March 13, 1990 |
Although the oboe traces its heritage to many countries, in the United States, the instrument has a French ancestry. Most of the instruments themselves are made in France, and the impact of French teachers through the early years of this century has produced players whose accent is resoundingly French. It was only natural that Richard Woodhams would play French works when he and pianist Kyoko Takeuti appeared in recital last night at the Curtis Institute of Music. It was natural that he would play them with many French values intact, but enhanced by the healthy, somewhat extroverted manner that marks his playing.
March 1, 1987 |
The small labels have taken on the large responsibility of preserving works by regional composers. These composers often are played by musicians known in their cities but lacking international reputations. A case in point is the Crystal Records collection of music for oboe played by Peter Christ (CD 32). Besides being a busy Los Angeles player and teacher, Christ also was the founder of the label and the producer for 100 of its discs. This recording makes an apt memorial for Christ, who died last year of cancer.
March 21, 1995 |
The Hancock Chamber Players made a compelling case for the unusual on Saturday. The ensemble, which played in an intimate room at Abington Friends Meeting in Jenkintown, consists of oboist Lisa Kozenko, hornist Martin Webster and pianist Dana Burnett. This improbable combination doesn't enjoy a wide repertory. The trio, then, didn't program a performance as much as it cooked up one. What the musicians served the audience proved successful in every sense: three tasteful and skillfully crafted transcriptions for horn, oboe and piano; two gems, rescued from obscurity, for solo instruments and piano; and one group of three solo piano pieces by Debussy.
March 13, 1992 |
During the 15 seasons that he has been the Philadelphia Orchestra's principal oboist, Richard Woodhams has given audiences at the Academy of Music a pleasant survey of the solo literature written for his instrument. Standing in front of his orchestral colleagues, he has played the "Handel, the Haydn, the Bellini, the Bach Double, the Vaughan-Williams, the Vivaldi, the Strauss, the Mozart" - he ticks them off, adding that, although he enjoys the solo assignments, the finest solo playing scored for his instrument is likely to be found within the orchestral literature.
February 3, 1994 |
Animal lovers have their endangered species. Now music lovers have their endangered instruments. The list, as compiled by the people at the Community Music School of Collegeville, consists of the oboe, French horn, tuba, bassoon, double bass and organ. School founder Edwina French said the low number of musicians who play these instruments is a problem for schools and community orchestras across the country. "They are unpopular for various reasons," she said. "It's a problem for school districts that don't have a full ensemble.
May 19, 2002 |
John de Lancie, 80, the virtuoso oboist who headed the Curtis Institute of Music and who helped create a new repertoire for his instrument, died Friday of leukemia in Walnut Creek, Calif. Mr. de Lancie, who joined the Philadelphia Orchestra in 1946 and served as principal from 1954-77, was widely considered one of the great oboists of his time. His playing was a suave combination of refinement and strongly pronounced colors. "You could immediately recognize it was the Philadelphia Orchestra from his oboe playing," said Richard Woodhams, the current principal oboist of the orchestra and a de Lancie prot?g?.
January 17, 1996 |
Bach was such a sequoia, he overshadowed his contemporaries working in German courts. When Musica Antiqua Koeln played Sunday in the Bach Festival, it brought music by some of those others, making a strong case for Johann David Heinichen. The center of the single-performance program, at the Church of the Holy Trinity, was given to Bach - two secular cantatas that used all the resources of this tightly knit ensemble. But the context was supplied by Heinichen and Johann Friedrich Fasch.
March 20, 1995 |
The Hancock Chamber Players Saturday made a compelling case for the unusual. The Hancock, which played in an intimate room at Abington Friends Meeting in Jenkintown, consists of oboist Lisa Kozenko, hornist Martin Webster, and pianist Dana Burnett. This improbable combination doesn't enjoy a wide repertory of pieces. And compositions for French horn and piano and for oboe and piano are also meager. The Hancock, then, didn't program a performance as much as it cooked up one. What they served the audience proved successful in every sense.
March 31, 1993 |
Finger, Galuppi and Fasch? Who ever heard of them? And who else but Philomel would take the time and trouble to pull gems of the baroque by such composers as these out of mothballs? Philomel pushed the boundaries of its usual repertoire with their Saturday night concert at the Ethical Society - not because the composers were unusual, but because at least two of them inched past the end of the baroque and into the classical era. Baldassare Galuppi's Sonata in G for flute, oboe and continuo showed a composer uninterested in "intricate, contrapuntal relationships," as Bruce Bekker wrote in the program notes, but in "conversational interactions, exchanges based on melodies.
January 19, 2016 |
When veteran Brit music makers Peter Asher and Albert Lee played Sellersville Theater Sunday, they did two truly rare things. The first was making visit a matinee, a delightful afternoon for which even Asher was unprepared. "I normally have one of these after 10 p.m. when we usually finish," he said, signaling a cold martini while wondering if perhaps a spot of tea might be more appropriate. The second rarity was that the pair spoke at length - even more than they sang and played - winsomely, and in depth about their illustrious pasts.