarinet is on 00:04:45.980 --> 00:04:48.959 leave, I'm asked to play principal for that. 00:04:48.980 --> 00:04:51.879 And I did that a couple of years when Steve Amsel 00:04:51.879 --> 00:04:55.220 took transition to retirement. I've also in my 00:04:55.220 --> 00:04:57.879 role done announcements and danced the tango. 00:04:58.000 --> 00:04:59.980 Yeah, I was going to ask you about the tango. 00:05:00.100 --> 00:05:02.939 So now's the time, Jocelyn. That was right before 00:05:02.939 --> 00:05:05.720 I joined the orchestra. Oh, so you didn't see 00:05:05.720 --> 00:05:09.240 me in mine. No, I've only heard the legends of 00:05:09.240 --> 00:05:11.540 Jocelyn dancing the tango. Tell us about it. 00:05:12.060 --> 00:05:15.560 Well, one of the things that I have loved to 00:05:15.560 --> 00:05:21.000 do is do some ballroom dancing. And in my early 00:05:21.000 --> 00:05:25.939 days, before I was married, it was Arthur Murray, 00:05:26.100 --> 00:05:28.079 believe it or not, I had just moved to Calgary 00:05:28.079 --> 00:05:32.019 from the Edmonton Symphony. And I had the greatest, 00:05:32.019 --> 00:05:35.279 greatest time learning, you know, all kinds of 00:05:35.279 --> 00:05:38.579 different dances, foxtrot, waltz, whatever. And 00:05:38.579 --> 00:05:41.259 tango did a little bit of that. So I used to 00:05:41.259 --> 00:05:43.730 tell Tim Rawlings, our personnel manager, you 00:05:43.730 --> 00:05:46.490 know, I really love dancing. And yes, I went 00:05:46.490 --> 00:05:49.110 dancing last night. And so one day, like, and 00:05:49.110 --> 00:05:52.310 this is after 30 years of being here, I think 00:05:52.310 --> 00:05:57.149 I just turned 50. And Tim said, Jocelyn, you 00:05:57.149 --> 00:05:59.329 do some ballroom dancing. You do the tango. We 00:05:59.329 --> 00:06:02.269 need a tango for our upcoming concert in a few 00:06:02.269 --> 00:06:04.629 weeks. Would you like to do it? I said, yes, 00:06:04.730 --> 00:06:07.709 before I even thought of it, I said yes. And 00:06:07.709 --> 00:06:10.689 then I thought, what the heck did I just do? 00:06:10.910 --> 00:06:15.259 Anyway. I contacted my old ballroom dance teacher, 00:06:15.439 --> 00:06:21.060 his name was Randy, and I practiced a couple 00:06:21.060 --> 00:06:24.100 of times a week with him for months. And it was 00:06:24.100 --> 00:06:27.759 the old style tango where your head is back, 00:06:27.959 --> 00:06:33.000 so I got a slinky dress made, and Randy comes 00:06:33.000 --> 00:06:36.439 out with a rose, and I come out, and oh my gosh. 00:06:37.319 --> 00:06:41.839 And then a few years later, Tim said again, hey, 00:06:42.139 --> 00:06:44.740 that went well, let's do it again. So this time 00:06:44.740 --> 00:06:49.300 I had up my game. I had a new, an expert tango 00:06:49.300 --> 00:06:52.920 teacher. His name is Leo Sato. And this is the 00:06:52.920 --> 00:06:55.279 Argentinian style tango. So there's a lot more 00:06:55.279 --> 00:07:00.160 leg wrapping, a lot more intimate. So I would 00:07:00.160 --> 00:07:04.189 go out with him in a more intense way and go 00:07:04.189 --> 00:07:07.110 out to a place that played tango music. So, so 00:07:07.110 --> 00:07:09.449 funny. Oh, it's Wednesday night, Alec, I got 00:07:09.449 --> 00:07:11.610 to go to my tango lesson. He goes, oh, I know 00:07:11.610 --> 00:07:13.370 you're just out with your boyfriend again. And 00:07:13.370 --> 00:07:18.110 so he, he was very supportive except when he 00:07:18.110 --> 00:07:20.889 saw the concert and he came back after he goes, 00:07:21.350 --> 00:07:23.209 you didn't tell me the guy was going to put your 00:07:23.209 --> 00:07:25.790 hand up your leg for us. It's just part of the 00:07:25.790 --> 00:07:29.769 Argentinian style. So anyway, it was actually 00:07:29.769 --> 00:07:32.009 a real thrill for me to do it. The second one, 00:07:32.009 --> 00:07:36.019 I had my. black long jacket over my red dress. 00:07:36.740 --> 00:07:39.500 And Leo comes on and looks at the orchestra, 00:07:39.600 --> 00:07:42.800 who amongst you, he was saying would like to 00:07:42.800 --> 00:07:46.060 come. And I just got up, threw my jacket off 00:07:46.060 --> 00:07:48.920 and came out. Oh, so dramatic. Oh, it's very 00:07:48.920 --> 00:07:52.300 dramatic. And it was so much fun. I'm not a professional 00:07:52.300 --> 00:07:55.279 dancer and it was probably one of the scariest 00:07:55.279 --> 00:07:57.800 things I did, but so fun. And you know what is 00:07:57.800 --> 00:08:02.220 so funny? Like I'm thinking that when I retire, 00:08:02.459 --> 00:08:05.399 in a few months. I've had people come up to me 00:08:05.399 --> 00:08:08.680 in a shopping mall, never mind the 41 years as 00:08:08.680 --> 00:08:11.000 a professional clarinetist, you're the one that 00:08:11.000 --> 00:08:14.139 did the tango. Oh, really? So people remember 00:08:14.139 --> 00:08:17.100 that. I think I'll be remember that for probably 00:08:17.100 --> 00:08:19.120 more or just as much as playing the clarinet. 00:08:19.120 --> 00:08:21.879 Oh, that's so funny. Boy, oh boy. Well, Jocelyn, 00:08:22.000 --> 00:08:23.660 one of the things that I really admire about 00:08:23.660 --> 00:08:27.819 you is that you have so many interests. And I 00:08:27.819 --> 00:08:30.160 don't think it's, you know, as musicians, we 00:08:30.160 --> 00:08:32.659 get so focused on our job and playing our instrument 00:08:32.659 --> 00:08:33.799 and learning the music and all those things. 