Name	Oboe
Image capt	A modern oboe with a reed
Background	woodwind
Hornbostel sachs	422.112-71
Hornbostel sachs desc	Double-reeded aerophone with keys
Developed	Mid 17th century from the shawm
Range
Midi	068/069

The oboe is a double reed musical instrument of the woodwind family. In English, prior to 1770, the instrument was called "hautbois", "hoboy", or "French hoboy". The spelling "oboe" was adopted into English ca. 1770 from the Italian oboè, a transliteration in that language's orthography of the 17th-century pronunciation of the French word hautbois, a compound word made of haut ("high, loud") and bois ("wood, woodwind"). A musician who plays the oboe is called an oboist.

Sound

In comparison to other modern woodwind instruments, the oboe has a clear and penetrating voice. The Sprightly Companion, an instruction book published by Henry Playford in 1695, describes the oboe as "Majestical and Stately, and not much Inferior to the Trumpet." More humorously, the voice is described in the play Angels in America as sounding like that of a duck if the duck were a songbird. The timbre of the oboe is derived from the oboe's conical bore (as opposed to the generally cylindrical bore of flutes and clarinets). As a result, oboes are readily audible over other instruments in large ensembles.

The oboe is pitched in concert C and has a soprano range. Orchestras frequently tune to a concert A (usually A440) played by the oboe. According to the League of American Orchestras, this is done because the pitch of the oboe is secure and its penetrating sound makes it ideal for tuning purposes. The pitch of the oboe is affected by the way in which the reed is made. The reed has a significant effect on the sound of the instrument. Variations in cane and other construction materials, the age of the reed, and differences in scrape and length will all affect the pitch of the instrument. German and French reeds, for instance, differ in many ways, causing the sound of the oboe to vary accordingly. Weather conditions such as temperature and humidity will also affect the pitch. Skilled oboists adjust their embouchure to compensate for these factors. Subtle manipulation of embouchure and air pressure allows the player to express timbre and dynamics.

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History

Baroque

The baroque oboe first appeared in the French court in the mid-17th century, where it was called hautbois. This name was also used for its predecessor, the shawm, from which the basic form of the hautbois was derived. Major differences between the two instruments include the division of the hautbois into three sections, or joints (which allowed for more precise manufacture), the elimination of the pirouette, the wooden ledge below the reed which allowed players to rest their lips, and the wind-cap, a cap placed over the reed that enabled shawm players to produce greater volume. The latter development, more than any other, was responsible for bringing the hautbois indoors where, due to its more refined sound and style of playing, it took up a permanent place in the orchestra.

The exact date and place of origin of the hautbois are obscure, as are the individuals who were responsible. Circumstantial evidence, such as the statement by Michel de la Barre in his Memoire, points to members of the Philidor (Filidor) and Hotteterre families. The instrument may in fact have had multiple inventors. The hautbois quickly spread throughout Europe, including England, where it was called "hautboy", "hoboy", "hautboit", "howboye", and similar variants of the French name. It was the main melody instrument in early military bands, until it was succeeded by the clarinet.

The baroque oboe was generally made of boxwood and had three keys: a "great" key and two side keys (The side key was often doubled to facilitate use of either the right or left hand on the bottom holes). In order to produce higher pitches, the player had to "overblow", or increase the air stream to reach the next harmonic. Notable oboe-makers of the period are the German Denner and Eichentopf, and the English Stanesby Sr. and Jr. The range for the baroque oboe comfortably extends from C₄ to D₆. With the resurgence of interest in early music in the mid 20th century, a few makers began producing copies to specifications from surviving historical instruments.

Classical

The classical period brought an oboe whose bore was gradually narrowed, and the instrument became outfitted with several keys, among them were those for the notes D♯, F, and G♯. A key similar to the modern octave key was also added called the "slur key", though it was at first used more like the "flick" keys on the modern German bassoon. Only later did French instrument makers redesign the octave key to be used in the manner of the modern key (i.e. held open for the upper register, closed for the lower). The narrower bore allowed the higher notes to be more easily played, and composers began to more often utilize the oboe's upper register in their works. Because of this, the oboe's tessitura in the Classical era was somewhat broader than that found in baroque works. The range for the Classical oboe extends from C₄ to F₆ (using the scientific pitch notation system), though some German and Austrian oboes were capable of playing one half-step lower. Classical-era composers who wrote concertos for oboe include Mozart (both the solo concerto in C major K. 314/285d and the lost original of Sinfonia Concertante in E-flat major K. 297b, as well as a fragment of F major concerto K. 417f), Haydn, (both the Sinfonia Concertante in B-flat Hob. I:105 and the spurious concerto in C major Hob. VIIg:C1), Beethoven (the F major concerto, Hess 12, of which only sketches survive, though the second movement was reconstructed in the late twentieth century), and numerous other composers including Johann Christian Bach, Johann Christian Fischer, Jan Antonín Koželuh, and Ludwig August Lebrun. Many solos exist for the oboe in chamber, symphonic, and operatic compositions from the Classical era.

Viennese or Wiener oboe

In Vienna, a type of modern oboe has been preserved to the present day that retains the essential bore and tonal characteristics of the historical oboe. The Akademiemodel Wiener Oboe, first developed in the late 19th century by Josef Hajek from earlier instruments by C. T. Golde of Dresden (1803–73), is now made by several makers such as André Constantinides, Karl Rado, Guntram Wolf, Christian Rauch and Yamaha. It has a wider internal bore, a shorter and broader reed and the fingering-system is very different than the Conservatoire oboe. In "The Oboe", Geoffrey Burgess and Bruce Haynes write "The differences are most clearly marked in the middle register, which is reedier and more pungent, and the upper register, which is richer in harmonics on the Viennese oboe". Guntram Wolf describes them: "From the concept of the bore, the Viennese oboe is the last representative of the historical oboes, adapted for the louder, larger orchestra, and fitted with an extensive mechanism. Its great advantage is the ease of speaking, even in the lowest register. It can be played very expressively and blends well with other instruments." The Viennese oboe is, along with the Vienna horn, perhaps the most distinctive member of the Wiener Philharmoniker instrumentarium.

Conservatoire

The oboe was developed further in the 19th century by the Triebert family of Paris. Using the Boehm flute as a source of ideas for key work, Guillaume Triebert and his sons, Charles and Frederic, devised a series of increasingly complex yet functional key systems. A variant form using large tone holes, the Boehm system oboe, was never in common use, though it was used in some military bands in Europe into the 20th century. F. Lorée of Paris made further developments to the modern instrument. Minor improvements to the bore and key work have continued through the 20th century, but there has been no fundamental change to the general characteristics of the instrument for several decades.

The modern oboe is most commonly made from grenadilla, also known as African Blackwood, though some manufacturers also make oboes out of other members of the genus Dalbergia, which includes cocobolo, rosewood, and violetwood. Ebony (genus Diospyros) has also been used. Student model oboes are often made from plastic resin, to avoid instrument cracking to which wood instruments are prone, but also to make the instrument more economical. The oboe has an extremely narrow conical bore. The oboe is played with a double reed consisting of two thin blades of cane tied together on a small-diameter metal tube (staple) which is inserted into the reed socket at the top of the instrument. The commonly accepted range for the oboe extends from B₃ to about G₆, over two and a half octaves, though its common tessitura lies from C₄ to E₆. Some student oboes only extend to B₃ (the key for B is not present). However this variant is becoming less common.

A modern oboe with the "full conservatoire" ("conservatory" in the USA) or Gillet key system has 45 pieces of keywork, with the possible additions of a third octave key and alternate (left little finger) F- or C-key. The keys are usually made of nickel silver, and are silver or occasionally gold-plated. Besides the full conservatoire system, oboes are also made using the English thumbplate system. Most have "semi-automatic" octave keys, in which the second octave action closes the first, and some have a fully automatic octave key system, as used on saxophones. Some full conservatory oboes have finger holes covered with rings rather than plates ("open-holed"), and most of the professional models have at least the right hand third key open-holed. Professional oboes used in the UK frequently feature conservatoire system combined with a thumb plate. With this type of mechanism the oboist has the best of both worlds as far as the convenience of fingerings is concerned.

Other members of the oboe family

, bass oboe, cor anglais, oboe d'amore, mezzo oboe, and piccolo oboe]] The oboe has several siblings. The most widely known today is the cor anglais, or English horn, the tenor (or alto) member of the family. A transposing instrument; it is pitched in F, a perfect fifth lower than the oboe. The oboe d'amore, the alto (or mezzo-soprano) member of the family, is pitched in A, a minor third lower than the oboe. J.S. Bach made extensive use of both the oboe d'amore as well as the taille and oboe da caccia, Baroque antecedents of the cor anglais. Even less common is the bass oboe (also called baritone oboe), which sounds one octave lower than the oboe. Delius and Holst both scored for the instrument. Similar to the bass oboe is the more powerful heckelphone, which has a wider bore and larger tone than the bass oboe. Only 165 heckelphones have ever been made. Not surprisingly, competent heckelphone players are difficult to find due to the extreme rarity of this particular instrument. The least common of all are the musette (also called oboe musette or piccolo oboe), the sopranino member of the family (it is usually pitched in E-flat or F above the oboe), and the contrabass oboe (typically pitched in C, two octaves deeper than the standard oboe).

Folk versions of the oboe, sometimes equpped with extensive keywork, are found throughout Europe. These include the musette (France) and bombarde (Brittany), the piffaro and ciaramella (Italy), and the xirimia or chirimia (Spain). Many of these are played in tandem with local forms of bagpipe, particularly with the Italian zampogna or Breton biniou. Similar oboe-like instruments, most believed to derive from Middle Eastern models, are also found throughout Asia as well as in North Africa.

Reeds

preparing reeds for use. Most oboists scrape their own reeds to achieve the desired tone and response]] Most professional oboists make their own reeds since every oboist needs a slightly different reed to suit his or her individual needs. By making their own reeds, oboists can precisely control factors such as tone colour and tuning. Occasionally, novice oboists may begin with a Fibrecane reed, which is made of a synthetic material. Commercially available cane reeds are available in several degrees of hardness; a medium reed is usually used. These reeds, like clarinet, saxophone, and bassoon reeds, are made from Arundo donax. As oboists gain more experience, they may start making their own reeds after the model of their teacher, or buying hand-made reeds (usually from a professional oboist) and using special tools including gougers, pre-gougers, guillotines, knives, and other tools to make the reed to their own liking. According to the late John Mack, former principal oboist of the Cleveland Orchestra, an oboe student must fill a laundry basket with finished reeds in order to master the art . "Making good reeds requires years of practice, and the amateur is often well advised not to embark on making his own reeds, ... Orchestral musicians sometimes do this [make reeds], and co-principals in particular often earn a bit on the side in this way. ... Many professional musicians import their reed cane ... directly from the growers in southern France and split it vertically into three parts themselves. Oboes require thicknesses of about 10 millimetres, bassoons of 20 to 25 millimetres." This allows each player to adjust the reeds precisely for individual embouchure, oral cavity, oboe angle, and air support. The reed is considered the part of oboe playing that makes it so difficult because slight variations in temperature, altitude, weather, and climate will change a perfectly working reed into an unplayable collection of cane.

Notable classical works featuring the oboe

:See also Oboe concerto.

