Il as était mon professeur de 1982 à 1986 à Paris. Non seulement a contribué à ma manière actuelle de jouer, mais ma dirige vers une vie spirituelle plus profonde. Merci Maurice, je t'aime et t'admire enormement!
ce compte est celui de ma maman et je voulais vous dire que j'ai 12ans et je fais du hautbois depuis 5ans j ai sauté une année de musique au concervatoire de nantes je suis en 2eme année de 2eme cycle et mon proffesseur est frédéric potet, l'un des éleves de Maurice Bourgue aussi, il l'appelle son "maitre".
This is simply fantastic - beautiful music. I have Bourgue's 1977 vinyl record of this work. Superb in every sense. His playing of the oboe solo in the 2nd movement of Brahms Violin Concerto is extra.
Dear Oboist friends, have a simple violinist. I enjoy reading your comments even though they are very different, and for this reason they are beautiful! Thank you! The world oboe remains for me to discover. One thing I'm sure .... either a performer or the other the likes of which you speak is a marvel! Leonora
Beautiful expressive playing by both performers. IMHO tempo of II was just perfect, quite quick without seeming hurried. Last movement virtuoso oboe playing but always with the music coming first.
Very light French style reed. Very close to a Pierre Pierlot sound... Who actually made dozens and dozens of recordings for MHS or the musical heritage society. Very wonderful recordings but in the French style. Live hehehehe what fun! My dad Joe and I used to play this as a favorite as well as the Poulenc.
It's interesting to listen to this French composition in a typically French style of oboe playing. For a long time this particular tone aesthetic was considered to be "strident" or "harsh". I personally think that the softer French reed allows for greater flexibility and suppleness of expression. Heavy dark timbres are, of course, lovely but can become quite dull after a while if there is absolutely no variation and everything sounds completely the same. I wouldn't call this Saint-Saëns sonata a particularly great piece either. It's very "nice" in a 19th century bourgeois stuffy-drawing-room kind of way: I think Bourgue makes the piece sound much more interesting than it is. I particularly appreciate his very non-sentimental, raw (and rural-bucolic) approach to the second movement which is often otherwise milked ad nauseam into a hideously saccharine and tedious bore. Good on him too for performing live. Everything can be tidied up in a recording studio.
I dont mean to be offtopic but does anyone know of a trick to log back into an Instagram account..? I was stupid forgot the login password. I would appreciate any tricks you can offer me!
@Ahmir Nolan thanks so much for your reply. I got to the site on google and I'm waiting for the hacking stuff now. I see it takes a while so I will get back to you later when my account password hopefully is recovered.
The French language which depends a lot on front of the mouth sound probably makes reed playing easier. Lots of great French flute players, for example.
pampaldo, maurigaux, shamus nolan must have never performed live. Idiots, anything can happen and will happen on a LIVE CONCERT!!!!. reed can fail to vibrate, water on the Oboe holes ANYTHING!. I once have the top part crack under the cold AC. Once. you 3 go flip burgers at McDonalds!!!!!!! :P:P:P
Mr.Bourgue this can not be your best,I have followd you for years,this must be a misstake? THERE IS A FILM OF THE SAME SONATA WITH ME,BUT FROM A RECITAL AN NOT FROM A STUDIO. MAY BE WE SHULD DELITE THIS TO SONATAS?
As an oboist, all he did really was make the second movement too fast. Vibrato is extremely hard to master on an oboe and sounds better on certain models and makes. It's very difficult to sustain control with vibrato like he did. Vibrato usually is not used on the oboe but works extremely well with the second movement of this. I am in a band with 2 other oboe players who have English oboes and mine is French, our sound clashes all the time simply because of our instrument or reed makes. I think most of these comments are about his sound but please remember that this is HIS sound, and what makes an oboe sound like it does is not so much the player, but the instrument material and the quality of the reed. It's just different, but it doesn't make him bad.
Vibrato is a necessity on oboe. If you cant control it on oboe you should practice its critical to oboe player and EVERY oboist should and does use it regularly
Not sure all oboists would agree with these comments. Not wanting to get into it at length, but just to broaden the scope of information out there for non-oboists.
His High D did not speak once in the cadenza 2nd movement((slight miss in 3rd too)... natural potential land mine on oboes. The reed and height adjustments on the 1/2 hole B key cause that. The tips first 1/8 inch proportion is critical for smooth slurs to the high D.
