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Genz Bassoon Reeds

We’re honored to feature Genz Bassoon Reeds on our website. A native of Wisconsin, Will Genz studied bassoon at the University of Wisconsin-Madison with Richard Lottridge and later in Carnegie Mellon University, Pittsburgh, with Nancy Goeres.

He participated in the Aspen Music Festival on a full scholarship from 1997 -2000. He has been a member of the Orquesta Sinfónica Nacional de México, Filarmónica de la Ciudad de México, the Orquesta Sinfónica de Chile, the Orquesta Estable del Teatro Argentino de La Plata, and the Orquesta Filarmónica de Buenos Aires, in the Colón Theater, where he is currently performing.

Will has over 35 years experience making bassoon and contra reeds, and always strives to produce the highest quality reed possible.

Details about Genz Bassoon Reeds on our website.

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Cadence Oboe Reeds and English Horn Reeds

Clara Blood, Cadence oboe and English horn reed maker

We’re honored to feature Cadence oboe reeds and Cadence English horn reeds on our website. Oboist and reed maker Clara “Freddie” Blood enjoys her life as a versatile performer and educator with over fifteen years of experience who engages audiences with performances in solo, chamber music, and orchestral settings throughout the greater Austin area.

She served as an Oboist with the Navy Fleet Bands from 2017- 2022 and completed tours with Navy Band Southwest in San Diego, CA. and Navy Band Great Lakes in Great Lakes, IL. While stationed in San Diego Clara served as Adjunct Professor of Oboe at the University of San Diego and MiraCosta College.

Clara completed a doctorate in Oboe Performance and Pedagogy at the University of Texas at Austin in 2016, where she served as the Oboe Studio Teaching Assistant. Clara performs as a substitute musician with the San Diego Symphony and frequently appears with the California Chamber Orchestra and Strauss Symphony of America. She has also performed with the New World Symphony, Austin Symphony, and the West Point Band. Clara earned her Bachelor of Music Performance degree at Rice University and Master of Music in Orchestral Oboe Performance at the Manhattan School of Music before beginning her Doctorate of Musical Arts at the University of Texas. Outside of music

Clara enjoys CrossFit, running marathons, and cooking.

Details about Cadence Oboe Reeds and Cadence English Horn Reeds on our website.

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Brundage Bassoon and Contra Bassoon Reeds

David Brundage, Brundage Bassoon and Contra Bassoon Reed Maker

We’re honored to feature Brundage Bassoon reeds and Brundage Contra Bassoon reeds on our site. David Brundage retired in 2014 as the esteemed Principal Bassoonist of The United States Army Band, “Pershing’s Own,” capping off a remarkable 34-year career where he was featured as a soloist on numerous occasions.

While attending Boston University, he had the privilege of studying with legendary Boston Symphony bassoonists Sherman Walt and Richard Plaster.

David is currently the principal bassoonist and a recording artist with the Washington Winds. He has also performed frequently with prominent ensembles in the Washington, D.C. area, including the National Philharmonic, the Alexandria and Fairfax Symphony Orchestras, and the Pan American Symphony Orchestra.

Beyond his performance career, David is a master reed maker with over fifty years of expertise. His reeds have been sought after by top-tier bassoonists performing in prestigious settings such as major symphony orchestras, Hollywood film studios, and Broadway pit orchestras.

His artistry, both in performance and reed making, continues to leave a lasting impact on the bassoon world.

Details about Brundage Bassoon Reeds and Brundage Contra Bassoon Reeds on our Website

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Bozeman Reeds

Sandy Stimson,
Bozeman Reed Maker

We’re honored to feature Bozeman reeds on our website. Sandy Stimson, Bozeman reed maker, earned her master’s degree at Yale University and her bachelor’s degree at Ithaca College.

She studied privately with Richard Killmer at the Eastman School of Music and participated in masterclasses there for two years.

Previous orchestral engagements include principal oboe of the Fort Wayne Philharmonic Orchestra, principal oboe of the Louisiana Philharmonic Orchestra and associate principal oboe of the Omaha Symphony. She was principal oboe with the Breckenridge Music Festival Chamber Orchestra in Colorado for 15 years.

