Hello. I am a retired oboist from Boston and played principal oboe in several orchestras throughout my career. I began my studies with John Holmes and Ralph Gomberg of the Boston Symphony during the middle 60's era and went to New England Conservatory of Music at Boston. Ralph G. was taught by artist Oboe virtuoso Marcel Tabuteau of the Curtis Institute in Philadelphia. John H. by artist Robert Sprenkle of the Eastman School in Rochester NY. Most of Tabuteau's students became principal oboists in major orchestras throughout the US and other countries such as Bruce Weinstein, Israel Philharmonic. The two brothers, Ralph and Harold Gomberg held principal positions in Boston and NY respectively. John Holmes was personally invited as principal oboist of the BSO by Serge Koussevitzky in 1946. Other great oboists were John DeLancie, John Mack and Alfred Genovese to name a few. Cream of the crop. These players were Artists. Today there are many more oboists than before and the same holds true for orchestras as well. Thing is that many orchestras today are comprised of fine musicians that do play well but cannot be considered artistic in playing. That era has passed just like the great composers and painters. There are no more Horowitz, Rubinstein, Eugene Ormandy, Serge Koussevitzky, KlausTennstedt and many more. The general public today are not educated and tuned in well enough to know the difference. They attend concerts and are delighted in what they hear but lack the experience in being able to compare it to the great masters of the past. Are you getting the meaning? In this recording of the Albinoni, the oboist plays musically. His sound is somewhat big but is not centered and sounds rather reedy. Reedy is a term only oboists and bassoonists truly understand. It has to do with the way they scrape their reeds and their embouchures combined. All serious oboists and bassoonists make their reeds. It all ties back to the artists that I talked about earlier. Current players are not taught by great artists. Example: Erich Leinsdorf's teacher was Bruno Walter whose teacher was Gustav Mahler and whose teacher was Anton Bruckner. These were all true artists. Same with the oboe and all the instruments today. A perfect 100% solution is diluted every time you add something to it. Closing note: I have not insulted anyone here nor talked anyone down so please do not be rude and insulting to me in your comments. It is my opinion only. My sole purpose is to shed some light on music and musicians of today compared to the past.
I neglected to mention in my earlier post the following: At that time many performing artists required an applicant to audition for them before accepting them as a student. In my case when I first met with Mr. Gomberg (he was principal oboist of the BSO beginning in 1950 for 35 years) for the first time to study with him, his first question to me was; do you want to learn how to play the oboe? Mind you, I had already been studying the oboe for four years beginning at age 13 with Mr. Holmes also of the BSO. Because Mr. Gomberg had so much prestige being principal oboist he was approached by many wanting to study with him, but because of his busy job and schedule he could only take on just so many. I was privileged to become one of his students at New England Conservatory of music in Boston in 1968. Mr. Gomberg wasn’t the easiest teacher to learn from. He was very hard on his students but it was worth every minute because he made an oboist out of you. Sometimes I would spend weeks on just one exercise before it satisfied him. The other aspect of learning, the oboe was learning how to make reeds of which he was a master. This took years to learn. He could take a students reed, put it into his oboe, and he sounded like Ralph Gomberg. He had a steel and flexible embouchure. He also had a very big sound that could penetrate right through the orchestra playing at ff. If you’re interested in hearing search for Ralph Gomberg and the Boston Symphony Orchestra, playing Ravel‘s Le Tombeau de Couperin with Seiji Ozawa conducting and The third Symphony with Organ under Charles Munch by Camille Saint Sean’s.
Remo Giazotto. Remember that name; the name of a 20th century composer. NOT Tomaso Albinoni. Remo composed it and Albinoni had no input on it. If you bother to ever listen to any of Albinoni's other compositions, you will find that none of his works even comes close to this masterpiece.
I’m so thankful that you wrote this comment to educate me. I never heard of this guy and it’s really unfortunate that his name is not always associated with his piece.
Вы сударь не имеете полномочий утверждать то, чего вы не ведаете. Непохожесть "Адажио" на его другие произведения ровным счëтом ни о чëм не утверждают авторство Джазотти, который в отличии от Вас остался истинным джентльменом, оставив глубочайшее почитание Амазотти. Это Великие люди Земли!!!
Прекрасно❤Малко тъжно,минорно звучене.
Я каждый раз плачу. Для меня это реквием для любимых людей, по которым я тоскую..
Бесподобно❤
Que puro. magnifico !
Gyönyörű szép előadás és dal.
Hello. I am a retired oboist from Boston and played principal oboe in several orchestras throughout my career. I began my studies with John Holmes and Ralph Gomberg of the Boston Symphony during the middle 60's era and went to New England Conservatory of Music at Boston.
Ralph G. was taught by artist Oboe virtuoso Marcel Tabuteau of the Curtis Institute in Philadelphia.
