I was a professional oboe player for 25 years. I converted my technique/style from European to American and never looked back. This is now my favourite performance, probably because it's played by a wonderful exponent of the American style, and also because it uses a "small" orchestra as specified by the composer. For me, Frank's playing epitomises the US style, with its sophistication, restrained vibrato, incredible control of articulation and dynamics, soft dark tone colour, and ability to "blow through" the read. I have problems with all the European performances of this work that I've heard. Generally, the orchestra is far too loud and the soloist feels they have to fight to stay out front. When combined with the inherently wide/dominating European vibrato, subtleties tend to "go out of the window", and it turns into a simple endurance test. Players are then applauded for their double-breathing abilities, when actually they should be breathing far more often in order to exploit the possibilities for "micro" phrasing/dynamics. I would suggest to anyone who is studying this, my favourite, concerto that they first learn to play it without any vibrato and without double breathing.
Yes, and Leon Goosens is in the pantheon of great oboists. Please. This is a beautiful performance and interpretation of the piece - the tone is gorgeous and the articulation is excellent also. Personally, I would have liked the 1st and 3rd movements a touch faster, but I'm an Italian and like this piece a hair less deliberate. My God, the second movement, stunning..
Wonderful! Great musicality and a beautiful tone!
Absolutely delightful piece!
Sublime.
I was a professional oboe player for 25 years. I converted my technique/style from European to American and never looked back. This is now my favourite performance, probably because it's played by a wonderful exponent of the American style, and also because it uses a "small" orchestra as specified by the composer. For me, Frank's playing epitomises the US style, with its sophistication, restrained vibrato, incredible control of articulation and dynamics, soft dark tone colour, and ability to "blow through" the read. I have problems with all the European performances of this work that I've heard. Generally, the orchestra is far too loud and the soloist feels they have to fight to stay out front. When combined with the inherently wide/dominating European vibrato, subtleties tend to "go out of the window", and it turns into a simple endurance test. Players are then applauded for their double-breathing abilities, when actually they should be breathing far more often in order to exploit the possibilities for "micro" phrasing/dynamics. I would suggest to anyone who is studying this, my favourite, concerto that they first learn to play it without any vibrato and without double breathing.
Perfect 👏🏻❤️
Wonderful
I. Allegro moderato: 0:01
II. Andante: 9:27
III. Vivace: 18:28
Leon Goosens is better
Marcus Junius Brutus dont be rude
Good one!
Yes, and Leon Goosens is in the pantheon of great oboists. Please. This is a beautiful performance and interpretation of the piece - the tone is gorgeous and the articulation is excellent also. Personally, I would have liked the 1st and 3rd movements a touch faster, but I'm an Italian and like this piece a hair less deliberate. My God, the second movement, stunning..
@@barbaras4131 just another tasteless apple fallen from the tabuteau tree. marcel should have stayed in france
@@marcusjuniusbrutus7001 you should’ve stayed in your moms basement