My Story
From the Beginning to College
I grew up playing piano from a young age (5 years old) and singing in the Florida Boychoir and church choir as well. In high school, I began attending Kinhaven Music School in the summer for piano. Jeannette Bittar, who was the principal oboe of the Florida Orchestra at that time, encouraged me to focus on oboe and not piano. I also thought I could learn how to charm snakes (laughing). Well, my band director said that the oboe was the hardest instrument to play; I think I felt drawn to the challenge.
I would say also that having supportive parents who loved music was very formative. As a young child, I was always hearing Bach, Brahms, Palestrina, and other early music around the house. It had a profound effect on my ear.
It was so clear to me that I wanted to be a professional musician because it was the activity in my life during which I felt the greatest fulfillment. Playing with others, contributing to the world by making beautiful music. The transition to college was extremely enjoyable and challenging. I never really doubted my passion for this art form, but developing the skills to do it consistently and well enough to support myself eluded me. I had to learn how to be disciplined about the oboe and reed making. I gradually began learning how to practice in a deep, productive, and deeply satisfying way.
I went to the Eastman School of Music to study with the amazing oboe teacher, Richard Killmer. I knew he was a guru, and I greatly enjoyed my audition/lesson with him. He clearly cultivated an oboe studio that was supportive and passionate. At Eastman, the students were so focused on their art and that there existed an overt spirit of supportiveness and collaboration. It was a school in which each student was given the space they needed to discover the artist within. The friendships I developed there are still present in my life to this day.
After Eastman, I was accepted to Yale for my master’s degree. Being at Yale helped me to develop other parts of myself. It was a very academically rigorous program, and I took several courses outside of the music program. I absolutely adored being part of such an academically rich institution. In terms of music, one of the most seminal experiences I had in my time at Yale was performing as principal oboe in the opera orchestra. We performed the Marriage of Figaro; it was my first time playing a Mozart opera. Growing up I had sung in several different choirs; engaging with my voice had always been important to me. Performing the Marriage of Figaro really cemented my burgeoning love of opera music, something which has become a key ingredient in my teaching philosophy.
I became friends with many of the voice majors singers at Yale. They introduced me to recordings and particular vocalists of the past and present, all of whom greatly influenced my oboe playing. I began to consciously cultivate a connection between the oboe and the voice. It was life-changing to me! This is a large part of the reason why my debut solo album is all about vocal music.
During my Master’s, I began to really start honing my discipline. It must have worked, because, to my great surprise, the Yale School of Music faculty named me “The Best Woodwind Student of the Year!” This was very validating for me and I took it as a sign that I should keep up with it. That was the first time that I received that sort of attention on the oboe! I realized that my hard work and passion were being noticed. Not only by my teachers and my friends but other faculty as well. I thought to myself, “If I just keep on cultivating a strong work ethic and a love for the process, I can really do something with this.”
Becoming a Doctor and later a Professor…
In my last semester at Yale, I auditioned for the Great Falls Symphony in Montana. I sent them a recording and later received a call in which I was invited to travel to Montana to take a live audition. They offered me the position that day, and I accepted. It was a little isolated, but that was the first position that I had in a professional orchestra, and I learned a great deal. I kept the position for 2 years, during which I played in a chamber group and worked at a music shop. I had several wonderful musical experiences such as performing with YoYo Ma and other terrific guest artists. I had to be independent at every level. I grew as a professional in many ways! It was a profound experience. I needed to learn to be self-sufficient.
After that, I moved back to Albuquerque for a year. I was a pianist for a Lutheran Choir! Yes, it was fun. After that, I decided to go back to school for my doctoral degree. Back then I was spending my summers as a counselor at the summer camp I attended in high school. I realized during that time that I had a massive passion for working with younger people and serving as their mentor! I wanted to be a teacher, a college professor!!!
This was the time in my life where some of my friends were struggling to find a job that they loved. I myself was in a challenging transition. Did I want to keep taking orchestral auditions? Or should I see where this newfound love of mentoring takes me? Either way, I knew I wanted to enjoy the journey in whatever form it took. I decided to trust my calling to return to academia and develop my pedagogy. By striving to become a collegiate professor, I could perhaps have a powerful impact on the next generation of oboe students.
By this time I had the good fortune of meeting Nancy Ambrose King at the Sarasota Music Festival… I LOVED HER! I told her that if I decided to do a DMA program, it would be with her. I worked for one year to do that and I was accepted to be her TA at the University of Michigan! That year of living in Albuquerque and working to earn the TA position under Nancy was exciting but nerve-wracking. I didn’t want to attend any program other than the one at Michigan; it was the only place I applied. So I worked incredibly hard and didn’t assume anything about whether or not I would be accepted. I went into the audition prepared, but with my mind totally open and fresh to whatever result appeared.
