Heather Macdonald, oboist

Who or what inspired you to pursue a career in music and who or what have been the most important influences on your musical life and career?

For as long as I can remember, I’ve always had a drive to create art – whether through drawing or painting or playing music or writing stories. My undergraduate oboe teacher, Chip Hamann, was a hugely important influence in showing me the oboe’s immense range for artistic expression and helping me focus my energy on this career path. Since then, I’ve found a constant stream of inspiration from artists all around the world that are pursuing their dream careers in their own unique way, showing me how important it is to follow my own path regardless of how different it might look than someone else’s.

What have been the greatest challenges of your career so far?

Something you don’t always see when looking at someone’s career from the outside is the sheer number of rejections and failures that they have experienced on their journey. For me, reframing failure and rejection (of which there have been many!) as learning experiences and opportunities for growth has really helped me find the willpower to keep going on this challenging career path.

Which performances/recordings are you most proud of?

I’m incredibly proud of all the work that I put into the production of my solo debut album, That Place, Darling (released January 2024). It’s been such a rewarding journey from the initial seed of an idea, to securing grant funding, working with wonderful collaborative musicians, and figuring out the technical side of things to fully bring the music to life.

One live performance I was particularly proud of was a 2021 collaboration with Toronto pianist Asher Farber (who is featured on my album) where we performed Reena Esmail’s mesmerizing piece Jhula Jhule. Performing this piece felt like such a sublime meditation: Asher is a very thoughtful and sensitive musician, and this performance felt like a beautiful dialogue.

Which particular works/composers do you think you perform best?

I get the most joy out of diving into brand new works that few (if any) musicians have performed yet. There’s something so satisfying about figuring out a piece from scratch, choosing from almost endless interpretive possibilities to bring the music to life. When I get to work directly with the composer, it’s even better: I love getting to understand exactly what they’re aiming for with their compositions and figuring out how that can gel with my own vision as a performer.

What do you do off stage that provides inspiration on stage?

Offstage, I’m an avid amateur rock climber and yoga practitioner. I find that the deeper I get into these disciplines, the more I see just how similar they are to music. Cultivating focus and awareness, practicing mindfully, setting goals – it’s remarkable how the tools for success and progress are essentially identical in these diverse fields.

I also seek inspiration from other art forms: whether it’s going to an art gallery, a jazz concert, or immersing myself in a good book, I love to experience the feelings provoked by art and to brainstorm how I can come closer to communicating a similar experience to my audience through my own art.

How do you make your repertoire choices from season to season?

During the quieter times in the year, I love sitting down with a cup of tea and going down YouTube rabbit holes to find music I’ve never heard before. I make long lists of possible recital programmes, finding pieces that complement each other or work together thematically. I’m always blown away by how much great music there is that is not performed often enough!

Do you have a favourite concert venue to perform in and why?

I love performing in venues that are a little out of the ordinary for classical music – bars, clubs, house concerts, etc. – because I feel it can break down barriers between performer and audience and foster a deeper connection. And that’s what music is all about – connections between people.

What do you feel needs to be done to grow classical music’s audiences?

I think the number one thing is education. People who have played an instrument before or experienced music from a young age are much more likely to want to spend their time and money supporting live music. Equally important is for those of us presenting live music to think outside of the box: collaborate across disciplines, choose music that speaks to current lived experiences, and allow the art form to continue to live and grow by promoting works by living composers.

What is your most memorable concert experience?

Recently, I played an orchestra show after which a nine-year-old boy came up to talk to me as I was packing up my instrument. He asked “is that the oboe?” and proceeded to tell me about how he loved the sound and that he really wanted to play the oboe. That moment exemplified to me exactly why I do what I do: to make a connection with people, to inspire others to make their own art, and to plant the seed of music making with the next generation.

As a musician, what is your definition of success?

To me, success is being able to connect with other human beings through my art.

What advice would you give to young/aspiring musicians?

Music is an insanely competitive field. I think to succeed in music, you need three things: passion, curiosity, and consistent, focused effort. The passion must be there, otherwise there is no drive to succeed. Curiosity opens us up to trying new ways of doing things, bringing us outside of our comfort zone and ultimately leading to growth. And of course, the best way to improve at any skill is being consistent and intentional with practice, always focusing on progress over perfection.

What’s the one thing in the music industry we’re not talking about which you think we should be?

I wrote my doctoral thesis on ways in which we can create a healthier, more supportive environment in which musicians (especially those in the early stages of their careers) can thrive. As a group, musicians don’t adequately address mental and physical health – these issues are often swept under the rug and hidden away, leaving musicians feeling alone in their struggles. Being more open with each other about the challenges we face, and helping others connect with the resources they need to overcome their challenges, can transform this narrative, leading to happier and healthier music making for all of us.

What’s next? Where would you like to be in 10 years?

I am so excited for what the future holds. Having released my debut album, I’m exploring possible ideas for future collaborations and recording projects. In 10 years, I hope to be making more music, making more connections, commissioning new works, and traveling the world.

http://heatheroboe.com/