 The Oboe BBoard
|
Author: RobinDesHautbois
Date: 2011-03-22 17:46
I'm REALLY not a fan of "modern" or "contemporary" music (referring to the compositional style, not the age), but here's what I hear.
=> I'll be rough because I know you're good and you'll take it the right way... all encouragements.
=> fully worth paying for a concert ticket
--- overall: certainly as good as my old prof. who specialized in this stuff
---- Oboe tune
* Did you say you're playing a Marigaux or a Buffet? Sounds like my old prof's 901
* Your reed sounds very "free" which is great
* you chose a soft staccato (emotional) whereas I'm used to tight/hard staccato (tut, not ta') in comtemporary style
* around minute 8 and 20 seconds, your notes don't sound as soft as I think you want them
=> remember the difference between loudness and character: you need a p character
=> maybe playing with orienting your bell closer between your legs might help
### good note: your dynamics and sound are convincing and free sounding
--- Cor Anglais tune
* This I can listen to!
* Are you playing a Lorée? Sounds nowhere near as free as your oboe
=> more difficult tuning on specific, select notes, but you compensate well.
* Excellent choice of where to/not use vibrato
* excellent choice of emphasized notes.
* good work on sustained notes - nice even tone
* excellent overall Cor Anglais playing - but it shows you're an oboe-ist.
Robin Tropper
M.A.Sc., B.Mus., B.Ed.
http://RobinDesHautbois.blogspot.ca/music
Post Edited (2011-03-22 17:55)
|
|
Reply To Message
|
|
Author: JRC
Date: 2011-03-22 19:57
Is this the same oboe piece you played for the masterclass with Kelly, was it Kelly? I forgot the composer's name but it is an interesting piece. You are obviously an accomplished player and it appears that you are trying to establish a style of your own. There is nothing I can add to your technical side of the playing. You are on the level, so to speak. Obviously, you can play in tune and you made choices on instrument, reed, and playing style. You appears to be ready to come together. I am pretty sure you will make to the finals on most orchestra auditions. Rightfully so...
Please do not forget this is a free advice. So take it such. Please.
One thing stood out to me. It may have been the music. Yet I hear limited range in the dynamics. You have mf and f, perhaps it was f and ff. I hear notes you play. But I am struggling to find music in it. There are several places that you try to stylize. Nice...! It would be nicer if you make the connection to the next phrase or from previous one. Sing the music and make it your own song. Every note and every nuance must make sense to you and you will eventually find every note and nuance in its essential place in the music.
I would love to hear the piece again when you think you have a story to tell.
Sorry, I have little comments on EH piece.
Post Edited (2011-03-22 20:03)
|
|
Reply To Message
|
|
Author: mjfoboe
Date: 2011-03-22 20:42
Howard,
A very colorful performance! Beautiful tone. Nice variation and use of oboe vibrato. Great lyrical lines ......... Great manipulation of sound attributes ....
Suugestions:
The staccato could be more pointed at times .................. and
Maybe a little cleaner ...............
There could be more differentiation between initial attack - which could use some more energy in comparison to the rest of the musical line.
I agree the dynamic range could be more robust.
The end of the phrase could be more free - it should feel that it is slipping away.
Overall a pleasure to listen too.
Bravo
Mark
|
|
Reply To Message
|
|
Author: HautboisJJ
Date: 2011-03-23 00:55
Thank you for listening guys!
There is a common thread between everyone's comments - that obviously means that everyone is right! I think i know what to work on next!
To answer your questions, the oboe piece is Britten's Temporal Variations, yes, it's the one i played in Kelly's master class some months ago. The english horn piece is Koechlin's Au Loin. After recording one realizes how horrendously difficult it is to produce dynamic variation, one thinks that one has done it, but when you hear the playback....haha!
My oboe is a Buffet Greenline, although it's not a pure Greenline so to say. It has been worked on by a respectable instrument maker/repairer based in the UK. The english horn i played on was made by this very same person, owned by my school of course, ha. And it is from this recording that i now realize what the intonation tendencies seem to be. (I play it way too much like my oboe, wrong wrong wrong!)
