Revolutionary Works for Oboe and Piano by Hindemith, Haas, Bolcom, Britten, Siqueira, and Slavicky. Alex Klein, oboe; Phillip Bush, piano. Cedille CDR 90000 208.
By John J. Puccio
Are we experiencing an oboe renaissance? Seems that way, given the number of new, classical oboe recordings I’m seeing: concertos, sonatas, solos, you name it. I’m not complaining, mind you. The oboe will never compete with the violin or piano in terms of featured musical instruments, but the oboe deserves its place in the sun. Power to the oboe!
More important, the works on the present album express the musical views of five composers who faced the realities of war, hate, and exile. The music represents their frustrations and grievances towards a world gone mad. They attempted to express in music what words alone could not.
On this Cedille disc, oboist Alex Klein and pianist Phillip Bush provide us with six oboe and piano compositions, and they do them up in accomplished style. First, though, a word about the players. Klein (b. 1964) began playing the oboe at the age of nine in his native Brazil and made his solo orchestral debut a year later. By the time he was eleven he joined one of Brazil’s foremost chamber ensembles, the Camerata Antigua. In his teens he performed as a soloist with several orchestras in Brazil and then studied at the Oberlin Conservatory of Music. He went on to win numerous awards before becoming an Assistant Professor of Music at the University of Washington and joined the Chicago Symphony Orchestra in 1995 as principal oboe. Since then, he has performed as soloist with the Chicago Symphony, Philadelphia Orchestra, the Orchestre de la Suisse Romande, and the Chicago Sinfonietta. His partner on the current album, Phillip Bush (b. 1961), is an American concert pianist whose career has largely focused on chamber and contemporary works.
First up on the program is the Sonata for Oboe and Piano, written in 1938 by the German composer Paul Hindemith (1895-1963). The sonata expresses the composer’s anxiety over a Germany obsessed with hatred. The first of two movements is actively rhythmic in the manner of slightly askew military march; the second is mournful, drawing on long, intense, soulful passages. The players do it up in a forthright manner, amply conveying the melancholy of loss and impending doom.
Next is the three-movement Suite for Oboe and Piano, written in 1939 by the Czech composer Pavel Haas (1899-1944). He, too, faced a world haunted by fear, anger, and hostility. The music is both discomforting and uplifting by turns, and Klein and Bush make the most of its pulsating beat, its dramatic pauses, its woeful, sometimes fearful tone, and its inspiring emotion. The oboe seems a most-appropriate instrument for this type of music, and Klein proves an expert practitioner at drawing from it the most expressive elements.
The central work on the disc is titled Aubade--for the Continuation of Life, written in 1980 by the American composer and pianist William Bolcom (b. 1938). An “aubade” is a poem written to greet the dawn, a morning song, only here Bolcom is more concerned with that dawn possibly never happening at all. The world looked on as the U.S. and Europe engaged in a Cold War with the Soviet Union, and the chance of a nuclear war was ever present. It’s a frankly gloomy piece, grounded in loneliness and a sense of hopelessness, moods well captured by the tone of the oboe.
After that is Temporal Variations, written in 1936 by the English composer, conductor, and pianist Benjamin Britten (1913-1976). He intended it as an antiwar statement when the threat of war with Germany loomed ever closer. It’s in nine brief movements, each a variation of a two-note, two-syllable theme that seems to repeat “enough.” It’s probably the most interesting item on the agenda, the most urgent in its thoughts, the most musically variable and insightful. Klein and Bush are at their best here, too, shaping each short proclamation as an independent thought yet keeping everything together as a cohesive whole.
The penultimate item is Three Etudes for Oboe with Piano Accompaniment, published in 1969 by the Brazilian composer, conductor, and musicologist Jose Siqueira (1907-1985). He was forcibly expelled from his native country and wrote music to convey his feelings. These are somewhat nostalgic, evocative melodies, more lyrical than those of the other composers on the program, the Etudes featuring a central, dance-like scherzo. Above all, the performers bring out the colorful language of the piece, capturing the spirit, grace, and beauty of Siqueira’s homeland.
Concluding the album we find the Suite for Oboe and Piano, written in 1960 by Czech composer Klement Slavicky (1910-1999). Like Siqueira, Slavicky was expressing in music his regret at what was happening in his country, in this case under the Soviet regime. It alternates bright, positive accents with doleful, ominous ones, the oboe capturing the wistful, introspective nature of the music, with the piano in complete sympathy.