Wolfgang Amadeus Mozart, Oboe Concerto in C major, Quartet in F major

Antonio Vivaldi, at least 15 oboe concertos

Antonio Pasculli, oboe concertos for oboe and piano/orchestra

Johann Sebastian Bach, Brandenburg concertos nos. 1 and 2, Concerto for Violin and oboe, lost oboe concerti, numerous oboe obbligato lines in the sacred and secular cantatas

Tomaso Albinoni, Oboe (and two-oboe) Concerti

George Frideric Handel, The Arrival of the Queen of Sheba, Oboe Concerti and Sonatas

Georg Philipp Telemann, oboe concerti and sonatas, trio sonatas for oboe, recorder, and basso continuo

Richard Strauss, Oboe Concerto

Joseph Haydn (spurious-possibly by Kozeluch), Oboe Concerto in C major

Vincenzo Bellini, Concerto in E, for oboe and string orchestra (before 1825)

Luciano Berio, Sequenza VII (1969), also Chemins IV (on Sequenza VII), for oboe and string orchestra (1975)

Domenico Cimarosa, Oboe Concerto in C major (arranged)

Philippe Gaubert, Two Pieces "Romance and Allegretto" for oboe and piano

Francis Poulenc, Oboe Sonata

Madeleine Dring, Three Piece Suite arr. Roger Lord

Madeleine Dring, Trio for oboe, flute and piano

Benjamin Britten, Six Metamorphoses after Ovid, op. 49, Temporal Variations, Two Insect Pieces, Phantasy Quartet, Op. 2

Robert Schumann, Three Romances for oboe or violin and piano

Karlheinz Stockhausen, In Freundschaft, for oboe, Nr. 46⅔, Oboe for oboe and electronic music (from Orchester-Finalisten, scene 2 of Mittwoch aus Licht)

Edmund Rubbra, Oboe Sonata

Carl Nielsen, Two Fantasy Pieces for Oboe and Piano, Op. 2

Alessandro Marcello, Concerto in D minor

Ralph Vaughan Williams, Concerto for Oboe and Strings, Ten Blake Songs for oboe and tenor

Camille Saint-Saëns, Sonata for Oboe and Piano in D Major

Bohuslav Martinů, Oboe Concerto

Darius Milhaud, Les rêves de Jacob, op. 294, for oboe, violin, viola, cello, and doublebass (1949); Sonatina, op. 337, for oboe and piano (1954)

Bernd Alois Zimmermann, Concerto for Oboe and Small Orchestra (1952)

Carlos Chávez, Upingos, for unaccompanied oboe

Hans Werner Henze, Doppio concerto, for oboe, harp, and string orchestra (1966)

Bruno Maderna, three oboe concertos (1962–63) (1967) (1973); Grande aulodia, for flute, oboe, and orchestra (1970)

Witold Lutosławski, Double Concerto for Oboe, Harp, and Chamber Orchestra

Ellen Taaffe Zwilich, Oboe Concerto

Paul Hindemith, Sonata for Oboe and Piano

Samuel Barber, Canzonetta, op. 48, for oboe and string orchestra (1977–78, orch. completed by Charles Turner)

Igor Stravinsky, Pastorale (transcribed in 1933 for Violin and Wind Quartet)

Elliott Carter, Oboe Concerto (1986–87); Trilogy, for oboe and harp (1992); Quartet for oboe, violin, viola, and cello (2001)

Heinz Holliger, Sonata, for unaccompanied oboe (1956–57/99); Mobile, for oboe and harp (1962); Trio, for oboe (doubling English horn), viola, and harp (1966); Studie über Mehrklänge, for unaccompanied oboe (1971); Sechs Stücke, for oboe (doubling oboe d’amore) and harp (1998–99)

Jan Dismas Zelenka (1723) Concertanti, Oboe Trios and other works

Tchaikovsky, Theme to Swan Lake

Maurice Ravel, Le Tombeau de Couperin

Use in non-classical music

While the oboe is rarely used in musical genres other than Western classical, there have been a few notable exceptions.

Traditional and folk music

Although folk oboes are still used in many European folk music traditions, the modern oboe has been little used in folk music. One exception was Derek Bell, harpist for the Irish group The Chieftains, who used the instrument in some performances and recordings. The United States contra dance band Wild Asparagus, based in western Massachusetts, also uses the oboe, played by David Cantieni. The folk musician Paul Sartin plays the oboe in several English folk bands including Faustus and Bellowhead. The bagpipe player and bagpipe maker Jonathan Shorland plays a 'rustic oboe' similar to the Breton 'piston' with the bands Primeaval and Juice, and formerly played with Fernhill, who play traditional Welsh music.

Jazz

Since 1996, Jean-Luc Fillon is the main musician playing oboe (and English horn) at the international level in jazz music. Nevertheless this instrument remains very rare throughout the world and in jazz history. Some early bands, most notably that of Paul Whiteman, included it for coloristic purposes. The multi-instrumentalist Garvin Bushell (1902–1991) played the oboe in jazz bands as early as 1924 and used the instrument throughout his career, eventually recording with John Coltrane in 1961. Gil Evans scored for the instrument in his famous Miles Davis collaboration Sketches of Spain. Though primarily a tenor saxophone and flute player, Yusef Lateef was among the first (in 1963) to use the oboe as a solo instrument in modern jazz performances and recordings. Composer and double bassist Charles Mingus gave the oboe a brief but prominent role (played by Dick Hafer) in his composition "I.X. Love" on the 1963 album Mingus Mingus Mingus Mingus Mingus. Marshall Allen occasionally played an oboe with Sun Ra.

With the birth of Jazz fusion in the late 1960s, and its continuous development through the following decade, the oboe started to fulfill a more important role in composition, replacing on some occasions the saxophone as the focal point. The oboe was used with great success by the Welsh multi-instrumentalist Karl Jenkins in his work with the groups Nucleus and Soft Machine, and by the American woodwind player Paul McCandless, co-founder of the Paul Winter Consort and later Oregon. Romeo Penque also played the oboe on Roland Kirk's 1975 album Return of the 5000 Lb. Man, in the song "Theme for the Eulipions."

The 1980s saw an increasing number of oboists try their hand at non-classical work, and many players of note have recorded and performed alternative music on oboe. Some present-day jazz groups influenced by classical music, such as the Maria Schneider Orchestra, feature the oboe.

Double reedist Charles Pillow makes use of oboe and has made an instructional recording for jazz oboe.

Rock and pop

The oboe has been used sporadically in rock recordings, generally by studio musicians on recordings of specific songs.

Norwegian synthpop band, a-ha, used an oboe on the track "Living A Boy's Adventure Tale" from their 1985 debut album, Hunting High and Low.

Jarlaath, the vocalist of the French gothic metal band Penumbra, plays the oboe in a number of the band's songs (since 1997).

In the 2000s, Robbie J. de Klerk, the vocalist of the Dutch melodic doom/death metal band Another Messiah also played the oboe in most songs. In America, the band Hoboe defines itself as a rock band showcasing amplified oboe since 2000, fronted by oboist Zen Ben.

The oboe is featured in the song Reign of Love in Coldplay's album Viva la Vida.

For a historical sampling of songs featuring the oboe see Oboes in popular music

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Film music

The oboe is frequently featured in film music, often to underscore a particularly poignant or sad scene, for example in the motion picture Born on the Fourth of July, where an oboe delicately takes the theme with a romantic and harmonic touch before the strings hand it over once again to the trumpet. One of the most prominent uses of the oboe in a film score is Ennio Morricone's "Gabriel's Oboe" theme from the 1986 film The Mission.

It is featured as a solo instrument in the theme "Across the Stars" from the John Williams score to . The oboe is also used in "The Search" from the Basil Poledouris score to Conan The Barbarian.

Oboe was used to a great effect by A. R. Rahman in the 2008 Bollywood movie Jodhaa Akbar.

Maestro Ilaiyaraaja has used Oboe in his music. . Whether it was in Dalapathi(1991) or the stupendous title Track of Aditya 369(1991) or the Great Classic “Pazhassiraja” (2009) which brought Maestro, the first ever National Award for back ground score or the most recent “Nandalaala”(2010), the Oboe spoke different emotions.

The oboe in popular culture

In popular culture, the oboe is commonly associated (sometimes negatively) with the sound of a duck, a stereotype which was established most notably in Sergei Prokofiev's 1936 composition Peter and the Wolf, a children's orchestral work in which the oboe "plays" the duck character. Young children's literature also reinforces this connection.

Research has shown that among young instrumentalists, the flute, clarinet, and oboe are considered feminine instruments, even though boys favored the sound of the oboe, English horn and bassoon over that of other wind instruments. Some musicians have commented that negative stereotypes associated with the oboe could lead to instrumentation deficits for symphonies in the future.

Among the orchestral community, oboists are known for their perfectionism when it comes to the selection of reeds, hence the famous oboe joke, "How many oboists does it take to change a light bulb? Just one, but he may have to sort through 30 or 40 bulbs to find the right one."

Famous oboists

Oboe manufacturers

Barrington Instruments Inc. (Barrington, Illinois, USA)

Boosey and Hawkes (1851-1970s) (London, UK)

Buffet Crampon (Mantes-la-Ville, France)

Bulgheroni (Parè, Italy)

Cabart or Thibouville-Cabart (1869–1974, bought out by F. Lorée) (Paris, France)

Carmichael (UK)

Chauvet (until ~ 1975) (Paris, France)

Mark Chudnow (MCW, Sierra) (Napa, California, USA)

Constantinides (Pöggstall, Austria)

Covey (Blairsville, Georgia, USA)

Dupin (Moutfort, Luxembourg)

Fossati (incl. Tiery) (Paris, France)

Fox (South Whitley, Indiana, USA)

Frank (Berlin, Germany)

Heckel (until the 1960s) (Wiesbaden, Germany)

Thomas Hiniker Woodwinds (Rochester, Minnesota, USA)

Howarth (London, UK)

Incagnoli (Rome, Italy)

A. Jardé (prior to WWII) (Paris, France)

Josef (Tokyo, Japan)

V. Kohlert & Söhne (1840-1948 Graslitz, Czechoslovakia, 1948-1970s Kohlert & Co. Winnenden, Germany)

Kreul (incl. Mirafone) (Tübingen, Germany)

J. R. LaFleur (1865–1938, bought by Boosey & Hawkes) (London, UK)

Larilee Woodwind Corp. (USA) (Elkhart, Indiana, USA)

A. Läubin (incl. "A. Barré") (Peekskill, New York, USA)

G. LeBlanc (France-USA)

Linton (Elkhart, Indiana, USA)

F. Lorée (incl. Cabart) (Paris, France)

Louis (prior to WWII) (London, UK)

Malerne (until 1974, bought by Marigaux) (La Couture-Boussey, France)

Marigaux (Mantes-la-Ville, France)

Markardt (until 1976, bought by Mönnig) (Erlbach, Germany)

Mollenauer (before WWII; now only recorders) (Fulda, Germany)

Orsi (Tradate, Italy)

[D.W.K Double Reeds Corporation|D.W.K] (Korea)

Gebr. Mönnig - Oscar Adler (Markneukirchen, Germany)

John Packer (Taunton, UK)

Patricola (Castelnuovo Scrivia, Italy)

Püchner (Nauheim, Germany)

Karl Radovanovic (Vienna, Austria)

Rigoutat (incl. RIEC) (Saint-Maur-des-Fossés, France)

A. Robert (prior to WWII) (Paris, France)

Selmer (incl. Bundy, Lesher, Omega, Signet) (France, USA)

Tom Sparkes (Hornsby, New South Wales, Australia)

Ward & Winterbourne (London, UK)

Guntram Wolf (Kronach, Germany)

Yamaha (Japan)

Sources

Baines, Anthony: 1967, Woodwind Instruments and Their History, Third edition, with a foreword by Sir Adrian Boult. London: Faber and Faber.