Robin, the reed i had was a bit of a flat G's and C's scenario....perhaps i made it a little too light, and still at the end it was not light enough for the soft entries you mentioned in Britten's 8 minute point. Difficult.... practice, that's what i need! Was a tad disappointed when i first heard the english horn record, most people actually think that i am an english horn person but i obviously did not make it sound like that! I like Mark's comments on how the end of phrases can be more free, i think especially for the Koechlin.
Today i will do a run through of my complete recital program in my school concert hall (these 2 pieces are only part of it....hope i get through them alive...) and will try to get it on record as well. Thanks again for everyone's advice, really useful, all of them true i think. I might need it again!
Regards,
Howard
|
|
Reply To Message
|
|
Author: RobinDesHautbois
Date: 2011-03-23 01:14
Howard,
It's not anywhere near my place to give you technical advice --- even compared to my best days you outplay me under the table, under the floor and under the basement!
But these words came from every good conductor I ever had and even such greats as Yehudi Menhuin: Music is not played with the fingers (or with the mouth...), you hear it, you feel it!
I have recordings that prove when I concentrate on the musical character, the dynamics and responsiveness take much better care of themselves than when I concentrate on them directly.
You are a fantastic musician, now just shine how much you enjoy the music and the instruments: from your discussions here and from your MP-3s, it's obvious you do!
Robin Tropper
M.A.Sc., B.Mus., B.Ed.
http://RobinDesHautbois.blogspot.ca/music
|
|
Reply To Message
|
|
Author: hautbois francais
Date: 2011-03-23 02:04
Without getting to the technical details, first of all, the recording was great and nicely done.
It is an impressive performance, your musicianship is truly of very high standard.
Nice job on the Cor Anglais piece. Enjoyed it !
|
|
Reply To Message
|
|
Author: RobinDesHautbois
Date: 2011-03-23 10:40
Just a thought while I was doing dishes...
One of the best piano performances I ever heard was the "concours" recital of a former acquaintance of mine. He was too shy on stage, so he quit music even though his family was very important in the Québec pop music scene and could have opened doors for him.
He played (among others) Beethoven's Waldstein sonata, but he did so in a way I had never heard.... standing ovation: the jury and the audience were thrilled beyond description.
The performance advice we gave you is certainly well meant and worth considering. However, sometimes playing out of the box can sometimes be revealing. For example, I'm used to hearing a tight staccato in contemporary music, but I can't stand the stuff!
Discuss it with your teachers and people who know and/or are experienced with your review panel. Maybe just being yourself is best, you can take this advice: you are a very worthy player!
Robin Tropper
M.A.Sc., B.Mus., B.Ed.
http://RobinDesHautbois.blogspot.ca/music
|
|
Reply To Message
|
|
Author: HautboisJJ
Date: 2011-03-23 16:34
Thank you Hautbois Francais!
Robin....i believe i have a long way to go in terms of what you mentioned...that is perhaps what a true artist, a handful like Bart Schneemann, Francois Leleux, or Alex Klein...can do. Difficult....but the advice i have received is encouraging. Thanks again for the encouragement and i will have my fingers crossed and work my hardest!
Regards,
Howard
|
|
Reply To Message
|
|
Author: hautbois francais
Date: 2011-03-23 23:31
Howard: I cant help but noticed that you are using a NUS server. The music scene in Sgp has come a long long way. 40 years ago, there were hardly any oboists whom you can barely count on one hand with your fingers. There were no music schools, except maybe Yamaha, no oboe schools for sure. People learnt from flautists or clarinetists, but NOW, they produce amazing people like you and I am sure others too who have such high standard of musicianship, in that little island.
