… and a wee bit older. But here is Yeonsu at thirteen years old:
If you recall I posted things a while back both here and here, when she was eleven.
Kalliwoda isn’t a composer I really am thrilled by, but this young oboist sure knows how to play!
It looks as if the reed stays attached to the instrument. But here … have yourself a miniature oboe. Just because.
I haven’t put any of these up for a while. But I’ve not done much of anything for a while! I’d tell you that will change but I don’t want to make promises I can’t keep.
But here … have a Recital Encore. The player is 14 year old In-Gun Hwang.
Saint Saëns: Oboe Sonata
I received this news via Delmar Williams and the IDRS. I’ll have to look for nay articles about his retirement later, as I have to leave for work!
Oboist Jim Gorton is retiring in July 2012 after 41 years with the Pittsburgh Sym. He, along with his wife Gretchen Van Hoesen and daughter Heidi Van Hoesen Gorton, will celebrate his career by playing the Goosens “Concert Piece for Oboe, Two Harps and Orchestra” in Jim’s final subscription concerts with the Pittsburgh Symphony.
Minnesota Orchestra Principal Oboe Basil Reeve plays final solo of his 41-year tenure
In a pair of Minnesota Orchestra concerts led by British conductor Mark Wigglesworth, longtime Principal Oboe Basil Reeve plays his final concerto solo before retiring from the Orchestra at the close of the current season. The concerts, held on April 27 and 28, feature the North American premiere of the Michael Berkeley Oboe Concerto, a deeply expressive work for soloist and string orchestra, and a full performance of Ravel’s ballet Daphnis and Chloe, a masterpiece of musical impressionism. The Minnesota Chorale, the Orchestra’s principal chorus, performs in Daphnis and Chloe.
… as you’ve never heard it before. (I have had a number of students who have disliked the Schumann Romances. Perhaps they’d like THIS version?!)
Enjoy!
Oboists: Jose Antonio Masmano and Eduardo Martínez
… and yep, another young’un!
Mary Lynch joins The Cleveland Orchestra as second oboe in August 2012, succeeding Elizabeth Camus, who became a member of the Orchestra in 1979 and retired in August 2011. Born in Washington, DC, Ms. Lynch is currently completing her master of music degree at the Juilliard School, where she studies with Elaine Douvas and Nathan Hughes. She holds a bachelor of music degree from the New England Conservatory, where she studied with John Ferrillo. Additionally, she is a graduate of the Interlochen Arts Academy, where she was a student of Daniel Stolper.
Ms. Lynch was principal oboe of the New York String Orchestra in 2009 and 2010. While a student in Boston, she performed as co-principal oboe of the Discovery Ensemble (2008-10), and as a frequent substitute with the Boston Philharmonic Orchestra. During recent summers, she has performed at the Marlboro Music Festival, Music Academy of the West, Tanglewood Music Center, and at the Aspen Music Festival and School. Ms. Lynch was the soloist in the premiere of Benjamin Pesetsky’s Oboe Concerto, which took place in Boston in 2009. She also performed as soloist with the Borromeo String Quartet as a winner of their 2009 Guest Artist Award. In 2010, the Boston Woodwind Society selected her as winner of the Ralph Gomberg Oboe Award. Ms. Lynch is currently a Morse Fellow at the Juilliard School, and earlier was awarded a Community Performances and Partnerships Fellowship from the New England Conservatory as a member of the woodwind quintet Sirocco Winds. With Sirocco, she presented educational concerts sponsored by the Virginia Arts Festival, Rockport Chamber Music, and Concord Chamber Music Society.
Continue reading here.
Congratulations to her!
It’s funny to read about her predecessor, who started in 1979 and is now retired. Oh dear … I joined San Jose Symphony (RIP) in 1975. Hmm.
Retirement time, maybe?
Then again, I’m guessing a career in Cleveland meant a wee bit better salary, and the ability too retire?!
Geesh, that Rossini … I can’t think that fast!
And hey … oboe players are … neurotic?!?! Gasp!
“You will never have an ideal reed.” … pay attention to the part that begins there. It’s so true!
Check out this page. Lots of photos of oboes, and if you click on the links below that you’ll see even more. It’s very cool!
… but I have to confess seeing the video cracks me up. No way would we sound that way playing outside. I’m glad they do show them in the studio as well. Otherwise my eyes and ears don’t get along very well, if you know what I mean!
Here’s the blurb below from Decca Classics:
The repertoire of the new album revels in the Romantic tradition of the instrument with Schuman’s popular Three Romances and works by contemporaries of Brahms and Liszt composed for Mayer’s instrument: Heinrich Herzogenberg’s Trio for Oboe, Horn, and Piano and August Klughardt’s five fantasy pieces Schilflieder (Song of the Reeds) for oboe, viola, and piano
Albrecht Mayer is joined by outstanding viola player Tabea Zimmermann, horn player Marie-Luise Neunecker, and by Markus Becker at the piano, “unbeatable as a virtuoso, a musical soul painter with great understanding” (Frankfurter Allgemeine Zeitung)
The album title is taken from the title of the work by Klughardt and acknowledges the longing of Romantic music, the acclaimed vocal tone of Albrecht Mayer’s playing, and the reed which gives his instrument its unique voice
My students can tell you they hear that from me a lot. I know that some of my colleagues might not agree, but I say the less movement the better, especially when playing something fast.
Watch this man’s fingers … this is what I’m talkin’ about!
How long am I looking at to stop sounding like a tattoo gun being waved around, and start sounding like a musical instrument? Any tips how to make a vaguely respectable sound?
(Yes, the person is talking about oboe!)
Away In The Manger
Karen Birch Blundell and Adam De Sorgo, oboes
I have seen this young oboist on YouTube before, but just ran across this video of him playing the Goosens concerto. Bravo, McKenzie Allen!
(How is it that British music is so obviously British? I confess to not being familiar with this work at all — I know, I know, I’m really lame sometimes — and yet before seeing the composer’s name I knew it was a British composer.)
… and what is it about composers and their crazy lives?
I mean … c’mon now. We are as normal as can be!