00:08:34.019 --> 00:08:38.100 And I'm a big believer that other interests don't 00:08:38.100 --> 00:08:40.460 necessarily have to detract from our qualities 00:08:40.460 --> 00:08:43.039 as musicians. In fact, they can make us better 00:08:43.039 --> 00:08:45.419 and more rounded musicians. And one thing I've 00:08:45.419 --> 00:08:47.120 always admired about you is that you have so 00:08:47.120 --> 00:08:51.220 many interests outside of music. Yeah, I really 00:08:51.220 --> 00:08:54.320 like to be active. I really like to push myself 00:08:54.320 --> 00:08:59.179 to new things. I did yoga for 30 years and did 00:08:59.179 --> 00:09:04.299 a yoga teacher training course. I more recently, 00:09:04.399 --> 00:09:07.440 well, I guess in the last 15 years, met some 00:09:07.440 --> 00:09:09.820 friends and they were really into road biking. 00:09:10.740 --> 00:09:14.159 So I started training, you know, casually, but 00:09:14.159 --> 00:09:19.259 ended up doing 100K or 120K fondos. More recently, 00:09:19.539 --> 00:09:22.830 probably. it feels like 60 or 80 is probably 00:09:22.830 --> 00:09:27.190 enough. I could do, it's 80. So in Drumheller 00:09:27.190 --> 00:09:31.649 or in Banff or Kelowna, I'm not winning any prizes 00:09:31.649 --> 00:09:36.049 here, but just to finish is really fun. And a 00:09:36.049 --> 00:09:37.590 few years ago, I think it was a couple of years 00:09:37.590 --> 00:09:40.629 before COVID, a friend of mine said, hey, we're 00:09:40.629 --> 00:09:43.450 going mountain biking in Morocco. You want to 00:09:43.450 --> 00:09:47.889 come? And I thought, well, no. How could I think 00:09:47.889 --> 00:09:50.860 of going mountain biking in Morocco? And I said 00:09:50.860 --> 00:09:53.500 to my husband, I said, well, this is this invite. 00:09:53.580 --> 00:09:55.179 He goes, go for it. I said, are you kidding? 00:09:55.559 --> 00:09:59.360 Anyway, I ended up going and it was the most 00:09:59.360 --> 00:10:01.919 amazing thing. We rented mountain bikes. There 00:10:01.919 --> 00:10:06.639 was a 13 of us. We had guides. We had these old 00:10:06.639 --> 00:10:10.440 dilapidated vans and they followed us around. 00:10:10.620 --> 00:10:14.740 We were through the desert. Uh, uh, like, you 00:10:14.740 --> 00:10:17.200 know, it's more like Rocky desert, uh, when we 00:10:17.200 --> 00:10:22.509 weren't on. like loose sand, but they would find 00:10:22.509 --> 00:10:25.870 the one, you know, shaded area in the desert 00:10:25.870 --> 00:10:28.750 and spread out a blanket and had this wonderful 00:10:28.750 --> 00:10:31.929 lunch for us. We'd stay in these amazing places, 00:10:33.049 --> 00:10:34.850 wonderful bed and breakfast places where you're 00:10:34.850 --> 00:10:37.450 sitting with the family and really remote places. 00:10:38.090 --> 00:10:40.610 Going to the old, old world places, markets, 00:10:40.690 --> 00:10:42.870 you feel like, you know, there's the goats in 00:10:42.870 --> 00:10:46.169 the little trailers and the little. Shopping 00:10:46.169 --> 00:10:49.509 stands and it was just, it was magical. And we 00:10:49.509 --> 00:10:54.129 would do, I don't know, 50, 80 K most days. We 00:10:54.129 --> 00:10:57.190 did that for a week. So that sounds like a heck 00:10:57.190 --> 00:11:00.090 of a trip. It was, it was really like, who would 00:11:00.090 --> 00:11:01.889 ever have thought that I was going to be going 00:11:01.889 --> 00:11:05.389 to Morocco biking, but you have to have friends 00:11:05.389 --> 00:11:08.519 that say, let's do it. So. That's so wonderful, 00:11:08.779 --> 00:11:11.120 Jocelyn. Talking about these once -in -a -lifetime 00:11:11.120 --> 00:11:14.000 experiences, it makes me wonder, in your time, 00:11:14.840 --> 00:11:16.360 in your orchestral career, which has been in 00:11:16.360 --> 00:11:18.799 Calgary mostly, but like you said, also in Edmonton, 00:11:18.860 --> 00:11:21.320 of all the music you've played, I'm sure there 00:11:21.320 --> 00:11:23.080 are some things that you've played a million 00:11:23.080 --> 00:11:26.279 times by now, what are some things that are once 00:11:26.279 --> 00:11:28.720 -in -a -career pieces that you've really enjoyed? 00:11:29.639 --> 00:11:34.879 I have to say that... I now have played every 00:11:34.879 --> 00:11:37.860 single solo I've ever wanted to play, which is 00:11:37.860 --> 00:11:40.340 amazing because as an assistant, you don't always 00:11:40.340 --> 00:11:43.759 get to play the big ones. But this year, there's 00:11:43.759 --> 00:11:49.460 actually been three solos, huge solos in orchestral 00:11:49.460 --> 00:11:52.679 and a clarinet's life where it feels like the 00:11:52.679 --> 00:11:56.659 whole orchestra drops off the stage. It feels 00:11:56.659 --> 00:12:00.179 like a spotlight's on you and you are alone. 