Beckett, Morgan Hughes: 2008, "The Sensuous Oboe", Orange, CA: Scuffin University Press. ISBN 0-456-00432-7

Burgess, Geoffrey, and Bruce Haynes: 2004, The Oboe, The Yale Musical Instrument Series, New Haven, Connecticut and London: Yale University Press. ISBN 0300093179

Carse, Adam: 1965, Musical Wind Instruments: A History of the Wind Instruments Used in European Orchestras and Wind-Bands from the Later Middle Ages up to the Present Time New York: Da Capo Press. ISBN 0-306-80005-5

Harris-Warrick, Rebecca: 1990, "A Few Thoughts on Lully's hautbois" Early Music 18, no. 1 (February, "The Baroque Stage II"): 97-98+101-102+105-106

Mauro Gioielli: La "calamaula" di Eutichiano, Utriculus, anno VIII, n. 4 (32), ottobre-dicembre 1999, pp. 44–45

Haynes, Bruce: 1985, Music for Oboe, 1650-1800: A Bibliography, Fallen Leaf Reference Books in Music, 8755-268X; no. 4. Berkeley, California: Fallen Leaf Press. ISBN 0914913034

Haynes, Bruce: 1988, "Lully and the Rise of the Oboe as Seen in Works of Art" Early Music 16, no. 3 (August): 324–38.

Haynes, Bruce: 2001, The Eloquent Oboe: A History of the Hautboy 1640–1760, Oxford Early Music Series, Oxford and New York: Oxford University Press. ISBN 019816646X

Howe, Robert: 2003, "The Boehm System Oboe and its Role in the Development of the Modern Oboe", Galpin Society Journal 56:27–60 +plates on 190–92

Howe, Robert, and Peter Hurd: 2004, "The Heckelphone at 100", Journal of the American Musical Instrument Society 30:98–165.

Marcuse, Sybil: 1975, Musical Instruments: A Comprehensive Dictionary Revised edition, The Norton Library, New York: W. W. Norton. ISBN 0-393-00758-8

References

External links

Northwest Oboe Seminar Day-long seminar designed for intermediate through advanced oboists.

Oboe Fingering Trainer Interactive Oboe Fingering Trainer!

Peter Wuttke: The Haynes-Catalog bibliography of literature for oboe written between 1650 and 1800.

Oboe and Reed Making Information

Experiments in Jazz Oboe by Alison Wilson (archive link, was dead)

OboeSpace: Oboe information

ASU Oboe Homepage

Origin

Oboe fingering guide

Fingering chart for Baroque oboe by Stephen Hammer

hautboy.org resource site for early oboes

Reed making information and new music featuring oboe

Oboe Reed Diagram

Oboist Liang Wang: His Reeds Come First NPR story by Debbie Elliott

High Wood Fanlisting for the Oboe

oboeinsight

Gesellschaft der Freunde der Wiener Oboe (Viennese Oboe Society)

"Oboe FM"

Listening

NPR interview with New York Philharmonic principal oboist Liang Wang, September 2006

Oboe sound gallery of clips of dozens of prominent oboists in the United States, Europe, and Australia

Category:Oboes Category:Single oboes with conical bore

Name	Ennio Morricone
Background	non_performing_personnel
Born	November 10, 1928
Alias	Maestro
Genre	Film music, Classical music, Pop music, Jazz, Lounge music, Easy listening
Origin	Rome, Italy
Occupation	Composer, orchestrator, music director, conductor, trumpeter
Associated acts	Bruno Nicolai, Alessandro Alessandroni, Mina, Yo-Yo Ma, Mireille Mathieu, Joan Baez, Andrea Bocelli, Sarah Brightman, Amii Stewart, Paul Anka, Milva, Gianni Morandi, Dalida, Catherine Spaak, Pet Shop Boys and others
Years active	1946 – present
Url	http://www.enniomorricone.it

Ennio Morricone, Grande Ufficiale OMRI (born November 10, 1928) is an Italian composer and conductor.

He is considered one of the most prolific and influential film composers of his era. Morricone has composed and arranged scores for more than 500 film and TV productions. He is well-known for his long-term collaborations with international acclaimed directors such as Sergio Leone, Brian De Palma, Barry Levinson, and Giuseppe Tornatore.

He wrote the characteristic film scores of Leone's Spaghetti Westerns A Fistful of Dollars (1964), For a Few Dollars More (1965), The Good, the Bad and the Ugly (1966) and Once Upon a Time in the West (1968). In the 80s, Morricone composed the scores for John Carpenter's horror movie The Thing (1982), Leone's Once Upon a Time in America (1984), Roland Joffé's The Mission (1986), Brian De Palma's The Untouchables (1987) and Giuseppe Tornatore's Cinema Paradiso (1988). His more recent compositions include the scores for Oliver Stone's U Turn (1997), Tornatore's The Legend of 1900 (1998) and Malèna (2000), De Palma's Mission to Mars (2000), Lajos Koltai's Fateless (2005), and Tornatore's Baaria - La porta del vento (2009).

Morricone has won two Grammy Awards, two Golden Globes, five Anthony Asquith Awards for Film Music by BAFTA in 1979–1992 and the Polar Music Prize in 2010. He has been nominated for five Academy Awards for Best Music, Original Score during 1979–2001. He received the Academy Honorary Award in 2007 "for his magnificent and multifaceted contributions to the art of film music".

Life and career

Classical music

Ennio Morricone was born in Rome, the son of Libera and Mario Morricone, a jazz trumpeter. Morricone wrote his first compositions when he was six years old and was encouraged to develop these natural talents. Compelled to take up the trumpet, he had first gone to the National Academy of Santa Cecilia to take lessons on the instrument at the age of nine. Morricone formally entered the conservatory in 1940 at the age of 12, enrolling in a four-year harmony program. According to various reports, he completed it in either two years or six months (date approximate). He studied the trumpet, composition, choral music, and choral direction under Goffredo Petrassi, who deeply influenced him and to whom Morricone has dedicated concert pieces.

These were the difficult years of World War II in the heavily bombed "open city"; the composer remarked that what he mostly remembered of those years was the hunger. His wartime experiences influenced many of his scores for films set in that period.

After he graduated, he continued to work in classical composition and arrangement. In 1946, Morricone received his trumpet diploma and in the same year he composed "Il Mattino" ("The Morning") for voice and piano on a text by Fukuko, first in a group of 7 "youth" Lieder. Other serious compositions are "Imitazione" (1947) for voice and piano on a text by Giacomo Leopardi and "Intimita" for voice and piano on a text by Olinto Dini.

In the early 1950s, Morricone began writing his first background music for radio dramas. Nonetheless he continued composing classical pieces as "Distacco I e Distacco II" for voice and piano on a text by Ranieri Gnoli, "Verra' la Morte" for contralto and piano on a text by Cesare Pavese, "Oboe Sommerso" for baritone and five instruments on a text by Salvatore Quasimodo.

Although the composer had received the "Diploma in Instrumentation for Band" (fanfare) in 1952, his studies concluded in 1954, obtaining a diploma in Composition under the composer Goffredo Petrassi. In 1955, Morricone started to write or arrange music for films credited to other already well-known composers (ghost writing). He occasionally adopted Anglicized pseudonyms, such as Dan Savio and Leo Nichols.

Morricone wrote more works in the climate of the Italian avant-garde. A few of these compositions have been made available on CD, such as "Ut", his trumpet concerto dedicated to the soloist Mauro Maur, one of his favorite musicians; some have yet to be premiered. From the mid-sixties and onwards, he was part of Gruppo di Improvvisazione Nuova Consonanza, a group of composers who performed and recorded avant garde free improvisations, even scoring a few films during the 1970's.

Early pop arrangements

In 1956, Morricone started to support his family by playing in a jazz band and arranging pop songs for the Italian broadcasting service RAI. Performed by Mina, it was a standout track of Studio Uno 66, the fifth-biggest-selling album of the year 1966 in Italy. Morricone's sophisticated arrangement of "Se telefonando" was a combination of melodic trumpet lines, Hal Blaine–style drumming, a string set, a '60s Europop female choir, and intensive subsonic-sounding trombones. The Italian Hitparade #7 song had eight transitions of tonality building tension throughout the chorus. In the reader's poll conducted by the la Repubblica newspaper to celebrate Mina's 70th anniversary in 2010, 30,000 voters picked the track as the best song ever recorded by Mina. Throughout the '60s Morricone composed songs for other artists including Milva, Gianni Morandi, Paul Anka, Amii Stewart, and Mireille Mathieu.

Leone film scores

Well-versed in a variety of musical idioms from his RCA experience, Morricone began composing film scores in the early 1960s. The scores included psychedelic accompaniment for Mario Bava's superhero romp (1968). The next year marked the start of a series of evocative scores for Dario Argento's stylized thrillers, including The Bird with the Crystal Plumage (1969), The Cat o' Nine Tails (1971), and Four Flies on Grey Velvet (1974). and Le Professionnel (1981) as well as the TV series The Life and Times of David Lloyd George (1981). Morricone worked as the conductor of seasons 3 to 5 of the series. He also worked as the music supervisor for the television project La bibbia ("The Bible"). In the late 1990s, he collaborated with his son, Andrea, on the Ultimo crime dramas. Their collaboration yielded the BAFTA-winning Nuovo cinema Paradiso. In 2003, Ennio Morricone scored another epic, for Japanese television, called Musashi and was the Taiga drama about Miyamoto Musashi, Japan's legendary warrior. A part of his "applied music" is now applied to Italian television films.

Tours

Since 2001, Morricone has been on a world tour, the latter part sponsored by Giorgio Armani, with the Orchestra Roma Sinfonietta, touring London (Barbican 2001; 75th birthday Concerto, Royal Albert Hall 2003), Paris, Verona, and Tokyo. Morricone performed his classic film scores at the Munich Philharmonie in 2005 and Hammersmith Apollo Theatre in London, UK, on 2006-12-01 and 2006-12-02.

He made his North American concert debut on January 29, 2007 Auditorio Nacional in Mexico City and four days later at Radio City Music Hall in New York City. The previous evening, Morricone had already presented at the United Nations a concert comprising some of his film themes, as well as the cantata Voci dal silenzio to welcome the new Secretary-General Ban Ki-Moon. A Los Angeles Times review bemoaned the poor acoustics and opined of Morricone: "His stick technique is adequate, but his charisma as a conductor is zero." Morricone, though, has said: "Conducting has never been important to me. If the audience comes for my gestures, they had better stay outside."

On December 12, 2007, Morricone conducted the Roma Sinfonietta at the Wiener Stadthalle in Vienna, presenting a selection of his own works. Together with the Roma Sinfonietta and the Belfast Philharmonic Choir, Morricone performed at the Opening Concerts of the Belfast Festival at Queen's, in the Waterfront Hall on October 17 and 18, 2008. Morricone and Roma Sinfonietta also held a concert at the Belgrade Arena (Belgrade, Serbia) on February 14, 2009.

On April 10, 2010, Morricone conducted a concert at the Royal Albert Hall in London with the Roma Sinfonietta and (as in all of his previous London concerts) the Crouch End Festival Chorus. On August 27, 2010, he conducted a concert in Hungary. Two other concerts took place in Verona and Sofia (Bulgaria) on 11 and 17 September 2010.

Academy Award

Morricone received an honorary Academy Award on February 25, 2007, presented by Clint Eastwood, "for his magnificent and multifaceted contributions to the art of film music." With the statuette came a standing ovation. Though nominated five times, he had not previously received an Oscar. In conjunction with the honor, Morricone released a tribute album, We All Love Ennio Morricone, that featured as its centerpiece Celine Dion's rendition of "I Knew I Loved You" (based on "Deborah's Theme" from Once Upon a Time in America), which she performed at the ceremony. Behind-the-scenes studio production and recording footage of "I Knew I Loved You" can be viewed in the debut episode of the QuincyJones.com Podcast. The lyric, as with Morricone's Love Affair, had been penned by Oscar-winning husband-and-wife duo Marilyn and Alan Bergman. Morricone's acceptance speech was in his native Italian tongue and was interpreted by Clint Eastwood, who stood to his left. Eastwood and Morricone had in fact met two days earlier—for the first time in 40 years—at a reception.