The 3 years I was there as the oboe TA at The University of Michigan were revelatory for me. I HAD THE TIME OF MY LIFE! That’s also when I got accepted as the English horn fellow at the Aspen Music Festival. Because I was the TA, I had to do a lot of teaching and serve as a role model for the undergraduates.
I learned about having integrity as a teacher, about the responsibilities of the position, how to behave, how focused, productive, and professional you have to be. I learned that I truly loved being in the position to help the undergrads with excerpts, reed making, and the struggles of balancing life. I also realized I adored academia in general. Going back to school brought me a deeper respect for institutions of learning.
My time there was absolutely integral in my developing the skills I needed to thrive as an artist or teacher. My role there as the English horn fellow allowed me to get to perform in the top ensembles with the other faculty including Elaine Douvas, Richard Woodhams, Pedro Diaz, and Robert Walters. Performing with oboists of their caliber had a profound effect on my development and artistry. I really needed to play at my absolute best constantly. It was a wonderful challenge and deeply rewarding.
I graduated from Michigan in 2009. I got the job at the University of Iowa in the same year. It was a big appointment and I had originally suspected I would not have a chance of getting it. Nancy Ambrose King encouraged me to apply and learn from that experience. At that time, I didn’t even have a fully realized CV and really never thought I had a chance. I just thought it would be a good experience to get my materials together and apply. To my surprise they invited me for the interview and were offered the position. I then spent six years there as the oboe professor.
Being an Oboe Professor
My whole philosophy is to work hard in a healthy way and cultivate the courage to put myself out there. I never assume that I will get the job. I just work as hard as I can. I have taken, MANY auditions that I did not win. I was rejected several times, but never let it stop me. I never let the rejection negatively influence my love for the process. After each “no” I would ask myself “how can I do better next time?” I would go back to the hotel room after an audition and immediately start practicing!
I loved Iowa! I had a terrific time! I began my tenure there after a tragedy in the oboe studio and the school being destroyed by a flood. As such, I walked into a challenging situation and experienced a steep learning curve. The students and faculty were understandably traumatized. It was a tough experience for me and everyone else as well.
I could have not done without my amazing friends and colleagues there. Ben Coelho, Nicole Esposito, Alan Huckleberry, and other colleagues were so incredibly helpful. Ultimately I was able to thrive in that position. I just used the same philosophy I had with my auditions - I kept striving to improve all while being loving toward myself and those around me.
I began to feel more comfortable in my position there by the third year. There are just some things you can’t learn how to do until you are on the job - such as navigating mental health issues within your students. Having these supportive colleagues was key. I always asked them, “how do I deal with this”? Putting your ego down and seeking help when you need it is essential to succeeding at a complex job. I ended up having incredible students in Iowa! One of my students did not want to play oboe anymore during his freshman year. We kept at it diligently and now subs regularly with Philadelphia Orchestra and earned a doctoral degree.
On my 5th year at Iowa, the faculty at UT reached out to me when my predecessor announced her retirement. They encouraged me to apply for the position which I did as I knew the University of Texas at Austin is a very well-respected program. Subsequently, I had a Skype interview followed by a live interview. I had a great time during this process. Similar to my interview for the University of Iowa, I played a recital, taught a master class, met with the students, and had several interviews with the search committee and other administrators. They offered me the position, and I happily took it! :)
I love BSOM so much! I love the student body. They are inspiring, motivated, and socially conscious. The philosophy of the school is amazing; it is one that centers itself around helping each student to cultivate an artistic voice and develop a career that is unique and fulfilling. The focus is on becoming highly fluent in the language of music and finding a way to serve the community at the same time.
That’s my favorite thing about BSOM. A mission of creating a music conservatory that focuses on how to bring music and community together all while emphasizing the need for greater diversity and inclusion. The students, faculty, and staff are all deeply passionate about this.
I got to premiere concertos with the UT Wind Ensemble with Jerry Junkin, perform with the Symphony Orchestra, the trombone choir, and play chamber music with my colleagues and students. The music experiences have been so varied and inspiring.
HIGHLIGHTS: Jennifer Oboe Concerto; ROB DEEMER: Pillars of Creation; STUDENT AND FACULTY: Mozart’s Grand Partita; Playing with the Miro Quartet; Performing with Anton Nel on Jonathan Gun’s recital, and performing a solo recital at the Hamilton Book Awards… faculty from all over the university connected were connected.
I love UT! I can travel and play with my orchestra too, Quad City Symphony Orchestra, and teach at the Round Top Music Festival during the summers. It has been a fantastic experience!
I want my students to have fulfilling lives in part by learning how to love the process of practicing their craft. To emphasize the process more and the result less. To recognize that the skills they develop in their art form will serve them no matter what they choose to do with their career. And that life is a gift that they can honor through the creation of art and music.