00:12:00.720 --> 00:12:04.600 Sibelius one. starts with the clarinet and all 00:12:04.600 --> 00:12:07.980 it is is a murmuring of the timpani in the distance 00:12:07.980 --> 00:12:12.960 and you get that full minute. Just the ability 00:12:12.960 --> 00:12:19.000 to sit there and play at your best in such a 00:12:19.000 --> 00:12:21.919 controlled manner. I feel someone came up to 00:12:21.919 --> 00:12:25.820 me afterwards and said, wow, I feel like you've 00:12:25.820 --> 00:12:27.960 played, you've just put your whole life through 00:12:27.960 --> 00:12:31.570 your clarinet, which is a great compliment. you 00:12:31.570 --> 00:12:36.710 know, 41 years and to feel that I can do that 00:12:36.710 --> 00:12:39.750 and it comes out as you want. Also Francesca 00:12:39.750 --> 00:12:42.750 Derimini, the whole orchestra stops and there's 00:12:42.750 --> 00:12:46.350 a few little plinking of a, and Runa said, hey, 00:12:46.429 --> 00:12:49.750 listen, you're the boss. You're the boss. You 00:12:49.750 --> 00:12:52.029 could take 15 minutes with the solo. It's, you 00:12:52.029 --> 00:12:53.769 know, like one minute, but you said, but there's 00:12:53.769 --> 00:12:55.649 just one note I'd like you to hang over a little 00:12:55.649 --> 00:12:59.029 bit longer. I said, okay. So again, really feeling 00:12:59.029 --> 00:13:03.960 that I can, expand and take the time and not 00:13:03.960 --> 00:13:06.600 be afraid to take the time. Sometimes it's an 00:13:06.600 --> 00:13:09.100 assistant principle. You feel like I'm just filling 00:13:09.100 --> 00:13:10.940 in. I've got to play my notes. I've got to get 00:13:10.940 --> 00:13:15.960 it right. I can't make a mistake. And also Scheherazade, 00:13:16.659 --> 00:13:18.120 where again, there's just plinking and you've 00:13:18.120 --> 00:13:21.419 got three little cadenzas and daring to take 00:13:21.419 --> 00:13:24.340 enough time. That was what I learned through 00:13:24.340 --> 00:13:27.279 this year is that you can make people wait an 00:13:27.279 --> 00:13:30.240 extra second or two. It feels like 15 seconds. 00:13:30.379 --> 00:13:34.980 but an extra second or two can really cause some 00:13:34.980 --> 00:13:38.279 drama, I think. Yeah, I absolutely agree. This 00:13:38.279 --> 00:13:40.179 is actually something that I have a hard time 00:13:40.179 --> 00:13:42.700 relaying to students, you know, who are just 00:13:42.700 --> 00:13:44.700 sort of finding their feet in terms of being 00:13:44.700 --> 00:13:46.779 expressive on their instruments. If they're playing 00:13:46.779 --> 00:13:48.480 a cadenza or something like that, say, no, no, 00:13:48.480 --> 00:13:53.259 no, you have the time. Take that second. Have 00:13:53.259 --> 00:13:56.259 a good breath. It'll feel organic. It'll feel 00:13:56.259 --> 00:14:00.269 correct. It'll feel musical. It takes time. And 00:14:00.269 --> 00:14:02.509 a lot of reassurance for that student to start 00:14:02.509 --> 00:14:06.289 feeling like, oh, this is actually okay. You 00:14:06.289 --> 00:14:08.929 know, that there can be this space in the music 00:14:08.929 --> 00:14:11.629 that makes it better and makes it more natural. 00:14:12.590 --> 00:14:15.389 Absolutely. You know, it's funny that I've been 00:14:15.389 --> 00:14:19.330 thinking about this year. There was a former 00:14:19.330 --> 00:14:22.669 conductor that said to us, I am not striving 00:14:22.669 --> 00:14:25.590 merely for excellence. I'm striving for perfection. 00:14:27.789 --> 00:14:31.690 We try to play perfectly in that it really is 00:14:31.690 --> 00:14:34.909 our job to play the right notes. But I heard 00:14:34.909 --> 00:14:37.309 a quote not too long ago, I think it was Brene 00:14:37.309 --> 00:14:40.090 Brown and it was something like, it's a privilege 00:14:40.090 --> 00:14:43.250 to strive for perfection. So take it easy with 00:14:43.250 --> 00:14:45.750 yourself. If you reach perfection, it means you're 00:14:45.750 --> 00:14:51.379 done. We're never done. Enjoy the journey. You 00:14:51.379 --> 00:14:53.440 know, if ever I've thought, oh my God, I think 00:14:53.440 --> 00:14:55.100 I'm going to go through this whole concert with 00:14:55.100 --> 00:14:57.580 one mistake and then you know what? Three bars 00:14:57.580 --> 00:15:01.000 before the end, I'll do something. So as soon 00:15:01.000 --> 00:15:02.820 as you think about being perfect, it takes your 00:15:02.820 --> 00:15:05.000 attention away from what you're doing. Totally. 00:15:06.340 --> 00:15:09.240 So striving for the best you can possibly do 00:15:09.240 --> 00:15:12.720 and allowing yourself to be maybe a little spontaneous 00:15:12.720 --> 00:15:14.659 in the solos in the moment is more important 00:15:14.659 --> 00:15:17.740 than thinking about how can I be perfect? So 00:15:17.740 --> 00:15:20.779 that's. How I've tried to think about it. Yeah, 00:15:20.779 --> 00:15:23.220 I think that's so healthy. I think that's so 00:15:23.220 --> 00:15:25.740 healthy. You know, all we can do is our best. 00:15:26.419 --> 00:15:30.659 And if we try to if we make our goals about outcomes 00:15:30.659 --> 00:15:35.159 rather than about our own process, I don't think 00:15:35.159 --> 00:15:37.720 it's a useful goal. I don't think it's healthy 00:15:37.720 --> 00:15:41.740 to to frame success or however you want to say 00:15:41.740 --> 00:15:44.600 it in terms of outcomes like, I'm going to play 00:15:44.600 --> 00:15:47.840 a note perfect concert. I think it's more interesting 00:15:47.840 --> 00:15:49.940 and more useful and you end up with a better 00:15:49.940 --> 00:15:53.000 product by saying, I'm going to be really well 00:15:53.000 --> 00:15:54.759 prepared. I'm going to show up. I'm going to 00:15:54.759 --> 00:15:56.500 be in the moment and I'm going to take the risks 00:15:56.500 --> 00:15:58.320 where I should take the risks and I get what 00:15:58.320 --> 00:16:05.279 I get. And that's why conductors make such a 00:16:05.279 --> 00:16:07.299 huge difference in how you approach your playing. 