Morricone and Alex North are the only composers to receive the honorary Oscar since the award's introduction in 1928.

Recent activity

Morricone provided the string arrangements on Morrissey's "Dear God Please Help Me" from the album Ringleader of the Tormentors in 2006.

Quentin Tarantino originally wanted Morricone to compose the soundtrack for his most recent film, Inglourious Basterds. However, Morricone refused because of the sped-up production schedule of the film. Tarantino did use several Morricone tracks from previous films in the soundtrack.

Morricone instead wrote the music for Baaria - La porta del vento, the most recent movie by Giuseppe Tornatore. The composer is also writing music for Tornatore's upcoming movie Leningrad.

Personal life

On 13 October 1956, he married Maria Travia and had his first son, Marco, in 1957. Travia has written lyrics to complement her husband's pieces. Her works include the Latin texts for The Mission. They have three sons and a daughter, in order of birth: Marco, Alessandra, Andrea [Andrew], and Giovanni.

Prizes and awards

1965 — Nastro d'Argento for A Fistful of Dollars

1967 — Diapason d'Or

1969 — Premio Spoleto Cinema

1970 — Nastro d'argento for Metti una sera a cena

1971 — Nastro d'argento for Sacco e Vanzetti

1972 — Cork Film International for La califfa

1979 — Oscar Nomination for Days of Heaven

1979 — Premio Vittorio de Sica

1981 — Premio della critica discografica for Il prato

1984 — Premio Zurlini

1985 — Nastro d'argento and BAFTA for Once Upon A Time In America

1986 — Oscar Nomination, BAFTA and Golden Globe Award for The Mission

1986 — Premio Vittorio de Sica

1988 — Nastro d'argento, BAFTA, Grammy Award and Oscar Nomination for The Untouchables

1988 — David di Donatello for Gli occhiali d'oro

1989 — David di Donatello for Nuovo Cinema Paradiso

1989 — Ninth Annual Ace Winner for Il giorno prima

1989 — Pardo d'Oro alla carriera (Locarno Film Festival)

1990 — BAFTA, Prix Fondation Sacem del XLIII Cannes Film Festival and David di Donatello for Nuovo Cinema Paradiso

1991 — David di Donatello for Stanno tutti bene

1992 — Oscar Nomination for Bugsy

1992 — Pentagramma d'oro

1992 — Premio Michelangelo

1992 — Grolla d'oro alla carriera (Saint Vincent)

1993 — David di Donatello and Efebo d'Argento for Jonas che visse nella balena

1993 — Globo d'oro Stampa estera in Italia

1993 — Gran Premio SACEM audiovisivi

1994 — ASCAP Golden Soundtrack award (Los Angeles)

1995 — Premio Rota

1995 — Leone d'Oro Honorary award (Venice Film Festival)

1996 --Premio citta' di Roma

1996 — Premio Cappelli

1996 — Premio Accademia di Santa Cecilia

1997 — Premio Flaiano

1998 — Columbus Prize

1999 — Erich Wolfgang Korngold Internationaler Preis für Film

1999 — Exsquibbidles Film Academy lifetime achievement award

2000 — Golden Globe Award for The Legend of 1900 (1998)

2000 — David di Donatello for Canone inverso

2000 — Oscar nomination for Malèna

2002 — Honorary Degree by the "Seconda Università" of Rome

2003 — Golden Eagle Award for 72 Meters

2003 — Honorary Senator of the Filmscoring Class of the Hochschule für Musik und Theater München

2006 — Grand Officer award from President of the Italian Republic Carlo Azeglio Ciampi

2007 — Honorary Academy Award for career achievement

2007 — The Film & TV Music Award for Lifetime Achievement

2008 — Grammy Award for Best Rock Instrumental, performed by Bruce Springsteen

2008 — Knight in the Order of the Legion of Honor

2009 — Medal of Merits for Macedonia

2009 — America Award of the Italy-USA Foundation

2010 — Polar Music Prize of the Royal Swedish Academy of the Arts

Discography

Ennio Morricone has sold over 50 million records worldwide, including 6.5 million copies in France and more than two million albums in Korea.

Top worldwide film grosses

Ennio Morricone has been involved with eight movies grossing over $25 million at the box office:

{|class="wikitable" |- ! Year !! Title !! Director !! Gross |- | 1966 || The Good, The Bad & The Ugly || Sergio Leone || $25,100,000 |- | 1977 || || John Boorman || $30,749,142 |- | 1987 || The Untouchables || Brian De Palma || $76,270,454 |- | 1991 || Bugsy || Barry Levinson || $49,114,016 |- | 1993 || In the Line of Fire || Wolfgang Petersen || $176,997,168 |- | 1994 || Wolf || Mike Nichols || $131,002,597 |- | 1994 || Disclosure || Barry Levinson || $214,015,089 |- | 2000 || Mission to Mars || Brian De Palma || $110,983,407 |}

Other successful movies with Morricone's work are Kill Bill 1 & 2 (2001) and Inglourious Basterds (2009), though the tracks used are sampled from older pictures.

Influence

Morricone's influence extends into the realm of pop music. Hugo Montenegro had a hit with a version of the main theme from The Good, the Bad and the Ugly in both the United Kingdom and the United States. This was followed by his album of Morricone's music in 1968.

Aside from his music having been sampled by everyone from rappers (Jay-Z) to electronic outfits (the Orb), Morricone wrote "Se Telefonando", which became Italy's fifth biggest-selling record of 1966 and has since been re-recorded by Françoise Hardy, among many others, and scored the strings for "Dear God, Please Help Me" on Morrissey's 2006 "Ringleader of the Tormentors" album.

Morricone's film music was also recorded by many artists. John Zorn recorded an album of Morricone's music, The Big Gundown, with Keith Rosenberg in the mid-1980s. Lyricists and poets have helped convert some of his melodies into a songbook.

Morricone collaborated with world music artists, like Portuguese fado singer Dulce Pontes (in 2003 with Focus, an album praised by Paulo Coelho and where his songbook can be sampled) and virtuoso cellist Yo-Yo Ma (in 2004), who both recorded albums of Morricone classics with the Roma Sinfonietta Orchestra and Morricone himself conducting.

Metallica uses Morricone's The Ecstasy of Gold as an intro at their concerts (shock jocks Opie and Anthony also use the song at the start of their XM Satellite Radio and CBS Radio shows.) The San Francisco Symphony Orchestra also played it on Metallica's Symphonic rock album S&M;. Ramones used the theme from The Good, the Bad and the Ugly as a concert intro. The theme from A Fistful Of Dollars is also used as a concert intro by The Mars Volta.

His influence extends from Michael Nyman to Muse. He even has his own tribute band, a large group which started in Australia, touring as The Ennio Morricone Experience.

In 2007, the tribute album We All Love Ennio Morricone was released. It features performances by various artists, including Sarah Brightman, Andrea Bocelli, Celine Dion, Bruce Springsteen and Metallica.

Lead singer Adam Trula of the rock group Murder By Death has cited Morricone as a major influence of the band, and their 2008 album Red of Tooth and Claw features the track "Theme (For Ennio Morricone)," an instrumental arrangement styled after Morricone's western sountracks.

British band Babe Ruth has covered several of his themes, most prominently in their song "The Mexican". The adventure video game Wild Arms by PlayStation features a soundtrack which is reminiscent of his work and includes a theme from The Good, the Bad, and the Ugly soundtrack.

In January, 2010, tenor Donald Braswell II released his album "We Fall and We Rise Again" on which he presented his tribute to Ennio Morricone with his original composition entitled "Ennio".

Trivia

The 2003 Quentin Tarantino film Kill Bill Volumes 1 & 2 makes extensive use of several Morricone pieces from several 1960s film scores. The 2009 film Inglourious Basterds also uses many Morricone pieces, as well as sharing "Il Mercenario (Ripresa)" with Kill Bill.

Ciarán Farrell was one of Ennio Morricone's students.

In 1990 the American singer Amii Stewart, best known for the 1979 disco hit "Knock On Wood", recorded a tribute album entitled Pearls - Amii Stewart Sings Ennio Morricone for the RCA label, including a selection of the composer's best known songs. Since the mid 1980s Stewart resides in Italy, the Pearls album features Rome's Philharmonic Orchestra and was co-produced by Morricone himself.

Lars Ulrich and James Hetfield of Metallica are fans of Morricone; from whom they took inspiration to write many songs, such as The Unforgiven (song).

The asteroid 152188 Morricone was named in Morricone's honour on 2007-06-01.

NBC Sports borrowed Morricone's theme from The Untouchables for use during the closing credits of their coverage of the 2000 American League Championship Series. This was accompanied by a video montage commemorating the network's final Major League Baseball telecast.

Mr. Bungle have covered several Morricone songs live including Muscoli Di Velluto from Malamondo and Main themes from Città Violenta, Una Lucertola Con La Pelle di Donna and Metti, Una Sera a Cena.

Fantômas did a cover of the main theme to Investigation of a Citizen Above Suspicion on their album The Director's Cut — an album of film soundtrack covers.

Chico Buarque recorded an album with Morricone in 1970 called Per Un Pugno di Samba when the former was exiled from Brazil.

Wall of Voodoo, of "Mexican Radio" fame, would perform medleys of famous pieces by Morricone at early live shows, as heard on their EP/live album The Index Masters.

Jackass Number Two uses his song "Ecstasy of Gold" at the beginning of the movie.

Rapper Immortal Technique samples "Ecstasy of Gold" in his song "Land of the Gun".

Italian thrash metal band Schizo recorded a cover of Morricone's "The Sicilian Clan" original soundtrack song for their 2007 album "Cicatriz Black".

The Vandals, in their 1984 album "Peace thru Vandalism", play their own version of the famous theme from The Good, the Bad, and the Ugly in the introduction to the "Urban Struggle" track.

The English pop band Erasure covered the main theme of the film The Good, the Bad and the Ugly in 1988 as a B-side of their single Chains of Love. The band also performed this theme live during all the concerts of its 1992 tour.

Hans Zimmer's Parlay in Soundtrack is a tribute to Ennio Morricone's Man with a Harmonica.

Graeme Revell's scores was thought to have been inspired by Ennio Morricone's cult film and speghetti western scores.

British band Muse cites Morricone as an influence for the songs City of Delusion, Hoodoo, and Knights of Cydonia on their album, Black Holes and Revelations.. The band has recently started playing the song "Man With A Harmonica" live played by Chris Wolstenholme, as an intro to Knights of Cydonia.

The ambient electronic act The Orb sampled Morricone's "The Man With The Harmonica" (from the film Once Upon a Time in the West) in the opening to their 1990 single "Little Fluffy Clouds".

The final installment of the massively popular video game series, Metal Gear Solid, uses in Morricone's song "Here's to You", taken from the film Sacco e Vanzetti.

Inti-Illimani, in their 2004 Italian concert and album "Viva Italia", play their tribute of the Love Theme from "Cinema Paradiso".

The generic of Italiques 70's show produced by Marc Gilbert on French television used the soundtrack of Dio è con noi of Ennio Morricone, with a motion picture of Jean-Michel Folon that stayed the generic of the public channel for twenty years.