I am sure things have changed a lot in the performing arts scene in Sgp over the years. It is very gratifying to see the quality of people who truly excel in their art !
|
|
Reply To Message
|
|
Author: HautboisJJ
Date: 2011-03-24 02:34
Hello hautbois francais, just so you know, I am Malaysian although i study here in Singapore. Indeed, the music scene here can only be described as amazing, considering the size of this island and the amateur pool of musicians. In fact, geographically speaking, the music scene here is 10-15 years ahead of Malaysia, and so many many Malaysian students who want to study orchestral instruments are attracted to the conservatory in NUS every year. (since it really is just south of the border, but i do come from a tad further, in the East Borneo island state of Sabah) Despite having the amazing Malaysian Philharmonic, various policies prevent schools from hiring them to teach full time, and the lack of an amateur pool means a lack of a professional scene and market. The social and political state in Malaysia is preventing such an advancement anyways. To put it simply, no school offers a comprehensive education to music students unless you are a pianist, so to speak....and so....Singapore is indeed, amazing.
Regards,
Howard
|
|
Reply To Message
|
|
Author: hautbois francais
Date: 2011-03-24 09:17
I am no stranger to E M'sia, I have roots from Kuching myself. The socio-political scene, viz Bumiputra policies have not changed since the Brits left. I am not surprised things are behind time in M'sia be it music or other things.
I am happy to see that there is conservatory now at NUS, for a comprehensive education in music, hence generating a pool of professional standard musicians like yourself.
Back in "ancient" days, we only had the ABRSM exams and depended on self teaching or a teacher who was not trained in the instrument but only gave u encouragement or some minimal guidance. Your school or teacher would enter u for the exams, at Yamaha studios at the time, and the examiners from UK, were not even trained in the instrument, conducted the exams. A real sad state of affairs....so in short, if u wanted some real training, u had to go to either Japan, UK, France, Germany or US.
Just curious. Is there admission criteria to the Conservatory ? ABRSM or audition, in addition to completing Secondary School or Pre-U or JC ? Sgp reqjuires paper for everything, so one cant just walk in and get admitted.
Your playing is of really of very high standard. The few that I knew then who were taking their ABRSM Grade 8 didnt even come close to what you have achieved.They bought reeds from Swee Lee Music (I think still exist today) that sounded quacky and horrible and never ever made any reeds, because nobody knew how or ever learnt it. And so called "pros" of the day, didnt have the sophistication of even using vibrato (or didnt know how) and advised against it. Times have changed and I am glad it has changed in "amazing" ways like u said. On another thread u talked about a Simon who is 18/19 and plays a mean Cor Anglais.....back then, no one played it so we had to import talent or relied on expats.
|
|
Reply To Message
|
|
Author: HautboisJJ
Date: 2011-03-24 15:12
Hautbois Francais, it feels like i am talking to a local here! Where are you currently residing in and are you a professional musician? Do you mind if i ask of your age? I am curious as to which generation you are from. I myself is from Kota Kinabalu. WOW!
The admission criteria of the Conservatory depends on where you are from, but basically, English and playing ability are the most important, for some countries they insist for A-levels but when i applied 4 years ago such a rule didn't exist still.
Thanks again for your compliments. From everyone's feedback i do know that it can still be much better improved, other than the other obvious setbacks like intonation and so on. Swee Lee still exists today, absolutely, but deals completely with string instruments now i believe.
You sound like a very interesting person whom i would be very curious to meet.
Regards,
Howard
|
|
Reply To Message
|
|
Author: hautbois francais
Date: 2011-03-25 02:39
I was born during the age of Berkeley mini skirts and hippies, probably as old as a long lost uncle. I am in the generation of the then famous local conductors Choo Huey, Ozawa, Goh Soon Tioe et al....
I have had a colorful life, however, my other life took precedence over my music life for economic reasons. In my time, u simply didnt make any monies to maintain even a "hand-to-mouth" life as an artiste. But, I did what I could to maintain a semi-pro music life whenever I had opportunities that came up.
I will tell u more if u want to write me at my e-mail 523345495@qq.com. Trouble is, I live in a place that bans facebook, youtube and practically all western blog sites, and I am sure I am being monitored, and I really dont want this site to be blocked access or banned....for whatever bogus reasons.....
|
|
Reply To Message
|
|
The Clarinet Pages
|
 |
.jpg){kind=small}