00:16:07.440 --> 00:16:10.830 Yeah, that's a great point. So we've had conductors 00:16:10.830 --> 00:16:14.350 that insist on perfection. And if you make a 00:16:14.350 --> 00:16:17.809 mistake, they're glaring at you. And so come 00:16:17.809 --> 00:16:21.269 a concert, I've been glared at because I'd made 00:16:21.269 --> 00:16:23.629 a mistake previously. And then you have to put 00:16:23.629 --> 00:16:26.029 every single bit of your fiber and you have to 00:16:26.029 --> 00:16:28.649 look at that conductor and you have to play your 00:16:28.649 --> 00:16:30.889 best. And so you're thinking about how I'm going 00:16:30.889 --> 00:16:34.610 to make sure. And then there's other conductors. 00:16:34.909 --> 00:16:38.610 like Hans Graf perhaps, that we would give our 00:16:38.610 --> 00:16:42.110 souls for him and all that he expected of us 00:16:42.110 --> 00:16:44.669 is that we would do our best and play for him. 00:16:45.210 --> 00:16:48.529 I have one story I like to tell is that was the 00:16:48.529 --> 00:16:51.870 Dvorak New World Symphony. I really imagined 00:16:51.870 --> 00:16:54.669 I'm on this ship in the middle of the ocean, 00:16:54.690 --> 00:16:58.129 I'm going to the New World and the waves are 00:16:58.129 --> 00:17:02.870 big and I see the horizon and the sunset and 00:17:03.340 --> 00:17:07.119 And so I just got up after the concert and said 00:17:07.119 --> 00:17:10.819 to Graf, I said, oh Hans, that was so magical, 00:17:11.019 --> 00:17:14.839 so amazing. I saw the purple of the horizon. 00:17:15.000 --> 00:17:18.279 And he looked at me like, well, he goes, well, 00:17:18.319 --> 00:17:21.220 yes, I was there too. And it's like, it was obvious. 00:17:21.740 --> 00:17:24.220 Yeah, everybody saw the sunset. But anyway, so 00:17:24.220 --> 00:17:28.950 it's those moments where You you give your heart 00:17:28.950 --> 00:17:31.710 and soul to the conductor that it because they 00:17:31.710 --> 00:17:34.630 inspire you and you're not afraid to take chances. 00:17:34.869 --> 00:17:39.690 Yeah Yeah be feeling Enabled to be vulnerable. 00:17:39.690 --> 00:17:43.470 Mm -hmm as a player I think is sort of I think 00:17:43.470 --> 00:17:45.230 it's sort of the greatest gift that a conductor 00:17:45.230 --> 00:17:47.910 can give us Yeah, because we all want it to be 00:17:47.910 --> 00:17:49.509 good We don't want to miss notes when someone 00:17:49.509 --> 00:17:51.650 makes a mistake. They're not making it at the 00:17:51.650 --> 00:17:55.029 conductor right, right like We're the one who 00:17:55.029 --> 00:17:57.730 looks like a dope. That's right. You make a mistake. 00:17:58.130 --> 00:18:01.210 Yeah, but there's no there's no better way to 00:18:01.210 --> 00:18:04.950 guarantee a mistake than Say don't make a mistake. 00:18:05.150 --> 00:18:09.529 You know what I mean? Yeah So as assistant principal, 00:18:09.690 --> 00:18:11.309 you really are the jack -of -all -trades. You've 00:18:11.309 --> 00:18:13.849 got to do everything, ranging from being the 00:18:13.849 --> 00:18:16.150 consummate section player to stepping up to play 00:18:16.150 --> 00:18:17.970 principal. You've even been featured with the 00:18:17.970 --> 00:18:21.470 orchestra as a soloist. Mm -hmm. Yeah, I've been 00:18:21.470 --> 00:18:24.630 really lucky to step out in front of the orchestra 00:18:24.630 --> 00:18:26.990 four different times. One of the first times 00:18:26.990 --> 00:18:29.630 is playing the Mozart's Sinfonia Constantin. 00:18:29.630 --> 00:18:34.349 Oh, great. With Bernardi, actually. And it's 00:18:34.349 --> 00:18:38.500 clarinet, bassoon, oboe, and French horn. so 00:18:38.500 --> 00:18:41.240 you're kind of four soloists. Bernard, you like 00:18:41.240 --> 00:18:43.420 to call us the B team. I mean, he really liked 00:18:43.420 --> 00:18:46.660 our playing, but we're all assistants, so he 00:18:46.660 --> 00:18:49.400 called us up the B team. Oh, so the soloists 00:18:49.400 --> 00:18:51.220 for the Sinfonia Concertante were the assistant 00:18:51.220 --> 00:18:53.099 principals of the section? Yes. Oh, that's lovely. 00:18:54.099 --> 00:18:56.299 Yeah, I think he had a lot of confidence in us 00:18:56.299 --> 00:18:59.980 and we were all thrilled to do it. I love Mozart 00:18:59.980 --> 00:19:04.380 anyway. He loved the clarinet. The lines are 00:19:04.380 --> 00:19:07.890 so lyrical and beautiful. So that was a lovely 00:19:07.890 --> 00:19:13.569 experience. I did a duet with Steve Amsel. We 00:19:13.569 --> 00:19:15.769 had fun playing together, and so we did the chromer 00:19:15.769 --> 00:19:19.950 duet. So lots of noodles, kind of earlier classical 00:19:19.950 --> 00:19:23.470 music, and that was a ton of fun. So Steve Amsel 00:19:23.470 --> 00:19:25.829 is our now retired principal clarinet. Yes, we 00:19:25.829 --> 00:19:28.890 played together for 30 years, at least 30 years. 00:19:29.269 --> 00:19:32.710 So that was fun for us to do that. I played a 00:19:32.710 --> 00:19:36.450 Canadian piece by Patrick Cardy who has passed 00:19:36.450 --> 00:19:38.809 away quite a while ago now, but it's called Virili. 