On 13 August 2008 at Marlay Park in Dublin, Christopher Wolstenholme of Muse Played Ennio's "Man with the Harmonica" on harmonica before the band ended their set with Knights of Cydonia (A song with Morricone's classical influence).

The Bandini remix of the Ecstasy of Gold is used in Nike's "Leave Nothing" commercial with Ladainian Tomlinson and Troy Polamalu and directed by David Fincher.

Jay-Z rapped over "Ecstasy of Gold" in the track "Blueprint2" off of "The Blueprint 2: The Gift & the Curse".

Chi Mai is used in song Heartless by Black Attack from 1998.

Independent pro wrestler Eddie Kingston uses The Ecstasy of Gold as his entrance music.

The UK electronic band The Prodigy sampled The Big Gundown into their version of the song. Which can be found on the Lost Beats EP included with the 2009 album Invaders Must Die.

American thrash metal band Metallica plays "The Ecstasy of Gold" soundtrack before they play their set at almost every concert. They have been doing so since the 1980s.

The Book of Eli (2010) film depicts Ray Stevenson whistling Once Upon a Time in America in a car while examining a machete.

Canadian band Les Georges Leningrad recorded a song entitled "Ennio Morricone".

The UK band Mamma Freedom who are on the same roster as Ennio Morricone cite him as an influence on their more orchestral songs.

Morricone's "Tema Di Alì" from The Battle of Algiers is used in the Michael Jordan "Field Generals" Nike Commercial.

The teaser trailer for Frank Miller's The Spirit used Morricone's opening theme from The Untouchables.

Sources

Horace, B. Music from the Movies, film music journal double issue 45/46, 2005: ISSN 0967-8131

Miceli, Sergio. Morricone, la musica, il cinema. Milan: Mucchi/Ricordi, 1994: ISBN 88-7592-398-1

Miceli, Sergio. "Morricone, Ennio". The Nesw Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers.

Poppi, R., M. Pecorari. Dizionario del cinema italiano. I film vol. 3. Dal 1960 al 1969. Gremese, 1993: ISBN 88-7605-593-2

Poppi, R., M. Pecorari. Dizionario del cinema italiano. I film vol. 4. Dal 1970 al 1979* A/L. Gremese, 1996: ISBN 88-7605-935-0

Poppi, R., M. Pecorari. Dizionario del cinema italiano. I film vol. 4. Dal 1970 al 1979** M/Z. Gremese, 1996: ISBN 88-7605-969-5

Poppi, R., M. Pecorari. Dizionario del cinema italiano. I film vol. 5. Dal 1980 al 1989* A/L. Gremese, 2000: ISBN 88-7742-423-0

Poppi, R., M. Pecorari. Dizionario del cinema italiano. I film vol. 5. Dal 1980 al 1989** M/Z. Gremese, 2000: ISBN 88-7742-429-X

References

Further reading

Lhassa, Anne, and Jean Lhassa: Ennio Morricone: biographie. Les Planches. Lausanne: Favre; [Paris]: [diff. Inter-forum], 1989. ISBN 2-8289-0418-0,

Wagner, Thorsten. "Improvisation als 'weiteste Ausdehnung des Begriffs der aleatorischen Musik': Franco Evangelisti und die Improvisationsgruppe Nuova Consonanza". In ...hin zu einer neuen Welt: Notate zu Franco Evangelisti, edited by Harald Muenz,.48-60, 2002. Saarbrücken: Pfau-Verlag. ISBN 3-89727-177-X.

Webb, Michael D. Italian 20th Century Music: The Quest for Modernity. London: Kahn & Averill. ISBN 978-1-871082-89-0

External links

Ennio Morricone myspace

The Ennio Morricone Online Community

Once upon a Time in the West">Streaming audio of Morricone's "The Man with the Harmonica," from his soundtrack to Once upon a Time in the West

TÊTE-À-TÊTE: Ennio Morricone by Nic Harcourt at Los Angeles Times Magazine

Category:1928 births Category:20th-century classical composers Category:Accademia Nazionale di Santa Cecilia alumni Category:Academy Honorary Award recipients Category:BAFTA winners (people) Category:European Film Awards winners (people) Category:Grammy Award winners Category:Italian composers Category:Italian film score composers Category:Living people Category:People from Rome (city) Category:Spaghetti Western composers

Nicholas Daniel (born 9 January 1962) is a British oboist and conductor. He won the BBC Young Musician of the Year Competition at eighteen and has since become one of the United Kingdom's most distinguished soloists. He is a founding member of the Haffner Wind Ensemble and the Britten Sinfonia.

At his debut at the BBC Proms in 1992, when in his twenties, The Sunday Times described Nicholas Daniel as one of the greatest exponents of the oboe in the world. Today, one of the UK's most distinguished soloists as well as an increasingly successful conductor, he has become an important ambassador for music and musicians in many different fields.

Educated at Salisbury Cathedral School, where he was a chorister, the Purcell School for gifted young musicians and at the Royal Academy of Music, Nicholas Daniel studied with Irene Pragnell, George Caird, Janet Craxton and Celia Nicklin. At the age of 18, he was the winner of the BBC's prestigious Young Musician of the Year Competition. He went on to win major prizes at several other competitions, including the International Double Reed Society competition in Graz, and the Munich International Oboe Competition, where he was the first ever - and only - British prize-winner. On leaving the Royal Academy in 1983, he played as solo oboe with many of Britain's foremost chamber and symphony orchestras, but in 1990, however, he decided to concentrate solely on solo playing and chamber music, and, more recently, on conducting.

He has been heard in recital on every continent, and has been a concerto soloist with orchestras such as the Royal Philharmonic, the City of Birmingham Symphony, the Academy of St Martin in the Fields, the Seoul Philharmonic, the Britten Sinfonia, the English Chamber Orchestra, the Scottish Chamber Orchestra, the Ulster Orchestra, the Israel Sinfonietta, the Netherlands and Bavarian Radio Orchestras, the Orquestro Sinfonico di Rio, the European Union Chamber Orchestra and the Budapest Strings, under such conductors as Sir Roger Norrington, Oliver Knussen, Richard Hickox, Sakary Oramo, Tadaaki Otaka and Sir Peter Maxwell Davies. Additionally, he has been a guest artist with all the BBC orchestras. Since his debut at the Promenade Concerts, he has appeared there on several occasions, performing Strauss Oboe Concerto; the world premiere of John Woolrich's Oboe Concerto, which was commissioned by the BBC; and Benjamin Britten's Six Metamorphoses. He appeared in the 2003 season in Thea Musgrave's Helios, a work written especially for him. He made his conducting debut at the Proms in 2004 in the Chamber series with the Britten Sinfonia.

An active chamber musician, Nicholas Daniel is a founder member of the Haffner Wind Ensemble, one of the pre-eminent wind ensembles in Britain. Other chamber music affiliations include highly celebrated and successful twenty two-year collaboration with pianist Julius Drake, as well as regular appearances with the Maggini and Lindsay String Quartets.

He was Artistic Director of the Osnabrück Chamber Music Days in Germany from 2001-2004. In 2002 he was appointed Associate Artistic Director of the Britten Sinfonia, the ground-breaking chamber orchestra based in Cambridge, as well as Artistic Director of the Isle of Wight, now Barbirolli/lsle of Man, International Oboe Competition, and in 2003 he was appointed Artistic Director of the Leicester International Music Festival in the UK. He is a member of the UK Arts Council in the East of England where he makes his home.

Recent performances include conducting and performing engagements in Melbourne (Australia), at the Aldeburgh Festival, with the City of Birmingham Symphony Orchestra under Sakari Oramo, Bruckner's Fourth Symphony with the Leicester Symphony Orchestra in Leicester and Paris, concerts with the Haffner Wind Ensemble in the UK including at the Wigmore Hall, concerts conducting and directing the Britten Sinfonia with pianist Rolf Hind, a master course near Venice, conducting at the 2004 Proms, his conducting debut at the Philharmonie in Berlin and 6 concerts conducting and playing with the Britten Sinfonia to celebrate 100 years since the birth of Michael Tippett.

He has been an important force in the creation and performance of new repertoire for oboe. Together with Julius Drake, he has premiered works by Henri Dutilleux, Sir Harrison Birtwistle, Sir Michael Tippett, Nigel Osborne and John Woolrich as well as many other distinguished composers. With the English Chamber Orchestra, he gave the world premiere of the orchestral version of Britten's Temporal Suite at the 1994 Aldeburgh Festival; and with the Scottish Chamber Orchestra the world premiere of Musgrave's Helios at the St Magnus Festival. Additionally, composers such as Sir Peter Maxwell Davies, John Tavener, Oliver Knussen, Michael Berkeley and David Matthews have written pieces especially for him. Currently, John Tavener is composing a major work for oboe and strings for Nicholas Daniel as well as a song cycle for oboe, tenor and piano, Jonathan Harvey is writing a concerto and Thea Musgrave is writing a double concerto for oboe, percussion and orchestra for the BBC Proms that will feature Daniel with Evelyn Glennie.

A committed teacher, Nicholas Daniel was appointed Professor of Oboe and Chamber Music at London's Guildhall School of Music and Drama at age 23. He served as Professor of Oboe at the Indiana University School of Music from 1997-99, and is now a Fellow of both the Guildhall School and the Royal Academy of Music. He was appointed Prince Consort Professor at the Royal College of Music, London from 1999-2002 and in 2004 took up the post of Professor at the Trossingen Musikhochschule in Germany.

He can be heard on more than 30 recordings for such labels as Virgin Classics, Chandos, BMG Conifer and Leman Classics, most recently in Bliss's Oboe Quintet on Naxos with the award winning Maggini Quartet, in the music of John Tavener with Fretwork on Harmonia Mundi USA, and with the BBC National Orchestra of Wales under Richard Hickox in concertos by Michael and Lennox Berkeley, which recording was BBC Record Review's Disc of the Week.

In 1979 Daniel toured Australia with the Hampshire County Youth Orchestra, playing in Melbourne, in Canberra for the Governor General, and as part of the first British orchestra to play in the fledgling Sydney Opera House. He nearly remained in Sydney when he could not find the $10 exit tax at the airport and had to borrow from flautist Matthew Fuller.

Daniel has formed a duo with pianist Julius Drake that dates from 1981. He was Professor of Oboe at the Guildhall School of Music and Drama for 10 years, then in 1997 became Professor of Oboe and Conducting at the Indiana University School of Music. He then was invited to be Prince Consort Professor of Oboe at the Royal College of Music in London. In 2004, he was named Professor of Oboe at the Musikhochschule in Trossingen, Germany.

Nicholas Daniel is the Principal Oboist for Britten Sinfonia, frequently appearing as a member of the orchestra and also as a soloist/director. Britten Sinfonia released its first own label recording in March 2009, which features Nicholas Daniel in John Tavener's Songs of the Sky.

Daniel has commissioned and premiered many new works for the oboe, to increase its status as a solo instrument. Such works include: The Fabric of Dreams by Michael Zev Gordon (2006) Kaleidoscopes by John Tavener (2006) Sorella by Rory Boyle (2007). Oboe Concerto by James MacMillan (2010).

References

External links

Official site

Bio at sanctuaryclassics.com

Category:1962 births Category:Living people Category:British classical oboists Category:Place of birth missing (living people)

Ton Koopman (born 2nd October 1944 in Zwolle, Netherlands) is a conductor, organist and harpsichordist.