She is currently holds the position of principal oboe with the Bozeman Symphony and performs on English horn with the Billings Symphony.

Sandy lives in Montana where she enjoys hiking, biking, skiing, and kayaking.

Details about Bozeman Reeds On Our Website

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Understanding The Audience Experience

The Audience Experience

Music has the unique ability to stir emotions, whether it’s performed with precision or contains noticeable imperfections. As listeners, we can be captivated by a flawlessly executed piece, yet there is also value in hearing music that’s still evolving. Every performance, regardless of its polish, offers something meaningful to both the performer and the audience. Let’s dive into the different aspects of the audience experience and explore how various cultures engage with music.

The Joy of a Well-Performed Piece

A well-performed piece of music can evoke powerful emotions and leave a lasting impact. When played with precision and passion, it allows the audience to fully immerse themselves in the experience, feeling the tension and release of the music’s highs and lows. For instance, a flawlessly performed symphony, such as Beethoven’s Ninth, can leave the audience in awe, creating a profound shared moment.

Technical mastery is another crucial element. Skilled musicians captivate audiences by demonstrating their expertise in technique, dynamics, and expression. A soloist in a concerto, hitting every note with perfect timing and intonation, can mesmerize listeners with their command of the instrument. Beyond technical brilliance, a well-executed performance creates a collective experience, building a palpable connection between the performers and the audience. The energy in the room fosters a sense of unity, often reflected in standing ovations and communal applause.

The Value of Poorly-Performed Music

While flawless performances have their place, poorly-performed music holds its own value, particularly for learning and growth. Every musician starts somewhere, and not every performance is perfect. Mistakes help musicians identify areas for improvement and build resilience. A student recital with missed notes or faltering rhythms represents progress and courage, and it is still valuable in the grander scheme of development.

For the audience, witnessing a less-than-perfect performance provides an opportunity to offer support and encouragement. Applauding such efforts builds confidence and motivates performers to keep honing their craft. At a school concert, for example, applause after a shaky performance is just as vital as it would be for a flawless one, showing the performers that their hard work is appreciated. Imperfections in music can also make performances more relatable. They remind us that music is a journey, and perfection isn’t always the goal. Even an amateur band playing at a local event may not be pitch-perfect, but their passion and enthusiasm can still create a memorable experience for the audience.

Cultural Differences in Audience Reactions

The way audiences react to music can vary across cultures. For example, in some cultures, it’s customary to clap between movements of a symphony or after an impressive solo, while in others, applause is reserved for the end of an entire piece. In most Western classical music traditions, audiences typically wait until the end of a multi-movement work to preserve the continuity of the performance. By contrast, in opera and ballet, applause after a well-executed aria or dance is encouraged as a form of in-the-moment appreciation.

In some musical styles, such as jazz and blues, audiences may cheer or clap during solos, acknowledging the musicians’ improvisational skills. Similarly, during flamenco performances, the audience may shout “¡Olé!” to express admiration for a performer’s skill.

Body language and movement are also significant indicators of audience engagement, and these can differ based on cultural norms. In Indian classical music, for example, the audience often sways gently or moves their heads in appreciation, showing their connection with the rhythms and melodies. Meanwhile, at rock and pop concerts, audiences may stand, dance, or move with the music, creating a highly interactive atmosphere.

The Universality of Music Appreciation

Despite cultural differences in how we respond to music, one thing is universal: the appreciation of music itself. Whether a performance is flawless or full of mistakes, music brings people together, evoking emotions and memories while fostering a sense of connection. As listeners, we play an essential role in this process by offering our support, understanding, and enthusiasm.

Remember, every performance is part of a musician’s journey, and perfection isn’t the ultimate goal—growth, expression, and connection are. So the next time you’re in the audience, embrace the beauty of music in all its forms, from the polished to the imperfect.

Final Thoughts

Music, whether well-performed or not, reflects the human experience—filled with successes and mistakes. As an audience, our role extends beyond judgment; it’s about appreciation, support, and active participation in the shared experience of live music. If you’re attending a performance soon, keep these thoughts in mind and enjoy the music, no matter how it’s played!