Hermine Wehinger: “Music is a free medium” – Vorarlberger Nachrichten

Hohenems The oboist Hermine Wehinger, born in 1962, came to the oboe at the age of twelve after she started playing the recorder. Since her youth, she has played in many different groups, including the youth orchestra conducted by Guntram Simma, brass bands and the female ensemble “Tritsch-Tratsch”. For thirteen years she taught oboe, recorder and early music education at the Rheintal Music School in Lustenau. He lives with his family in Hohenems.

How did you come across an oboe?
When Alfred Mayer founded the Götzis music school, he brought in Professor Jan Navratil from Innsbruck as his oboe teacher. I started playing the oboe without knowing what I was learning. Mum was told: “You don’t learn Moatle nit Oboe lo, ma jo nerrsch” due to the risk of high blood pressure in the head. I had six years of lessons in a music school, I had my first child at the age of eighteen, and I learned the rest myself. Everything happened by itself, they both came to me. Alfred Mayer wanted me to learn, but never wanted to be told anything. The music is mine. I’m a perfectionist, but I never wanted to be pushed into it from the outside. I would never fight. I find it tragic that so much is trained for maximum performance right from the start.

What were your next musical steps?
I have been playing in Christoph Eberle’s chamber orchestra since 1982. I come from a Czech school which prefers a light sound, but at that time the Berlin school with a dark sound was fashionable. Michael Turnovsky, who studied in Berlin and played the oboe solo in Klagenfurt, was also an oboe solo in Eberle’s projects, but usually only came for the main rehearsal. Eberle wanted a dark sound. The willingness to fit in was important to me. Joining them and playing the other oboe must be fun.

You’ve been playing SOV for all eternity. How did the merger come about?
I have been working for the company since its founding in 1984. My cousin Klaus Fend was an aspiring horn player, his father was looking for musicians for Eberle, that’s how I got involved. In the beginning I played a lot, then Julia Wilhelm-Moretti and Heidrun Pfluger came along, I played less. I’ve been almost always present in operas, including the entire Mahler project, and have been playing regularly since 1994. At that time Managing Director Michael Löbl called me on Thursday, Tuesday to start rehearsals, they needed me for the Prokofiev Symphony classic which is difficult, and for a French piece with English horns. It was like an audition, if I could do it, I’d get a job. I thought I couldn’t do it. I spoke to Eberle before the rehearsal with this attitude: I’ll do my best, okay, whatever comes, comes. The Symphonie classic is so alive, fun and deep, a great piece. It was like a hint from a subtle, very intuitive: Look, this is it. Eberle got involved, it worked.

What is the orchestra’s life like from the perspective, or rather from the perspective of listening, of the second oboe?
Since you don’t need to drive, you have time to ask. Rather, it is a coincidence that you agree with someone on a version of a statement without consulting it. Little things often happen out of an open heart. For me, this is music: connecting through sounds, a feeling of carrying and joy at the same time.

What exactly do you hear from your seat in the brass band behind you?
Deep brass is very nice. It’s bad before a concert when everyone is blowing. When it’s okay, you’ll be massaged with vibrations. Ideally, when you have a deep, singing voice behind you, you can warm up to vibration.

What does music mean to you in general?
It is a communication medium, a completely free, open medium. In a way in which the other person resists less than through the tongue. The manipulative leadership system cannot work in music. Music is a free medium.

Do you deal with Bruckner’s Symphony No. 9 even before rehearsals?
In each case. You always practice your voice in the context of hearing and seeing. You can also do it with the score, I prefer CDs and YouTube. Then I know in advance when to take the lead as second oboe. In quiet places, the power inside needs to be strengthened even more. I can come up with a plan, but something else may be required of the conductor.

What do you think is special about SOV?
community. Ulrike Langle

Next dates: 14./15. May, SOV concerts with Bruckner and Mozart, June 19, Götzis Orchestra Society concert with Haydn, July SOV, Bregenz Festival, opera, Rossini: “Italy in Algiers”.

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