Koopman had a "classical education" and then studied the organ (with Simon C. Jansen), harpsichord (with Gustav Leonhardt) and musicology in Amsterdam. He specialized in Baroque music and received the Prix d'Excellence for both organ and harpsichord. In 1979 Koopman founded the Amsterdam Baroque Orchestra and the Amsterdam Baroque Choir in 1992 (now combined as the Amsterdam Baroque Orchestra & Choir). Koopman concentrates on Baroque music, especially that of Bach, and is a leading figure in the authentic performance movement. While a number of early-music conductors have ventured into newer music, Koopman has not. He has said, "I draw the line at Mozart’s death" (1791). One exception is his recording of the Concert Champêtre of Francis Poulenc, written in 1928.

Among Koopman's most ambitious projects was the recording of the complete cycle of all of Bach's cantatas, a project completed in 2005. Soloists for the project were among others Lisa Larsson, Sandrine Piau, Sibylla Rubens, Barbara Schlick, Caroline Stam, Deborah York and Johannette Zomer (soprano), Bogna Bartosz, Michael Chance, Franziska Gottwald, Bernhard Landauer, Elisabeth von Magnus, Annette Markert and Kai Wessel (alto), Paul Agnew, Jörg Dürmüller, James Gilchrist, Christoph Prégardien and Gerd Türk (tenor) and Klaus Mertens (bass). Koopman has received many prizes for his recordings. In 2005 he has commenced Dieterich Buxtehude – Opera Omnia, a project to record the complete works of Dieterich Buxtehude. As of March 2010, eleven volumes have been released. He was elected president of the "International Dieterich Buxtehude Society" in 2004.

Koopman's extensive discography includes the complete Bach cantatas and organ works, St Matthew Passion (twice) and St John Passion, Mass in B minor, Christmas Oratorio, a recording of his own reconstruction of the lost St Mark Passion, concertos and harpsichord works by Bach, Mozart's Coronation Mass and Vespers, Requiem, a cycle of Mozart symphonies, Vivaldi's The Four Seasons, Handel's Messiah and Organ Concertos, et al.

Besides his work with the Amsterdam Baroque Orchestra & Choir, he is in frequent demand as guest conductor and as harpsichordist and organist. Some of his organ interpretations have drawn criticism for their overuse of ornamentation. His aim is always to achieve authenticity in performance, using exact copies of historical instruments from the time of the composer.

In 2003 he established his own recording company "Antoine Marchand" (a French translation of his name).

In April 2003 he was knighted in the Netherlands, receiving the Order of the Netherlands Lion.

He is professor at The Royal Conservatory of The Hague.

References

Interview

Reviews

Biography at Naxos.com

Biography at Leiden University

Article at Leiden University

Other article at Leiden University

Bach-cantatas.com: Ton Koopman

On-Line meeting

External links

Ton Koopman official website

International Dieterich Buxtehude Society

Weblog

Ton Koopman's guest page and recorded sessions at U-Sophia, where minds meet on-line

Category:1944 births Category:Dutch conductors (music) Category:Choral conductors Category:Dutch harpsichordists Category:Dutch classical organists Category:Clavichordists Category:Performers of early music Category:Dutch academics Category:People from Zwolle Category:Living people Category:Honorary Members of the Royal Academy of Music Category:Knights of the Order of the Netherlands Lion

Elliott Cook Carter, Jr. (born December 11, 1908) is a two-time Pulitzer Prize-winning American composer born and living in New York City. He studied with Nadia Boulanger in Paris in the 1930s, and then returned to the United States. After a neoclassical phase, he went on to write atonal, rhythmically complex music. His compositions, which have been performed all over the world, include orchestral and chamber music as well as solo instrumental and vocal works.

He has been extremely productive in his latter years, publishing more than 40 works between the ages of 90 and 100, Although Carter majored in English at Harvard College, he also studied music there and at the nearby Longy School of Music. His professors included Walter Piston and Gustav Holst. He sang with the Harvard Glee Club. He did graduate work in music at Harvard, from which he received a Master's degree in music in 1932. He then went to Paris to study with Nadia Boulanger (as did many other American composers). Carter worked with Mlle Boulanger from 1932–35 and in 1935 he received a doctorate in music (D Mus) from the Ecole Normale in Paris. Later in 1935 he returned to the US where he wrote music for the Ballet Caravan.

From 1940 to 1944 Elliott Carter taught in the program, including music, at St. John's College in Annapolis, Maryland. On July 6, 1939, Carter married Helen Frost-Jones. They had one child, a son, David Chambers Carter. During World War II, Carter worked for the Office of War Information. He later held teaching posts at the Peabody Conservatory (1946–1948), Columbia University, Queens College, New York (1955–56), Yale University (1960–62), Cornell University (from 1967) and the Juilliard School (from 1972). In 1967 he was appointed a member of the American Academy of Arts and Letters. In 1985 he was awarded the National Medal of Arts. Carter has lived in Greenwich Village since 1945.

On December 11, 2008, Carter celebrated his 100th birthday at Carnegie Hall in New York, where the Boston Symphony Orchestra and pianist Daniel Barenboim played his Interventions for Piano and Orchestra from 2008. Between the ages of 90 and 100, Carter published more than 40 works, and after his 100th birthday he has composed three more.

Carter is on the faculty of the Tanglewood Music Center where he gives annual composition master classes.

Style and works

Carter's earlier works are influenced by Stravinsky, Harris, Copland, and Hindemith, and are mainly neoclassical in aesthetic. He had a strict and thorough training in counterpoint, from medieval polyphony through Stravinsky, and this shows in his earliest music, such as the ballet Pocahontas (1938–39). Some of his music during the Second World War is frankly diatonic, and includes a melodic lyricism reminiscent of Samuel Barber. Interestingly, Carter abandoned neoclassicism around the same time Stravinsky did, saying that he felt he had been evading vital areas of feeling.

His music after 1950 is typically atonal and rhythmically complex, indicated by the invention of the term metric modulation to describe the frequent, precise tempo changes found in his work. While Carter's chromaticism and tonal vocabulary parallels serial composers of the period, Carter does not employ serial techniques in his music. Rather he independently developed and cataloged all possible collections of pitches (i.e., all possible 3 note chords, 5 note chords etc.). Musical theorists like Allen Forte later systematized this data into musical set theory. A series of works in the 1960s and 1970s generates its tonal material by using all possible chords of a particular number of pitches.

The Piano Concerto (1964–65) uses the collection of three note chords for its pitch material; the Third String Quartet (1971) uses all four-note chords; the Concerto for Orchestra (1969) all five-note chords; and the Symphony of Three Orchestras uses the collection of six note chords. Carter also makes frequent use of "tonic" 12-note chords. Of particular interest are "all-interval" 12-tone chords where every interval is represented within adjacent notes of the chord. His 1980 solo piano work Night Fantasies uses the entire collection of the 88 symmetrical-inverted all-interval 12 note chords. Typically the pitch material is segmented between instruments, with a unique set of chords or sets assigned to each instrument or orchestral section. This stratification of material, with individual voices assigned not only their own unique pitch material, but texture and rhythm as well, is a key component of Carter's musical style. Carter's music after Night Fantasies has been termed his late period and his tonal language has become less systematized and more intuitive, but retains the basic characteristics of his earlier works.

Carter's use of rhythm can best be understood within the concept of stratification. Each instrumental voice is typically assigned its own set of tempos. A structural polyrhythm, where a very slow polyrhythm is used as a formal device, is present in many of Carter's works. The solo piano work Night Fantasies, for example, uses a 216:175 tempo relation that coincides at only two points in the entire 20+ minute composition. This use of rhythm is part of his goal to expand the notion of counterpoint to encompass simultaneous different characters, even entire movements, rather than just individual lines.

Carter developed his technique to further his artistic goals. His use of rhythm allows his music a structured fluidity and sense of time perhaps unique in classical music. The music also is overtly expressive and dramatic. He has said that "I regard my scores as scenarios, auditory scenarios, for performers to act out with their instruments, dramatizing the players as individuals and participants in the ensemble." He has also talked about his desire to portray a "different form of motion," in which players are not locked in step with the downbeat of every measure.

He has said that such steady pulses remind him of soldiers marching or horses trotting, sounds that are not heard anymore in the late 20th century, and he wants his music to capture the sort of continuous acceleration or deceleration experienced in an automobile or an airplane. While Carter's atonal music shows little trace of American popular music or jazz, his vocal music has demonstrated strong ties to contemporary American poetry. He has set works of Elizabeth Bishop, John Ashbery, Robert Lowell, William Carlos Williams, Wallace Stevens, Ezra Pound, and Marianne Moore. Several of his large instrumental works such as the Concerto for Orchestra or Symphony of Three Orchestras are inspired by twentieth-century poets as well.

Among his better known works are the Variations for Orchestra (1954–5); the Double Concerto for harpsichord, piano and two chamber orchestras (1959–61); the Piano Concerto (1964–65), written as an 85th birthday present for Igor Stravinsky; the Concerto for Orchestra (1969), loosely based on a poem by Saint-John Perse; and A Symphony of Three Orchestras (1976). He has also written five string quartets, of which the second and third won the Pulitzer Prize for Music in 1960 and 1973 respectively. Symphonia: Sum Fluxae Pretium Spei (1993–1996) is his largest orchestral work, complex in structure and featuring contrasting layers of instrumental textures, from delicate wind solos to crashing brass and percussion outbursts.

In spite of a usually rigorous derivation of all pitch content of a piece from a source chord, or series of chords, Carter never abandons lyricism, and ensures that a text is sung intelligibly, sometimes even simply. In A Mirror on Which to Dwell (1975) (based on poems by Elizabeth Bishop) Carter writes colorful, subtle, transparently clear music; yet almost every pitch in the piece is derived from the content of a single sonority. Most of Carter's music is published by either G. Schirmer/Associated Music Publishers (works up to 1981) or Boosey & Hawkes (works since 1981).

Carter continues composing. Interventions for Piano and Orchestra received its premiere on December 5, 2008, by the Boston Symphony Orchestra conducted by James Levine featuring pianist Daniel Barenboim at Symphony Hall in Boston. The pianist reprised the work again with the BSO at Carnegie Hall in New York in the presence of the composer on his 100th birthday. The premiere, on 20 June 2009, was given by baritone Leigh Melrose and the Birmingham Contemporary Music Group conducted by Oliver Knussen.

Figment V for marimba with Simon Boyar was premiered in New York on 2 May 2009 and Poems of Louis Zukofsky for soprano and clarinet had its first performance by Lucy Shelton and Stanley Drucker at the Tanglewood Festival on 9 August 2009. The US premiere of the Flute Concerto took place on 4 February 2010 with soloist Elizabeth Rowe and the Boston Symphony Orchestra conducted by James Levine.