00:19:40.009 --> 00:19:43.089 It's a contemporary Canadian piece, very warm 00:19:43.089 --> 00:19:46.430 and lyrical as well. That was really fun to play. 00:19:48.369 --> 00:19:52.130 We have done concerts in Drum Heller. That was 00:19:52.130 --> 00:19:55.609 Beethoven in the Badlands. That's right. I played 00:19:55.609 --> 00:19:59.049 a piece by Steve Chapman called Prairie Dawn. 00:19:59.259 --> 00:20:02.019 It's very Copland -esque. It's very reminiscent. 00:20:02.220 --> 00:20:04.619 It's funny, I knew Steve Chapman because he was 00:20:04.619 --> 00:20:07.940 one of my professors at U of C when I was there 00:20:07.940 --> 00:20:10.380 getting my master's. We played some music of 00:20:10.380 --> 00:20:13.859 his in the CPO in my time as well. Yes. He's 00:20:13.859 --> 00:20:16.680 very accessible writing. I remember we played 00:20:16.680 --> 00:20:20.690 a cantata piece called Earth Songs. choir and 00:20:20.690 --> 00:20:22.430 I think with soloists and orchestra. There's 00:20:22.430 --> 00:20:27.990 a Vancouver Symphony recording. So that was always 00:20:27.990 --> 00:20:30.869 really a privilege to do that. Well, speaking 00:20:30.869 --> 00:20:33.210 of Steve Ansell, among your many interests outside 00:20:33.210 --> 00:20:35.630 of music, when you arrived here today, you showed 00:20:35.630 --> 00:20:37.829 me something that I had never seen before. I 00:20:37.829 --> 00:20:39.730 didn't know that you've been getting into art, 00:20:39.910 --> 00:20:41.990 visual art. You've been doing some drawing. And 00:20:41.990 --> 00:20:43.630 specifically, you showed me a caricature that 00:20:43.630 --> 00:20:47.519 you drew of Steve Ansell that was lovely. Well, 00:20:47.920 --> 00:20:50.859 you know, it's funny, I've taken different painting 00:20:50.859 --> 00:20:55.960 classes, different art classes and drawing, and 00:20:55.960 --> 00:21:00.380 I really don't have a super natural talent for 00:21:00.380 --> 00:21:03.779 drawing, but it gives me pleasure just to be 00:21:03.779 --> 00:21:06.539 funny if I think of a funny circumstance to be 00:21:06.539 --> 00:21:09.880 able to get the idea across. So I actually drew 00:21:09.880 --> 00:21:13.059 the whole woodwind section. This was I have a 00:21:13.059 --> 00:21:17.279 few updates to make but and one of Steve was 00:21:17.279 --> 00:21:21.140 He he could be a little bit irritated when the 00:21:21.140 --> 00:21:24.119 sounds got loud shall we say so I I drew a picture 00:21:24.119 --> 00:21:28.640 of him with his clarinet and a loud opera singer 00:21:28.640 --> 00:21:33.099 behind him in the in the caption of Of the opera 00:21:33.099 --> 00:21:35.660 singer says oh am I loud enough and then Steve's 00:21:35.660 --> 00:21:42.210 caption is Shut up. Because it is painful when 00:21:42.210 --> 00:21:44.309 an opera singer under rehearsal is sitting right 00:21:44.309 --> 00:21:47.269 behind your stage and right into your head. Yeah, 00:21:47.690 --> 00:21:49.950 on stage with a jazz singer, if we're doing something 00:21:49.950 --> 00:21:52.089 with singers, they're at the front of the stage, 00:21:52.170 --> 00:21:54.269 in front of the orchestra. In the pit, they're 00:21:54.269 --> 00:21:56.650 up on stage and we're down below. But sometimes 00:21:56.650 --> 00:21:59.490 when we're doing rehearsals for opera in a rehearsal 00:21:59.490 --> 00:22:01.970 hall situation, sometimes singers will show up. 00:22:02.170 --> 00:22:04.269 And they'll sort of stand behind the orchestra 00:22:04.269 --> 00:22:07.150 and sing and that's a real surprise for us sometimes 00:22:07.150 --> 00:22:10.430 Because boy they put a lot of sound they use 00:22:10.430 --> 00:22:13.490 a diaphragm. Well, you know, it's like yeah Yeah, 00:22:13.490 --> 00:22:16.289 I do like different cartoons. I you know I was 00:22:16.289 --> 00:22:18.269 thinking about maybe putting them on Instagram 00:22:18.269 --> 00:22:20.470 whatever and just calling it notes from the third 00:22:20.470 --> 00:22:24.549 act and as probably I'm in my third act in life, 00:22:24.549 --> 00:22:28.150 but Sometimes just things silly things you'll 00:22:28.150 --> 00:22:32.539 think One cartoon I drew of myself with my hands 00:22:32.539 --> 00:22:35.000 wide thinking, why don't my adult children call 00:22:35.000 --> 00:22:36.539 me on the phone and just have a chat? Why does 00:22:36.539 --> 00:22:39.500 it always have to be texting or emailing? And 00:22:39.500 --> 00:22:44.400 then the other one is a devil figure and he's 00:22:44.400 --> 00:22:47.319 saying, he's calling me on the phone. Hello, 00:22:47.460 --> 00:22:52.819 this is Samuel calling you from the cafe and 00:22:52.819 --> 00:22:56.180 your reservation is ready and it says cafe and 00:22:56.180 --> 00:23:01.539 crematorium. It's a little bit dark. It's a bit 00:23:01.539 --> 00:23:06.019 dark, but I amuse myself. Yeah. So I wanted to 00:23:06.019 --> 00:23:10.500 ask you, like you've been a professional artist 00:23:10.500 --> 00:23:14.740 for your whole career. I think it's easy for 00:23:14.740 --> 00:23:17.319 us professional artists to kind of forget that 00:23:17.319 --> 00:23:21.039 feeling of being an amateur, right? It's so different. 