New York Chamber Music Festival 2010
New York Philharmonic Principal winds
Liang Wang, oboe
Pascual Martinez Forteza, clarinet
Judith LeClair, bassoon
Philip Myers, horn
Shai Wosner, Piano
Beethoven Piano & Woondwinds quintet
Live from Symphony Space
September 16th, 2010
Say you play the oboe. Say you’re a regular oboe master and have designs on tooting your oboe in an orchestra. Your tryout will probably involve your plopping down behind a screen, so you’re unseen as you puff through a Mozart concerto: That’s because conductors aren’t supposed to care about their instrumentalists’ gender or color or warty faces, so long as the music’s sweet.
The article has absolutely nothing to do with oboe. Or oboists. Or even music. Really.
A Musicological Journey Through the Twelve Days of Christmas (1990), traditional carol arr. by Craig Courtney
1. A Partridge from 6th Century Rome
2. Two Turtle Doves from 15th Century France
3. Three French Hens from 16th Century Italy
4. Four Calling Birds from 17th Century Italy
5. Five Gold Rings from 18th Century Germany
6. Six Geese a-Laying from 18th Century Austria
7. Seven Swans a-Swimming from 19th Century France
8. Eight Maids a-Milking from 19th Century Germany
9. Nine Ladies Dancing from 19th Century Austria
10. Ten Lords a-Leaping from 19th Century Italy
11. Eleven Pipers Piping from 19th Century Russia
12. Twelve Drummers Drumming from 20th Century United States
“I Know That My Redeemer Liveth starts with a clarinet solo accompanied by a string quartet,” the conductor laureate of the Toronto Symphony Orchestra says in his dressing room at Roy Thomson Hall.
Yep … you read the above correctly. And then there’s this:
For one soprano recitative (And Suddenly There Was With The Angel) Davis has summoned a marimba, harp, celesta, suspended cymbal and cellos playing on the bridge, all to imitate angels beating their wings. And He Trusted in God, a chorus that mockingly calls on God to deliver Christ from his sufferings, will sport snarling trombones. “One of the nastiest numbers I know,” Davis calls it.
The Pifa, a peaceful instrumental interlude in Part I, is scored for woodwinds, particularly oboe d’amore, which the conductor equates with the piffero, a traditional Italian double-reed pipe with pastoral overtones.