Partial list of works

Ballet

Pocahontas (1938–39)

The Minotaur (1947)

Chamber

Elegy for Viola and Piano (1943)

Piano Sonata (1945–46)

Cello Sonata (1948)

Woodwind Quintet (1948)

Eight Etudes and a Fantasy for Wind Quartet (1949)

String Quartet No. 1 (1951)

Sonata for Flute, Oboe, Cello and Harpsichord (1952)

String Quartet No. 2 (1959)

Canon for 3 (1971)

String Quartet No. 3 (1971)

Brass Quintet (1974)

Duo for Violin and Piano (1974)

Birthday Fanfare for Three Trumpets, Vibraphone, and Glockenspiel (1978)

Triple Duo (1983)

Esprit rude/esprit doux for Flute and Clarinet (1984)

Canon for 4 (1984)

String Quartet No. 4 (1986)

Enchanted Prelude for Flute and Cello (1988)

Con leggerezza pensosa for Clarinet, Violin, and Cello (1990)

Quintet for Piano and Winds (1991)

Trilogy for Oboe and Harp (1992)

:#Bariolage for Harp :#Inner Song for Oboe :#Immer Neu for Oboe and Harp

Esprit rude/esprit doux II for Flute, Clarinet, and Marimba (1994)

Fragment I for String Quartet (1994)

String Quartet No.5 (1995)

Luimen for Ensemble (1997)

Quintet for Piano and String Quartet (1997)

Fragment II for String Quartet (1999)

Oboe Quartet, for Oboe, Violin, Viola, and Cello (2001)

Hiyoku for Two Clarinets (2001)

Au Quai for Bassoon and Viola (2002)

Call for Two Trumpets and Horn (2003)

Clarinet Quintet (2007)

Tinntinabulation for percussion sextet (2008)

Tre Duetti for Violin and Cello (2008, 2009)

:#Duettone :#Adagio :#Duettino

Choral

Tarantella for Men's Chorus and Two Pianos (1937)

Let's Be Gay for Women's Chorus and Two Pianos (1937)

Harvest Home for a capella Choir (1937)

To Music for a capella Choir (1937)

Heart Not So Heavy for a capella Choir (1939)

The Defense of Corinth for Speaker, Men's Chorus and Two Pianos (1941)

The Harmony of Morning for Women's Chorus and Chamber Orchestra (1944)

Musicians Wrestle Everywhere for a capella Choir (1945)

Emblems for Men's Chorus and Piano (1947)

Concertante

Double Concerto for piano, harpsichord and 2 chamber orchestras (1959–61)

Piano Concerto (1964)

Concerto for Orchestra (1969)

Oboe Concerto (1986–1987)

Violin Concerto (1989)

Clarinet Concerto (1996)

ASKO Concerto for Chamber Ensemble (2000)

Cello Concerto (2001)

Boston Concerto (2002)

Horn Concerto (2007)

Flute Concerto (2008)

Concertino for Bass Clarinet and Chamber Orchestra (2009)

Large Ensemble

Penthode for Ensemble (1985)

Dialogues for Piano and Chamber Orchestra (2003)

Mosaic for Harp and Ensemble (2004)

Réflexions for Ensemble (2004)

Wind Rose for Wind Ensemble (2008)

Opera

What Next? (opera in one act) (1997)

Orchestra

Symphony No. 1 (1942, revised 1954)

Holiday Overture (1944, revised 1961)

Variations for Orchestra (1954–1955)

A Symphony of Three Orchestras (1976)

Three Occasions for Orchestra (1986–89)

:#A Celebration of Some 150x100 Notes :#Remembrance :#Anniversary

Symphonia: Sum fluxae pretium spei (1993–96)

:#Partita :#Adagio Tenebroso :#Allegro Scorrevole

Three Illusions for Orchestra (2002–04)

:#Micomicón :#Fons Juventatis :#More's Utopia

Soundings for Piano and Orchestra (2005)

Interventions for Piano and Orchestra (2007)

Sound Fields for String Orchestra (2007)

Solo Instrumental

Piano Sonata (1945–46)

Eight Pieces for Four Timpani (1949/66)

Night Fantasies for Piano (1980)

Changes for Guitar (1983)

Scrivo in Vento for Flute (1991)

Gra for Clarinet (1994)

90+ for Piano (1994)

Figment for Cello (1994)

A 6-letter Letter for English Horn (1996)

Shard for Guitar (1997)

Two Diversions for Piano (1999)

Four Lauds for Solo Violin (1999, 1984, 2000, 1999)

:#I. Statement – Remembering Aaron :#II. Riconoscenza per Goffredo Petrassi :#III. Rhapsodic Musings :#IV. Fantasy – Remembering Roger

Retrouvailles for Piano (2000)

Figment II for Cello (2001)

Steep Steps for Bass Clarinet (2001)

Retracing for Bassoon (2002)

Intermittences for Piano (2005)

Catenaires for Piano (2006)

HBHH for Oboe (2007)

Figment III for contrabass (2007)

Figment IV for viola (2007)

Matribute for piano (2007)

Figment V for marimba (2009)

Retracing II for horn (2009)

Retracing III for trumpet (2009)

Voice

My Love is in a light attire for Voice and Piano (1928)

Tell Me Where Is Fancy Bred for Voice and Guitar (1938)

A Mirror on Which to Dwell for Soprano and Ensemble (1975)

Syringa for Mezzo-Soprano, Bass-Baritone, Guitar and Ensemble (1978)

Three Poems of Robert Frost for Baritone and Ensemble (1942, orchestrated 1980)

In Sleep, in Thunder for Tenor and Ensemble (1981)

Of Challenge and of Love for Soprano and Piano (1994)

Tempo e Tempi for Soprano, Oboe, Clarinet, Violin and Cello (1998–99)

Of Rewaking for Mezzo-Soprano and Orchestra (2002)

In the Distances of Sleep for Voice and Ensemble (2006)

Mad Regales for Six Solo Voices (2007)

La Musique for Solo Voice (2007)

Poems of Louis Zukofsky (2008) for mezzo-soprano and clarinet

On Conversing with Paradise (2008) for baritone and chamber orchestra

What Are Years (2009) for soprano and chamber orchestra

Partial discography

Sonata for Flute, Oboe, Cello and Harpsichord; Sonata for Cello and Piano; Double Concerto for Harpsichord and Piano With Two Chamber Orchestras. Paul Jacobs, hpschd; Joel Krosnick, cello; Gilbert Kalish, piano; The Contemporary Chamber Ensemble, Arthur Weisberg, cond. Elektra/Nonesuch 9 79183-2.

String Quartets Nos. 1 and 2. The Composers Quartet. Elektra/Nonesuch 9 71249-2

Piano Concerto; Variations for Orchestra. Ursula Oppens, piano; Cincinnati Symphony Orchestra, Michael Gielen, cond. New World Records, NW 347–2.

Triple Duo; Clarinet Concerto; short pieces. Nouvel Ensemble Moderne, Lorraine Vaillancourt, cond. ATMA Classique, ACD2 2280.

Complete Music for Piano. Charles Rosen, Piano. Bridge 9090.

Vocal Works (1975–81): A Mirror on Which to Dwell; In Sleep, In Thunder; Syringa; Three Poems of Robert Frost. Speculum Musicae with Katherine Ciesinki, mezzo; Jon Garrison, tenor; Jan Opalach, bass; Christine Schadeberg, soprano. Bridge, BCD 9014.

Dialogues; Boston Concerto; Cello Concerto; ASKO Concerto. Nicolas Hodges, piano; Fred Sherry, cello; London Sinfonietta, BBC Symphony Orchestra, ASKO Ensemble, Oliver Knussen, cond. Bridge 9184.

Notable students

Ronald Caltabiano

Joel Chadabe

Alvin Curran

Joel Hoffman

Tod Machover

Jeffrey Mumford

Tobias Picker

David Schiff

William Schimmel

Ellen Taaffe Zwilich

References

Doering, William T. Elliott Carter: A Bio-Bibliography. Greenwood Press, 1993.

Interviews

Elliott Carter interview by Bruce Duffie, June 1986

American Gothic: An Interview with Elliott Carter, by Andy Carvin, 1992

A January 1994 interview with Elliott Carter by Phil Lesh

NewMusicBox: Elliott Carter in conversation with Frank J. Oteri, 2000

MusicMavericks.PublicRadio.org: An interview with Elliot Carter by Alan Baker, Minnesota Public Radio, July 2002

Radical Connections on Counterstream Radio: Elliott Carter and Phil Lesh in Conversation, December 2007]

Elliott Carter Centenary Podcast, an interview with Frank J. Oteri, November 27, 2007

TV Interview (with Daniel Barenboim and James Levine) by Charlie Rose, December 10, 2008

Listening

Elliott Carter: A Life In Music, a documentary (1983)

Art of the States: Elliott Carter four works by the composer

Elliott Carter interview from American Mavericks site

Excerpts from sound archives of Carter's works

External links

Yale University Library: Research Guide to Elliott Carter's Life and Music

Elliott Carter by photographer Philippe Gontier

Elliott Carter: A Centennial Portrait in Letters and Documents by Felix Meyer & Anne C. Shreffler published by the Boydell Press in association with the Paul Sacher Foundation.

Elliott Carter at G. Schirmer/AMP

Elliott Carter at Boosey and Hawkes

The String Quartets of Elliott Carter Booklet note for recording by the Arditti Quartet of Quartets 1–4 and Elegy (1988 ETCETERA KTC 1065/1066), by David Harvey

CompositionToday – Elliot Carter article and review of works

http://web.archive.org/web/20080201015213/http://www.carter100.com/ Elliott Carter Centenary 2008]

John Link's Analysis of Night Fantasies

Lifetime Honors - National Medal of Arts

Category:1908 births Category:20th-century classical composers Category:21st-century classical composers Category:American centenarians Category:American composers Category:Cornell University faculty Category:Grammy Award winners Category:Harvard Centennial Medal recipients Category:Harvard University alumni Category:Horace Mann School alumni Category:Juilliard School faculty Category:Living people Category:Members of the American Academy of Arts and Letters Category:Modernism Category:Opera composers Category:Pulitzer Prize for Music winners Category:Royal Philharmonic Society Gold Medallists Category:École Normale de Musique de Paris alumni Category:Honorary Members of the Royal Academy of Music Category:Honorary Members of the Royal Philharmonic Society Category:United States National Medal of Arts recipients Category:Rome Prize winners

at night]] David M. Childs (born 1941 Princeton, New Jersey) is the Consulting Design Partner at Skidmore, Owings & Merrill. He is best known for his redesign of the new One World Trade Center in New York.

In 2010, Childs was named a Senior Fellow of the Design Futures Council.

Education

Deerfield Academy (1959)

Yale College (1963)

Yale School of Architecture (1967)

New York Institute of Technology (Honorary degree) (2006)

Skidmore, Owings & Merrill projects

Washington, DC (1971-1984)

National Geographic headquarters building

1300 New York Avenue

Metro Center

U.S. News and World Report headquarters

Four Seasons, Regent and Park Hyatt hotels

Expansion of the Dulles Airport main terminal.

New York City (1984-present)

Completed

, New York City.]]

Worldwide Plaza

450 Lexington Avenue (over the Main Post Office at Grand Central Station)

Bertelsmann Building at Times Square

New York Mercantile Exchange

JFK International Airport Arrivals Building

Bear Stearns Headquarters (383 Madison Avenue)

7 World Trade Center

Time Warner Center at Columbus Circle

Planned

One World Trade Center (under construction)

New New York Stock Exchange

New Pennsylvania Station (Moynihan Station) at James Farley Post Office Building

Renovation of Lever House

Boston Properties Times Square Tower

Other locations

Embassy of the United States in Ottawa

See also

William F. Baker (engineer)

Roger Duffy

T.J. Gottesdiener

Craig W. Hartman

Ross Wimer

References

External links

WTC.com, Interview with David Childs about Freedom Tower (video)

WTC.com, Freedom Tower

Category:1941 births Category:Living people Category:World Trade Center Category:American architects Category:Deerfield Academy alumni

Daniel David (born November 23, 1970, in Satu Mare, Romania) is an "Aaron T. Beck" professor of Clinical Psychology and Psychotherapy at the Babeş-Bolyai University, Cluj-Napoca, Romania, the head of Department of Clinical Psychology and Psychotherapy of the Babeş-Bolyai University and the vice-president of the Babeş-Bolyai University Council for Research. He is also an adjunct professor at Mount Sinai School of Medicine.