He still gets a pretty "full" sound, tho. But I must say that I've heard WAYYY more oboe majors that are better than this. This is still pretty good.....Maybe it is the recording that is making him sound this way?
Stunning career, no doubt, just like Holliger, others could only wish for such. But just like Heinz - the sound is terribly open, overly bright and trembling with constant vibratissimo... I don't see why would it be necessary to waver the melody constantly, it's just so boring and instantly kills any attempt of more direct and speaking expression. So sorry, but it's definitely not my taste... Too bad modern oboe design goes this 'harsh' direction, so partly it's the instrument to be blamed. Sometimes it sounds just as if it was built to annoy people. He's got my full respect for playing with such dexterity at his age, but this horrible aesthetic seems to be his trademark right from the beginning. I just don't get it how those guys made it to the top with such a sound... Perhaps because it's just much louder and more penetrating this way, also so much easier to achieve, but should it really be the most important quality of successful oboe player?
I mean his sound probably isnt as good as when he was younger, his tone comes from his way of making his embouchure and the type and shape of his reeds, perhaps he likes a more wider and harder reed o.o u can take a loree or laubin and get his same tone if u tried. Most orchestras would rather have an oboist who has better technicality over tone, or maybe they are looking for a specific type of tone idk man, he played rlly well imo, even if his tone wasnt the best (yeah I agree with that his tone isn't the best but it's not bad at all)
+Miguel Navarro rlly? are u american and saying that or european and saying that? cuz im american so i think the best oboe players are from america LOL xd, its natural tho, we were taught differently with different styles and yeah ik he is old school but his sound is like european, he sounds like a wider and harder reed and like makes a wider sound and more buzziness, u know wht i mean? my sound is very dark and deep, like eugene izotov lol (yeh he immigrated here at a young age) so idk if youd consider him european, if u do, then im chinese altho ive been america for 18 years LOLOL
European oboe players don't sound like him anymore. I don't know how old you are but back in the 50th to 80th that was the sound of the oboe. Even in the USA. Listen to Orchestras from.those days and you'll be surprised how nasal they sound. with the new school brought by Tabuteau, he sounds Luke Pierre Pierlot. Ray Still from the Chicago orchestra comes to my mind. You should not judge his sound based on the standards of the 21st century. Just enjoy it. He was one of the greatest, also, he has been the teacher of great oboe players. I don't like American sound that much, of course there are some great exceptions. However, my problem is actually the interpretation. I find it too predictable and not so inspiring, sometimes flat, total lack of vibrato. European oboe players take risks. I recommend you Mayer, Celine Moinet, Leleux, Christoph Hartmanm to mention just a couple.
Ad Lib was the worst I have ever heard that was far too fast, he needed to be much more free and expressive. Also the missed high D prior to the Allegretto really killed the mood.
Il as était mon professeur de 1982 à 1986 à Paris. Non seulement a contribué à ma manière actuelle de jouer, mais ma dirige vers une vie spirituelle plus profonde. Merci Maurice, je t'aime et t'admire enormement!
ce compte est celui de ma maman et je voulais vous dire que j'ai 12ans et je fais du hautbois depuis 5ans j ai sauté une année de musique au concervatoire de nantes je suis en 2eme année de 2eme cycle et mon proffesseur est frédéric potet, l'un des éleves de Maurice Bourgue aussi, il l'appelle son "maitre".
1楽章 0:07
2楽章 3:12
3楽章 7:46
nice performance ... and I like the open sound .... great oboist anyway
This is simply fantastic - beautiful music. I have Bourgue's 1977 vinyl record of this work. Superb in every sense. His playing of the oboe solo in the 2nd movement of Brahms Violin Concerto is extra.
Dear Oboist friends, have a simple violinist. I enjoy reading your comments even though they are very different, and for this reason they are beautiful! Thank you! The world oboe remains for me to discover. One thing I'm sure .... either a performer or the other the likes of which you speak is a marvel! Leonora
本当に素晴らしい
you still got to admit that he sounds really good
Beautiful expressive playing by both performers. IMHO tempo of II was just perfect, quite quick without seeming hurried. Last movement virtuoso oboe playing but always with the music coming first.
Very light French style reed. Very close to a Pierre Pierlot sound... Who actually made dozens and dozens of recordings for MHS or the musical heritage society. Very wonderful recordings but in the French style.
Live hehehehe what fun!