00:23:21.119 --> 00:23:24.029 I mean, we take a lot of joy in. implying our 00:23:24.029 --> 00:23:27.109 craft at the highest possible level we can as 00:23:27.109 --> 00:23:32.049 musicians, but to approach cartooning as an amateur 00:23:32.049 --> 00:23:36.190 without aspirations of cartooning at the highest 00:23:36.190 --> 00:23:39.009 level, it's a totally different experience. Can 00:23:39.009 --> 00:23:41.769 you tell us a little bit about what is the same 00:23:41.769 --> 00:23:44.869 and what is different about those? Well, I've 00:23:44.869 --> 00:23:48.029 always liked doing... things with my hands like 00:23:48.029 --> 00:23:51.670 sewing, crafty things. I've gotten into quilting 00:23:51.670 --> 00:23:56.069 and made many quilts the last few years. And 00:23:56.069 --> 00:23:59.190 drawing is like the other day I just sat down 00:23:59.190 --> 00:24:02.250 and two or three hours went by just getting lost 00:24:02.250 --> 00:24:04.910 in what you're doing. I think they call it being 00:24:04.910 --> 00:24:07.910 in the zone. And you know, when I'm practicing 00:24:07.910 --> 00:24:10.470 the clarinet, it still is my job. It still is 00:24:10.470 --> 00:24:13.609 my work. I have something to do that I don't 00:24:13.609 --> 00:24:16.269 choose on a weekly basis that someone else has 00:24:16.269 --> 00:24:18.509 chosen. Sometimes it's really challenging, so 00:24:18.509 --> 00:24:21.369 I have to concentrate. But when you're doing 00:24:21.369 --> 00:24:24.630 something that you're not getting paid for, you 00:24:24.630 --> 00:24:26.990 could just be free to make mistakes. And the 00:24:26.990 --> 00:24:28.970 good thing about drawing is that you have an 00:24:28.970 --> 00:24:32.230 eraser. When you're playing, you don't get an 00:24:32.230 --> 00:24:35.829 eraser in a concert, right? And so there's definitely 00:24:35.829 --> 00:24:39.690 that pressure. There's no pressure when you're 00:24:39.690 --> 00:24:44.930 doing art or sewing. And so it really is a rest 00:24:44.930 --> 00:24:49.809 from the rest of life kind of thing. And I love 00:24:49.809 --> 00:24:52.069 playing with color. One of my favorite parts 00:24:52.069 --> 00:24:55.250 of quilting is going to a store and putting the 00:24:55.250 --> 00:24:57.869 colors together. It's like the stars are aligned 00:24:57.869 --> 00:24:59.430 when the colors are right. You know, you have 00:24:59.430 --> 00:25:01.250 this tone and that tone, and I don't know the 00:25:01.250 --> 00:25:02.869 science. I mean, I've studied the color wheel 00:25:02.869 --> 00:25:05.670 a bit, but when the colors are there, it's like 00:25:05.670 --> 00:25:08.740 the universe is aligned. It's like hearing wonderful 00:25:08.740 --> 00:25:11.359 choirs like Luminous Voices when it's so in tune. 00:25:12.339 --> 00:25:14.779 Or the orchestra's in tune. It's just like everything 00:25:14.779 --> 00:25:19.099 lines up. I will never reach perfection in any 00:25:19.099 --> 00:25:23.119 of my stuff that I do, but striving towards enjoyment 00:25:23.119 --> 00:25:27.460 of the moment. This is great. Yeah, that's the 00:25:27.460 --> 00:25:30.670 point. is thinking about colors. Also, Jocelyn, 00:25:30.690 --> 00:25:32.269 you're a very stylish dresser. You always have 00:25:32.269 --> 00:25:33.930 been. And it's the same sort of thing, right? 00:25:33.930 --> 00:25:36.190 When you put together an outfit that really works, 00:25:36.329 --> 00:25:38.490 the colors, the textures, all these things. That's 00:25:38.490 --> 00:25:40.670 a very familiar sort of vibe from what you're 00:25:40.670 --> 00:25:43.829 talking about at the quilt store. I do like to 00:25:43.829 --> 00:25:47.170 go out of the house. I don't spend a lot of time, 00:25:47.450 --> 00:25:51.049 but I like color. I like feeling that I've put 00:25:51.049 --> 00:25:54.569 myself together. I can start the day. Yeah. Yeah, 00:25:54.569 --> 00:25:58.579 that's great. Through all these years in the 00:25:58.579 --> 00:26:04.200 orchestra, I really am very appreciative that 00:26:04.200 --> 00:26:08.380 I've had a great husband and two great kids. 00:26:09.819 --> 00:26:13.779 You do give up a lot when you play in an orchestra. 00:26:14.240 --> 00:26:19.660 You give up a lot of social things when everybody's 00:26:19.660 --> 00:26:22.859 home or putting their feet up is when you go 00:26:22.859 --> 00:26:26.890 to work. My family's been very accommodating 00:26:26.890 --> 00:26:31.589 and very supportive. I think my husband is certainly 00:26:31.589 --> 00:26:34.589 my biggest fan and he wants to sit right up in 00:26:34.589 --> 00:26:37.369 the choir loft. I saw him in a concert recently. 00:26:37.369 --> 00:26:38.809 He was sitting in the choir loft and the usher 00:26:38.809 --> 00:26:40.829 was like, you can't sit there. I know. He says, 00:26:41.190 --> 00:26:43.250 you don't get it. My wife is right there and 00:26:43.250 --> 00:26:45.509 she's been playing this orchestra for 37 years. 00:26:46.329 --> 00:26:49.170 For one reason, he's 6 '10 and likes the leg 00:26:49.170 --> 00:26:51.609 room, but he really likes sitting right there. 00:26:51.769 --> 00:26:54.829 I think he's the only person that I would be 00:26:54.829 --> 00:26:59.670 OK sitting there. I just I just know he's got 00:26:59.670 --> 00:27:02.430 he's got my back 100 percent and I appreciate 00:27:02.430 --> 00:27:05.549 that. Yeah. And my kids, you can do it, mom, 00:27:05.710 --> 00:27:09.410 go for it. So I think it's it's really lucky 00:27:09.410 --> 00:27:12.170 when we have a good family to be in our corner. 