National achievements

At the national level, David created the first school of cognitive-behavioral therapy (CBT) in Romania, based on international principles, recognized as such by the founders (e.g., Dr. Albert Ellis and Dr. Aaron T. Beck) and the international organizations in this field (e.g., Academy of Cognitive Therapy, USA, Albert Ellis Institute, USA); he and his trainee also extended the application of CBT in education (e.g., rational-emotive & cognitive-behavioral education) and organizational fields (e.g., cognitive-behavioral coaching). Recently, he has been accepted as a Fellow in the Academy of Cognitive Therapy, USA and he is the national representative in the Social Sciences Standing Committee at the European Science Foundation. He is among those who introduced for the first time in Romanian academic psychology the evolutionary psychology and genetic counseling as modern interdisciplinary approaches between psychology and biology. Also, professor Daniel David has recently reintroduced and up-dated the Retman concept, and is the coordinator of the team that created the comics and stories with this character. Basically, by all these, along with the introduction of the postdoctoral programs and the first large-scale randomized clinical trials comparing psychotherapy and medication for various disorders in the Romanian clinical field, he promoted the reform of Romanian clinical psychology and psychotherapy based on modern principles. This reform was fundamental taking into account that during the communist period of Romania both clinical psychology and psychotherapy were practically forbidden by the communist regime, and thus, the field was basically almost frozen in time (e.g., Szondi and Lusher tests were the "golden standard" for clinical testing). As one of the leaders of the first generations of psychologists after the anticommunist revolution of 1989 (i.e., in a Romanian survey he was named as a main representative of the "Next Generation of Romanian Psychologists", David, who studied abroad (for both his doctoral and postdoctoral studies) at prestigious universities in USA, was the one who, by his professional stature (e.g. he is the most cited Romanian psychologist in the international literature, and his Governmental and professional positions/leadership, marked the reform of the clinical field in Romania, helping in moving the field from a '70s style approach to the modern one.

International achievements

At the international level, he significantly contributed to the assimilation of cognitive science principles in the clinical field, supporting both a scientist-practitioner and an evidence-based approach in psychology in general, and in the clinical field in particular. A more specific contribution was focused on developing the theory and practice of rational-emotive and cognitive-behavioral therapies (CBT/REBT), which brought him both the Aaron T. Beck Award and the Albert Ellis Award of the International Institute for the Advanced Study of Psychotherapy and Applied Mental Health. In 2004 he was invited as "Guest Editor" by the Journal of Clinical Psychology to organize a special issue titled: "Cognitive revolution in clinical psychology: Beyond the behavioral approach" in order to present the state-of-the-art regarding the impact of the cognitive revolution on the clinical field. As founding editor of the Journal of Cognitive and Behavioral Psychotherapies (abstracted: SSCI/Thomson ISI Web of Science; SCOPUS; PsycInfo; IBSS and full text: EBSCO; ProQuest), a Journal focused on evidence-based practice, he has supported the evidence-based approach in the clinical field. For his merits in research and education he was knighted in 2008 by the 201 Decree of the President of Romania (17/01/2008), in the National Order of Knights for Merit.

Selected publications

David, D. (2003). Rational Emotive Behavior Therapy (REBT); The view of a cognitive psychologist. In W. Dryden (Ed.). Theoretical developments in REBT. London: Brunner/Routledge.

David, D., Brown, R., Pojoga, C., & David, A. (2000). The impact of posthypnotic amnesia and intentional forgetting on implicit and explicit memory. International Journal of Clinical and Experimental Hypnosis, 48 267-289

David, D. et al. (2002). Romanian psychology on the international psychological scene: A preliminary critical and empirical approach. European Psychologist, 7, 153-160.

David, D., Schnur, J., & Belloiu, A. (2002). Another search for the ”hot” cognition: Appraisal irrational beliefs, attribution, and their relation to emotion. Journal of Rational-Emotive and Cognitive-Behavior Therapy, 20, 93-131

David, D. et al. (2002). The case of behavior therapy in Romania. Behavior Therapist, 21, 181-186.

David, D., & Brown, R. (2003). The impact of different directed forgetting instructions on implicit and explicit memory: New evidence from a modified process dissociation procedure. Quarterly Journal of Experimental Psychology, 56A, 211-233.

David, D., Montgomery, G., & Holdevici, I. (2003). Romanian norms for the Harvard group Scale of Hypnotic Susceptibility, Form A. International Journal of Clinical and Experimental Hypnosis, 51, 66-77.

David, D. (2004). Special issue on the cognitive revolution in clinical psychology: Beyond the behavioral approach-Introductory remarks. Journal of Clinical Psychology, 4, 351-353.

David, D. (2004). Special issue on the cognitive revolution in clinical psychology: Beyond the behavioral approach-Conclusions: Toward and evidence-based psychology and psychotherapy. Journal of Clinical Psychology, 4, 447-451.

David, D. et al. (2004). The information-processing approach to the human mind: Basic and beyond. Journal of Clinical Psychology, 4, 353-369.

David, D., Montgomery, G. et al.. (2004). Discrimination between hopes and expectancies for nonvolitional outcomes. Psychological phenomenon or artifact? Personality and Individual Differences, 36, 1945-1952.

David, D., Schnur, J., şi Birk, J. (2004). Functional and dysfunctional emotions in Ellis’ cognitive theory; An empirical analysis. Cognition and Emotion, 18, 869-880.

David, D., Montgomery, M., Macavei, B., & Bovbjerg, D. (2005). An empirical investigation of Albert Ellis’ binary model of distress. Journal of Clinical Psychology, 61, 499-516.

David, D., & Szentagotai, A. (2006). Cognition in cognitive-behavioral psychotherapies (CBT); Toward an integrative model. Clinical Psychology Review, 3, 284-298.

Notes

External links

Romanian Association of Cognitive and Behavioral Psychotherapies

International Institute for the Advanced Studies of Psychotherapy and Applied Mental Health

Journal of Cognitive and Behavioral Psychotherapies

/ Major Books Publications

Dr. Daniel David in conversation with Dr. Windy Dryden: REBT/CBT Research (audio file - Media Section)

Category:1970 births Category:Babeş-Bolyai University faculty Category:Living people Category:Cognitive scientists Category:People from Satu Mare Category:Psychotherapists Category:Romanian psychologists Category:Romanian scientists

Name	Carlo Romano
Birth date	May 08, 1908
Birth place	Florence, Italy
Death date	August 16, 1975
Death place	Bracciano, Italy
Occupation	ActorScreenwriter
Yearsactive	1934 - 1975

Carlo Romano (8 May 1908 – 16 August 1975) was an Italian film actor and screenwriter. He appeared in 94 films between 1934 and 1975. He also wrote for 14 films between 1955 and 1975.

He was born in Florence, Italy and died in Bracciano, Italy.

Selected filmography

The Adventures of Fra Diavolo (1942)

Four Steps in the Clouds (1942)

Life Begins Anew (1945)

Campane a martello (1949)

Bellezze in bicicletta (1950)

Arrivano i nostri (1951)

My Heart Sings (1951)

I vitelloni (1953)

Le infedeli (1953)

Wolves of the Deep (1959)

External links

Category:1908 births Category:1975 deaths Category:Italian film actors Category:Italian screenwriters

Tomaso Giovanni Albinoni (8 June 1671 – 17 January 1751) was a Venetian Baroque composer. While famous in his day as an opera composer, he is mainly remembered today for his instrumental music, some of which is regularly recorded such as the concertos.

Biography

Born in Venice, Republic of Venice, to Antonio Albinoni, a wealthy paper merchant in Venice, he studied violin and singing. Relatively little is known about his life, especially considering his contemporary stature as a composer, and the comparatively well-documented period in which he lived. In 1694 he dedicated his Opus 1 to the fellow-Venetian, Cardinal Pietro Ottoboni (grand-nephew of Pope Alexander VIII); Ottoboni was an important patron in Rome of other composers, such as Arcangelo Corelli. Albinoni was possibly employed in 1700 as a violinist to Charles IV, Duke of Mantua, to whom he dedicated his Opus 2 collection of instrumental pieces. In 1701 he wrote his hugely popular suites Opus 3, and dedicated that collection to Cosimo III de' Medici, Grand Duke of Tuscany.

In 1705, he was married; Antonino Biffi, the maestro di cappella of San Marco was a witness, and evidently was a friend of Albinoni's. Albinoni seems to have no other connection with that primary musical establishment in Venice, however, and achieved his early fame as an opera composer at many cities in Italy, including Venice, Genoa, Bologna, Mantua, Udine, Piacenza, and Naples. During this time he was also composing instrumental music in abundance: prior to 1705, he mostly wrote trio sonatas and violin concertos, but between then and 1719 he wrote solo sonatas and concertos for oboe.

Unlike most composers of his time, he appears never to have sought a post at either a church or noble court, but then he was a man of independent means and had the option to compose music independently. In 1722, Maximilian II Emanuel, Elector of Bavaria, to whom Albinoni had dedicated a set of twelve concertos, invited him to direct two of his operas in Munich.

Around 1740, a collection of Albinoni's violin sonatas was published in France as a posthumous work, and scholars long presumed that meant that Albinoni had died by that time. However it appears he lived on in Venice in obscurity; a record from the parish of San Barnaba indicates Tomaso Albinoni died in Venice in 1751, of diabetes.

Music and influence

He wrote some fifty operas of which twenty-eight were produced in Venice between 1723 and 1740, while there are modern sources attributing - possibly exaggeratedly and inaccurately - 81 operas to the composer. Today he is most noted for his instrumental music, especially his oboe concertos. He is the first Italian known to employ the oboe as a solo instrument in concerti (c. 1715, in his masterful 12 concerti a cinque, op. 7) and publish such works, while it is likely that the first existing concerti featuring a solo oboe came from German composers such as Telemann or Händel, although probably unpublished. In Italy, Alessandro Marcello published his well known oboe concerto in D minor a little later, in 1717. Albinoni also employed the instrument often in his chamber works.

His instrumental music greatly attracted the attention of Johann Sebastian Bach, who wrote at least two fugues on Albinoni's themes (Fugue on a Theme by Albinoni in A, BWV 950, Fugue on a Theme by Albinoni in B minor, BWV951) and constantly used his basses for harmony exercises for his pupils.

Part of Albinoni's work was lost in World War II with the destruction of the Dresden State Library. As a result, little is known of his life and music after the mid-1720s.

The Albinoni Adagio in G minor for violin, strings and organ, T. Mi 26, the subject of many modern recordings, was likely not written by him at all. The 20th century musicologist Remo Giazotto, author of a biography of Albinoni, claimed to have discovered a tiny manuscript fragment (consisting of a few measures of the melody line and basso continuo portion) from a slow movement of an Albinoni trio sonata. According to Giazotto's account, the document had been sent to him by the Dresden State Library from among the relics of its collection, shortly after the end of World War II. Giazotto concluded it was a portion of a church sonata (sonata da chiesa) composed by Albinoni, possibly as part of the Op. 4 set, around 1708. Giazotto himself then constructed the balance of the complete single-movement work around the fragmentary theme he ascribed to Albinoni, copyrighted it, and published it in 1958. The Adagio is featured in the AFI award winning picture, Gallipoli, and was recorded by Jim Morrison and The Doors and used in their song "The Severed Garden".

Works

See List of compositions by Tomaso Albinoni and List of operas by Albinoni.

Media

Footnotes

References

Eleanor Selfridge-Field, Venetian Instrumental Music, from Gabrieli to Vivaldi. New York, Dover Publications, 1994. ISBN 0-486-28151-5

Michael Talbot: "Tomaso Albinoni", Grove Music Online ed. L. Macy (Accessed June 25, 2005), (subscription access)

External links

Category:1671 births Category:1751 deaths Category:Italian classical violinists Category:Italian composers Category:Baroque composers Category:Opera composers Category:People from Venice (city)