My dad Joe and I used to play this as a favorite as well as the Poulenc.
Why "but"? The French style has equal value to other schools and for these pieces it is ideal.
So beautiful. Someday I hope play like this...
Movement I (Andantino) 00:00
Movement II (Ad Libitum) 03:05 (Allegretto) 04:30 (Ad Libitum) 06:44
Movement III (Molto allegro) 07:46
Ah. My university audition solo. Great memories. He played it much better than me.
this made me miss playing this piece so much :)
The quicker that last movement is over the better
Superb as one would expect from this great artist. Note ....very little dancing involved unlike so many players these days. No fuss music making
Rest In Peace maestro Bourgue. I miss you
He has such good control. Beautiful.
It's interesting to listen to this French composition in a typically French style of oboe playing. For a long time this particular tone aesthetic was considered to be "strident" or "harsh". I personally think that the softer French reed allows for greater flexibility and suppleness of expression. Heavy dark timbres are, of course, lovely but can become quite dull after a while if there is absolutely no variation and everything sounds completely the same. I wouldn't call this Saint-Saëns sonata a particularly great piece either. It's very "nice" in a 19th century bourgeois stuffy-drawing-room kind of way: I think Bourgue makes the piece sound much more interesting than it is. I particularly appreciate his very non-sentimental, raw (and rural-bucolic) approach to the second movement which is often otherwise milked ad nauseam into a hideously saccharine and tedious bore. Good on him too for performing live. Everything can be tidied up in a recording studio.
I dont mean to be offtopic but does anyone know of a trick to log back into an Instagram account..?
I was stupid forgot the login password. I would appreciate any tricks you can offer me!
@Jace Walker Instablaster :)
@Ahmir Nolan thanks so much for your reply. I got to the site on google and I'm waiting for the hacking stuff now.
I see it takes a while so I will get back to you later when my account password hopefully is recovered.
@Ahmir Nolan it worked and I now got access to my account again. I'm so happy!
Thank you so much, you saved my ass !
@Jace Walker Happy to help xD
love this dude's temperment.
BRAVO!!!! BRAVO
Juste magnifique
Bravoooo
plus que tout bravo
mon proffesseur a eu ce prof pendant son enfance il l'appelle son "maitre"
^^
Saint-Seans, Poulenc; oboe music doesn’t get any better
I found it exhilarating!
Very nice work and great oboîst!
Show.....um dia espero tocar pelo menos um pouco disso.....preciso estudar mais..
7 anos depois... Ja esta tocando ?
Heel briljant!
Спасибо! Супер-гобоист!
marvellous
2楽章
3:12
R.I.P.
Bravo Senpai ! Great to hear you again. Keep Music Live ! From one of your many Kohai ! Seasons greetings from the tropics !
Bravisimo!!!
and i still don't see why people call the oboe 'bad' when it can be like this!
amazing
i can't imagine how much lip fatigue he has
The French language which depends a lot on front of the mouth sound probably makes reed playing easier. Lots of great French flute players, for example.
Excelente!.
ri-do.perapera...
sugoi.kedone.
第3楽章 7:47
pampaldo, maurigaux, shamus nolan must have never performed live. Idiots, anything can happen and will happen on a LIVE CONCERT!!!!. reed can fail to vibrate, water on the Oboe holes ANYTHING!. I once have the top part crack under the cold AC. Once. you 3 go flip burgers at McDonalds!!!!!!! :P:P:P
1:10 2:05
Mr.Bourgue this can not be your best,I have followd you for years,this must be a misstake? THERE IS A FILM OF THE SAME SONATA WITH ME,BUT FROM A RECITAL AN NOT FROM A STUDIO. MAY BE WE SHULD DELITE THIS TO SONATAS?
What about the tempo mr.Bourgue? To fast to fast..
3:10
As an oboist, all he did really was make the second movement too fast. Vibrato is extremely hard to master on an oboe and sounds better on certain models and makes. It's very difficult to sustain control with vibrato like he did. Vibrato usually is not used on the oboe but works extremely well with the second movement of this. I am in a band with 2 other oboe players who have English oboes and mine is French, our sound clashes all the time simply because of our instrument or reed makes. I think most of these comments are about his sound but please remember that this is HIS sound, and what makes an oboe sound like it does is not so much the player, but the instrument material and the quality of the reed.
It's just different, but it doesn't make him bad.