John H. by artist Robert Sprenkle of the Eastman School in Rochester NY.
Most of Tabuteau's students became principal oboists in major orchestras throughout the US and other countries such as Bruce Weinstein, Israel Philharmonic. The two brothers, Ralph and Harold Gomberg held principal positions in Boston and NY respectively. John Holmes was personally invited as principal oboist of the BSO by Serge Koussevitzky in 1946. Other great oboists were John DeLancie, John Mack and Alfred Genovese to name a few. Cream of the crop. These players were Artists.
Today there are many more oboists than before and the same holds true for orchestras as well. Thing is that many orchestras today are comprised of fine musicians that do play well but cannot be considered artistic in playing. That era has passed just like the great composers and painters. There are no more Horowitz, Rubinstein, Eugene Ormandy, Serge Koussevitzky, KlausTennstedt and many more. The general public today are not educated and tuned in well enough to know the difference. They attend concerts and are delighted in what they hear but lack the experience in being able to compare it to the great masters of the past. Are you getting the meaning?
In this recording of the Albinoni, the oboist plays musically. His sound is somewhat big but is not centered and sounds rather reedy. Reedy is a term only oboists and bassoonists truly understand. It has to do with the way they scrape their reeds and their embouchures combined. All serious oboists and bassoonists make their reeds.
It all ties back to the artists that I talked about earlier. Current players are not taught by great artists. Example: Erich Leinsdorf's teacher was Bruno Walter whose teacher was Gustav Mahler and whose teacher was Anton Bruckner. These were all true artists. Same with the oboe and all the instruments today. A perfect 100% solution is diluted every time you add something to it.
Closing note: I have not insulted anyone here nor talked anyone down so please do not be rude and insulting to me in your comments. It is my opinion only. My sole purpose is to shed some light on music and musicians of today compared to the past.
Thank you for your comment. I’m just a Hobby EWI Player…. 😁
@@vincoweb you’re welcome. What is an EWI player?
Electronic Wind Instrument
I neglected to mention in my earlier post the following: At that time many performing artists required an applicant to audition for them before accepting them as a student.
In my case when I first met with Mr. Gomberg (he was principal oboist of the BSO beginning in 1950 for 35 years) for the first time to study with him, his first question to me was; do you want to learn how to play the oboe? Mind you, I had already been studying the oboe for four years beginning at age 13 with Mr. Holmes also of the BSO.
Because Mr. Gomberg had so much prestige being principal oboist he was approached by many wanting to study with him, but because of his busy job and schedule he could only take on just so many. I was privileged to become one of his students at New England Conservatory of music in Boston in 1968.
Mr. Gomberg wasn’t the easiest teacher to learn from. He was very hard on his students but it was worth every minute because he made an oboist out of you. Sometimes I would spend weeks on just one exercise before it satisfied him.
The other aspect of learning, the oboe was learning how to make reeds of which he was a master. This took years to learn. He could take a students reed, put it into his oboe, and he sounded like Ralph Gomberg. He had a steel and flexible embouchure. He also had a very big sound that could penetrate right through the orchestra playing at ff.
If you’re interested in hearing search for Ralph Gomberg and the Boston Symphony Orchestra, playing Ravel‘s Le Tombeau de Couperin with Seiji Ozawa conducting and The third Symphony with Organ under Charles Munch by Camille Saint Sean’s.
Beautiful performance, so gentle that instrument sounds...very nice improvisation!💗 Thank you for sharing, I am a new subscriber
I love that ❤❤
musique superbe
Magnifique
W il "prete rosso"!
I love this picture ja voliž ovu
❤❤❤❤❤
👏🏻
grazie
!!!!!!!!!!…......
👍🎀💐💐💐🎀👍👍
grazie
Ну не смешите, адажио, это просто то, что поет народ. Ну, в рекламу не попали, но поют прекрасно
Soave musica
Grazie mille!
Keyboards don't cut it on this piece.
Remo Giazotto. Remember that name; the name of a 20th century composer. NOT Tomaso Albinoni. Remo composed it and Albinoni had no input on it. If you bother to ever listen to any of Albinoni's other compositions, you will find that none of his works even comes close to this masterpiece.
Thank you for your correction.
I’m so thankful that you wrote this comment to educate me. I never heard of this guy and it’s really unfortunate that his name is not always associated with his piece.
Вы сударь не имеете полномочий утверждать то, чего вы не ведаете. Непохожесть "Адажио" на его другие произведения ровным счëтом ни о чëм не утверждают авторство Джазотти, который в отличии от Вас остался истинным джентльменом, оставив глубочайшее почитание Амазотти. Это Великие люди Земли!!!
Опечатка редактора: правильно- Томазо Альбинони
@@user-ep9sr9ow1w Джазотто был скромен. Спорить можно до посинения: дело в том, что Альбинони НЕ сочинял это адажио.