00:27:12.490 --> 00:27:17.170 Yeah, we need all the help we can get. So you've 00:27:17.170 --> 00:27:19.519 heard a lot of great playing. at the CPO over 00:27:19.519 --> 00:27:22.200 your years, Jocelyn. I want to ask you, and usually 00:27:22.200 --> 00:27:24.720 I ask this to everyone, but as someone retiring, 00:27:24.759 --> 00:27:26.420 I don't want to try and limit you to just one 00:27:26.420 --> 00:27:29.140 person. Who are the people over the years, past 00:27:29.140 --> 00:27:31.359 and present, who have really inspired you with 00:27:31.359 --> 00:27:34.660 their playing on stage at the CPO? I am very 00:27:34.660 --> 00:27:38.420 proud of our orchestra. I think every year with 00:27:38.420 --> 00:27:42.180 new people, the level keeps raising, but I also 00:27:42.180 --> 00:27:45.039 think there's some long -term colleagues that 00:27:45.039 --> 00:27:47.940 I I'm so proud to have played with all these 00:27:47.940 --> 00:27:51.980 years. People like Dave Reed, he's got such a 00:27:51.980 --> 00:27:55.460 great sense of intonation and beat and he can 00:27:55.460 --> 00:27:59.839 play jazz or any kind of classical music. And 00:27:59.839 --> 00:28:03.099 as often the bottom part of the orchestra, I 00:28:03.099 --> 00:28:06.839 think he's just a natural musician. I would say 00:28:06.839 --> 00:28:10.799 that too about Heather Wooten. She's just always 00:28:10.799 --> 00:28:15.420 the musicality. You can't always teach musicality, 00:28:15.559 --> 00:28:17.940 right? You know, I guess I'm thinking about the 00:28:17.940 --> 00:28:20.240 assistant principals too, you know, David Sussman 00:28:20.240 --> 00:28:22.940 and Mike Hope. The three of us have had to step 00:28:22.940 --> 00:28:27.180 up this year into principal roles and I'd like 00:28:27.180 --> 00:28:30.140 to pat them all on the back for all the work 00:28:30.140 --> 00:28:33.440 and dedication. Every week I'm proud of someone 00:28:33.440 --> 00:28:36.359 in the orchestra as they step up, right? And 00:28:36.359 --> 00:28:38.849 I think... and not just because you're interviewing 00:28:38.849 --> 00:28:41.430 me, but I think your playing keeps getting better 00:28:41.430 --> 00:28:43.910 every year. It's always been great. But you really, 00:28:44.190 --> 00:28:46.450 I know that you, because I've talked to you before, 00:28:46.650 --> 00:28:51.450 you very purposely plan your sessions of practice 00:28:51.450 --> 00:28:55.789 and you are always striving, if not for perfection, 00:28:55.930 --> 00:28:58.289 then close to it. And I really appreciate that. 00:28:58.450 --> 00:29:02.849 I think so many musicians on stage, Diana played 00:29:02.849 --> 00:29:06.740 a wonderful concerto. Absolutely wonderful. Even 00:29:06.740 --> 00:29:10.539 the memory alone is amazing. If I had to just 00:29:10.539 --> 00:29:14.619 choose one superstar that has played with us, 00:29:14.759 --> 00:29:22.380 I'd have to choose Yo -Yo Ma. Listening to postings 00:29:22.380 --> 00:29:26.519 and recordings of him, he's such a free and natural 00:29:26.519 --> 00:29:30.839 musician. I think as a human, he is very humble. 00:29:31.549 --> 00:29:35.529 So when he plays with us on stage, I'm just mesmerized 00:29:35.529 --> 00:29:40.450 by the liquidity and the facility and the generosity 00:29:40.450 --> 00:29:42.829 that he brings his music. And then after he plays 00:29:42.829 --> 00:29:45.309 the solo, he'll sit in the section. He's not 00:29:45.309 --> 00:29:48.849 a prima donna. He loves music so much. I remember 00:29:48.849 --> 00:29:51.289 hearing him do an interview and he talks about 00:29:51.289 --> 00:29:55.400 playing like you're part of a brook. and that 00:29:55.400 --> 00:29:57.660 you just get into the flow of the music of the 00:29:57.660 --> 00:29:59.380 time and put yourself in the middle of it. And 00:29:59.380 --> 00:30:01.819 I just thought that was a beautiful way to express 00:30:01.819 --> 00:30:04.279 playing music. That sounds lovely. And you know, 00:30:04.299 --> 00:30:07.460 it reminds me of what you were talking about, 00:30:07.740 --> 00:30:10.480 cartooning. It's almost as if he has this magical 00:30:10.480 --> 00:30:13.259 way of being a professional at the highest level 00:30:13.259 --> 00:30:16.640 while also managing to capture that spirit of 00:30:16.640 --> 00:30:21.460 an amateur in terms of discovery and ease. Absolutely. 00:30:21.759 --> 00:30:27.109 Which reminds me of how I am still learning how 00:30:27.109 --> 00:30:31.490 to breathe better and tongue better, just technically. 00:30:31.789 --> 00:30:33.589 Like I thought, okay, well, I've played for 41 00:30:33.589 --> 00:30:37.029 years. So you kind of get out of the habit of 00:30:37.029 --> 00:30:39.670 learning new things. Well, recently I've been 00:30:39.670 --> 00:30:42.990 thinking, you know, my tonguing could be a little 00:30:42.990 --> 00:30:46.730 bit better. And so actually during COVID, I thought 00:30:46.730 --> 00:30:48.690 I should learn how to double tongue. You don't 00:30:48.690 --> 00:30:50.730 normally double tongue on clarinet because you've 00:30:50.730 --> 00:30:53.039 got the read in the way. But some of my colleagues 00:30:53.039 --> 00:30:56.220 do, and I was asking people how to do it. So 00:30:56.220 --> 00:31:00.059 very slowly and agonizingly, like I could practice 00:31:00.059 --> 00:31:03.279 it for about 30 minutes or 30 seconds a day because 00:31:03.279 --> 00:31:05.960 it sounds so terrible, but eventually I could 00:31:05.960 --> 00:31:09.880 do it. So now I can double tongue, uh, not the 00:31:09.880 --> 00:31:11.720 full range, but three quarters of the range. 