Producer James Ginsburg and engineer Bill Maylone recorded the music at Gannon Hall, DePaul University, Chicago, Illinois in July, 2021. As we expect from Cedille and its chief engineer, the sound is as realistic as being in the room with the players. Both the oboe and piano are clear and natural, with no edginess, no dullness, no oddities whatsoever. It’s just good, pure sound.
JJP
By John J. Puccio
More important, the works on the present album express the musical views of five composers who faced the realities of war, hate, and exile. The music represents their frustrations and grievances towards a world gone mad. They attempted to express in music what words alone could not.
On this Cedille disc, oboist Alex Klein and pianist Phillip Bush provide us with six oboe and piano compositions, and they do them up in accomplished style. First, though, a word about the players. Klein (b. 1964) began playing the oboe at the age of nine in his native Brazil and made his solo orchestral debut a year later. By the time he was eleven he joined one of Brazil’s foremost chamber ensembles, the Camerata Antigua. In his teens he performed as a soloist with several orchestras in Brazil and then studied at the Oberlin Conservatory of Music. He went on to win numerous awards before becoming an Assistant Professor of Music at the University of Washington and joined the Chicago Symphony Orchestra in 1995 as principal oboe. Since then, he has performed as soloist with the Chicago Symphony, Philadelphia Orchestra, the Orchestre de la Suisse Romande, and the Chicago Sinfonietta. His partner on the current album, Phillip Bush (b. 1961), is an American concert pianist whose career has largely focused on chamber and contemporary works.
First up on the program is the Sonata for Oboe and Piano, written in 1938 by the German composer Paul Hindemith (1895-1963). The sonata expresses the composer’s anxiety over a Germany obsessed with hatred. The first of two movements is actively rhythmic in the manner of slightly askew military march; the second is mournful, drawing on long, intense, soulful passages. The players do it up in a forthright manner, amply conveying the melancholy of loss and impending doom.
Next is the three-movement Suite for Oboe and Piano, written in 1939 by the Czech composer Pavel Haas (1899-1944). He, too, faced a world haunted by fear, anger, and hostility. The music is both discomforting and uplifting by turns, and Klein and Bush make the most of its pulsating beat, its dramatic pauses, its woeful, sometimes fearful tone, and its inspiring emotion. The oboe seems a most-appropriate instrument for this type of music, and Klein proves an expert practitioner at drawing from it the most expressive elements.
After that is Temporal Variations, written in 1936 by the English composer, conductor, and pianist Benjamin Britten (1913-1976). He intended it as an antiwar statement when the threat of war with Germany loomed ever closer. It’s in nine brief movements, each a variation of a two-note, two-syllable theme that seems to repeat “enough.” It’s probably the most interesting item on the agenda, the most urgent in its thoughts, the most musically variable and insightful. Klein and Bush are at their best here, too, shaping each short proclamation as an independent thought yet keeping everything together as a cohesive whole.
The penultimate item is Three Etudes for Oboe with Piano Accompaniment, published in 1969 by the Brazilian composer, conductor, and musicologist Jose Siqueira (1907-1985). He was forcibly expelled from his native country and wrote music to convey his feelings. These are somewhat nostalgic, evocative melodies, more lyrical than those of the other composers on the program, the Etudes featuring a central, dance-like scherzo. Above all, the performers bring out the colorful language of the piece, capturing the spirit, grace, and beauty of Siqueira’s homeland.
Concluding the album we find the Suite for Oboe and Piano, written in 1960 by Czech composer Klement Slavicky (1910-1999). Like Siqueira, Slavicky was expressing in music his regret at what was happening in his country, in this case under the Soviet regime. It alternates bright, positive accents with doleful, ominous ones, the oboe capturing the wistful, introspective nature of the music, with the piano in complete sympathy.
Producer James Ginsburg and engineer Bill Maylone recorded the music at Gannon Hall, DePaul University, Chicago, Illinois in July, 2021. As we expect from Cedille and its chief engineer, the sound is as realistic as being in the room with the players. Both the oboe and piano are clear and natural, with no edginess, no dullness, no oddities whatsoever. It’s just good, pure sound.
JJP