Vibrato is a necessity on oboe. If you cant control it on oboe you should practice its critical to oboe player and EVERY oboist should and does use it regularly
Not sure all oboists would agree with these comments. Not wanting to get into it at length, but just to broaden the scope of information out there for non-oboists.
Do not forget that, he was more than seventy years old....
His High D did not speak once in the cadenza 2nd movement((slight miss in 3rd too)... natural potential land mine on oboes. The reed and height adjustments on the 1/2 hole B key cause that. The tips first 1/8 inch proportion is critical for smooth slurs to the high D.
He still gets a pretty "full" sound, tho. But I must say that I've heard WAYYY more oboe majors that are better than this. This is still pretty good.....Maybe it is the recording that is making him sound this way?
the recording has definitely a big impact on the sound of the oboe, but most of it is his own sound ideal.
You have no idea who he is. Are u even listening?
no
Stunning career, no doubt, just like Holliger, others could only wish for such. But just like Heinz - the sound is terribly open, overly bright and trembling with constant vibratissimo... I don't see why would it be necessary to waver the melody constantly, it's just so boring and instantly kills any attempt of more direct and speaking expression. So sorry, but it's definitely not my taste... Too bad modern oboe design goes this 'harsh' direction, so partly it's the instrument to be blamed. Sometimes it sounds just as if it was built to annoy people. He's got my full respect for playing with such dexterity at his age, but this horrible aesthetic seems to be his trademark right from the beginning. I just don't get it how those guys made it to the top with such a sound... Perhaps because it's just much louder and more penetrating this way, also so much easier to achieve, but should it really be the most important quality of successful oboe player?
I mean his sound probably isnt as good as when he was younger, his tone comes from his way of making his embouchure and the type and shape of his reeds, perhaps he likes a more wider and harder reed o.o u can take a loree or laubin and get his same tone if u tried. Most orchestras would rather have an oboist who has better technicality over tone, or maybe they are looking for a specific type of tone idk man, he played rlly well imo, even if his tone wasnt the best (yeah I agree with that his tone isn't the best but it's not bad at all)
Also his sound sounds european to me, not american, im prob just stereotyping tho lol
xXDwalongXx He is old school. Contemporary European oboe players sound totally different. The best oboe players in the world come from Europe.
+Miguel Navarro rlly? are u american and saying that or european and saying that? cuz im american so i think the best oboe players are from america LOL xd, its natural tho, we were taught differently with different styles and yeah ik he is old school but his sound is like european, he sounds like a wider and harder reed and like makes a wider sound and more buzziness, u know wht i mean? my sound is very dark and deep, like eugene izotov lol (yeh he immigrated here at a young age) so idk if youd consider him european, if u do, then im chinese altho ive been america for 18 years LOLOL
European oboe players don't sound like him anymore. I don't know how old you are but back in the 50th to 80th that was the sound of the oboe. Even in the USA. Listen to Orchestras from.those days and you'll be surprised how nasal they sound. with the new school brought by Tabuteau, he sounds Luke Pierre Pierlot. Ray Still from the Chicago orchestra comes to my mind.
You should not judge his sound based on the standards of the 21st century. Just enjoy it. He was one of the greatest, also, he has been the teacher of great oboe players.
I don't like American sound that much, of course there are some great exceptions. However, my problem is actually the interpretation. I find it too predictable and not so inspiring, sometimes flat, total lack of vibrato. European oboe players take risks. I recommend you
Mayer, Celine Moinet, Leleux, Christoph Hartmanm to mention just a couple.
Good technic, but sounds too much like a duck
Ad Lib was the worst I have ever heard that was far too fast, he needed to be much more free and expressive. Also the missed high D prior to the Allegretto really killed the mood.
Sorry, awful sound. To thin. In the low and the high notes.
Awful sound, sorry ... But great name!
Agreed
わいの中学、高校でソロコン全国行った先輩の方が上手い
私はこの曲で今ソロコンへ向けて練習してます。連符とか音程とかこの曲をどう表現するかを今ピアノを弾いてくれる子と相談しながらやっています。
あなたが吹いてこのおじさまよりも上手に吹けて結果を残しているのだったら何も言うことはありません。ですがあなたのコメントを見る限り先輩の話ですよね？自分は吹いて大会も出場してないということですよね？先輩の方が上手いとかそんなこと言うんだったら自分が吹いているところをUA-camにあげてから言ってください。
なわけあるかボケ
9:09
no