00:31:12.220 --> 00:31:14.700 And it makes a huge difference. Like, you know, 00:31:14.700 --> 00:31:16.359 sometimes when I've been trying to double tongue 00:31:16.359 --> 00:31:19.220 with the flutes or try to tongue with the flutes 00:31:19.220 --> 00:31:22.640 or the trumpets, you're not quite. sinking because 00:31:22.640 --> 00:31:25.099 they're using double tongue and I was using single 00:31:25.099 --> 00:31:27.980 tongue. But with double tongue, you can actually 00:31:27.980 --> 00:31:29.740 sink in a little bit better on some of those 00:31:29.740 --> 00:31:34.980 passages, which is cool. And also breathing like, 00:31:34.980 --> 00:31:38.319 you know, I did yoga for years. I've done aerobics 00:31:38.319 --> 00:31:41.500 classes and isometric classes with isometrics 00:31:41.500 --> 00:31:44.980 classes has been amazingly good help for me lately. 00:31:45.359 --> 00:31:48.410 But Breathing like I always was teaching my students 00:31:48.410 --> 00:31:52.089 diaphragm might blow your belly button off expand 00:31:52.089 --> 00:31:54.210 and then you know, you're making sure that you're 00:31:54.210 --> 00:31:56.269 breathing from the lower average and upper abdomen 00:31:56.269 --> 00:32:01.109 but talking to Lucy Jones who just a flute player 00:32:01.109 --> 00:32:04.289 who just did a PhD in wearable technology where 00:32:04.289 --> 00:32:08.029 she put a band around your upper chest and Her 00:32:08.029 --> 00:32:10.789 PhD was showing the correlation between proper 00:32:10.789 --> 00:32:13.369 breathing and sound production and quality of 00:32:13.369 --> 00:32:17.019 sound So I was just thinking that like a few 00:32:17.019 --> 00:32:19.980 months ago and thinking, wow, I don't think I'm 00:32:19.980 --> 00:32:22.460 laterally breathing in my upper, upper ribs. 00:32:22.599 --> 00:32:24.839 And then suddenly the last few months, it's like, 00:32:25.319 --> 00:32:27.859 I have no problem sustaining long phrases. It's 00:32:27.859 --> 00:32:30.400 like, why haven't I been thinking about that? 00:32:30.420 --> 00:32:33.380 Like you forget unless you, unless you intentionally 00:32:33.380 --> 00:32:37.380 go back and go to the basics, you just go on 00:32:37.380 --> 00:32:40.619 automatic. Yeah. I remember years ago. I saw 00:32:40.619 --> 00:32:42.839 Mike Hope in rehearsal take like a TheraBand 00:32:42.839 --> 00:32:45.539 like a physiotherapy like a stretchy elastic 00:32:45.539 --> 00:32:49.940 band and and tied around his ribs and I was so 00:32:49.940 --> 00:32:52.359 fascinated to see that and I asked him about 00:32:52.359 --> 00:32:54.220 it and he was telling me why and how we can help 00:32:54.220 --> 00:32:56.660 him kind of check in with his breathing and I 00:32:56.660 --> 00:32:58.599 went home and I still do that in the practice 00:32:58.599 --> 00:33:01.380 room sometimes it's such a useful tool and I 00:33:01.380 --> 00:33:03.759 think that so much of what you're saying is that 00:33:03.759 --> 00:33:07.940 when we are surrounded by people who are learning. 00:33:08.740 --> 00:33:10.779 We're surrounded by colleagues who are getting 00:33:10.779 --> 00:33:13.140 better and figuring things out and being curious 00:33:13.140 --> 00:33:15.680 You know that inspires us to be curious and learn 00:33:15.680 --> 00:33:18.619 through our whole careers, you know I think you're 00:33:18.619 --> 00:33:21.259 a lifelong learner and that's like one of the 00:33:21.259 --> 00:33:24.279 best things you can be I think so yeah, we hear 00:33:24.279 --> 00:33:26.339 lots of great playing on stage, but the inspiration 00:33:26.339 --> 00:33:30.559 to always be learning and Find joy and figuring 00:33:30.559 --> 00:33:32.920 things out is one of the best things that can 00:33:32.920 --> 00:33:35.240 happen for us. Yeah, you're never done You're 00:33:35.240 --> 00:33:37.220 never gonna reach perfection and you don't want 00:33:37.220 --> 00:33:40.359 to Well, Jocelyn, this has been such a treat 00:33:40.359 --> 00:33:42.599 to sit down with you. We're really going to miss 00:33:42.599 --> 00:33:44.200 you in the orchestra. You're beautiful playing 00:33:44.200 --> 00:33:47.240 and you're such a great colleague that, you know, 00:33:47.259 --> 00:33:49.299 it won't be the same without you. Thank you, 00:33:49.319 --> 00:33:53.200 Adam. It's my pleasure to be here and I'll miss 00:33:53.200 --> 00:33:57.359 you all too. Notes from the stage is an independent 00:33:57.359 --> 00:33:59.099 production of the Calgary Philharmonic Players 00:33:59.099 --> 00:34:01.720 Association. The opinions expressed here are 00:34:01.720 --> 00:34:03.539 our own and do not reflect those of the Calgary 00:34:03.539 --> 00:34:06.180 Philharmonic Orchestra. Our thanks to Nathan 00:34:06.180 --> 00:34:09.239 Chandler for his technical expertise. The music 00:34:09.239 --> 00:34:11.159 you heard on this episode was The Burlesque by 00:34:11.159 --> 00:34:13.780 Elizabeth Rahm, performed by Janis Waite, Olga 00:34:13.780 --> 00:34:17.400 Kotova, and Jocelyn Cohean. On our next episode 00:34:17.400 --> 00:34:19.079 in two weeks, I'll be talking with principal 00:34:19.079 --> 00:34:21.739 percussionist Chris Sighs. Talk to you soon!