Recently we picked up a copy of ‘Masters of the Oboe,’ a compilation set from Deutsche Grammophon (2006).

As the voracious readers of our well-thumbed blog know, the oboe has a unique sound, often likened to that of aquatic fowl. It is a matter of some contention between the august editors of this website as to whether it is closer to the duck or the goose; but we agree that, in competent hands, it is melodious fowl. It also is incredibly temperamental and fiendishly difficult to master. In large part this is due to the reed that generates the oboe’s characteristic sound: being a natural material, its character changes with environmental conditions, and ultimately each reed wears out.

This compilation set offers a wide selection from the oboeist’s repetitore, ranging from the Baroque to the modern. The many moods of the instrument are on display here, at times playful, others plaintive, always sonorous. The oboe shines the most in chamber music, when it is not overwhelmed by hordes of strings, which sound almost pedestrian in comparison. One gem among many in this collection is the finale from the Trio for 2 Oboes and cor anglais in C, Op. 87, a light-hearted conversation between woodwinds.

While stitched together from multiple recordings, the sound quality is even and uniformly high throughout. Quite frequently one can hear little clicking noises in the background, presumably from the keys of the oboe. Some might find this a little distracting, but one quickly becomes accustomed to it and it adds to the charm of the music.

Overall, it fulfills the purpose of a compilation album: to give an overview of the oboe’s repetoire and also to pique the listener’s interest in what is otherwise an obscure but charming instrument.

Released 2009 by EMI music

The trumpet has largely played a supporting role in most classical music, blaring the occasional brassy fanfare. More often it is associated with jazz and brass bands. So when this recording by Alison Balsom appeared, my curiosity was piqued. How could a brass instrument with only three ‘buttons’ produce such round tender notes spanning a three-octave range?

And yet it does. Miss Balsom’s playing is dexterous and nuanced, and easily steals the show. Trills and octave jumps are surefooted, rhythms precisely delineated and dynamics entirely within context. The occasional intake of breath is audible, but does not detract from the record. The orchestra (the Deutsche Kammerphilharmoniker) is well balanced, enough to support but never so loud as to overwhelm, and is spare enough to reflect the early classical/baroque origins of these works. The technical aspects of the recording have resulted in a rich full sound, in which even the harpsichord can be heard in its rightful place.

The compositions are very typical of their time of composition, brightly glossed and easy to digest. Overall a highly satisfactory purchase.

Here’s a nice site that discusses how the trumpet makes all those notes with only three valves.

Yamaha has just released a new line of silent instruments including the first silent viola. The instruments are designed for people who need to practice in privacy without annoying parents, dorm mates, neighbours, etc. Just plug-in a pair of headphones and using the built-in sound processor the instrument can mimic acoustical spaces like a concert hall or practice room.

BTW if you are a brass musician check out Yamaha’s line of silent brass instruments.

[From: Yamaha]

Sotheby’s managed a record £568,000 for a Carlo Bergonzi violin formerly owned by Nicolo Paganini. The last time a Bergonzi violin came to auction was back in 1984, when another of 50 known to exist pulled in a mere £120,000. It seems the violin was purchased by Moscow based Violin Art Foundation who intend to lend it to the winner of the upcoming Third Paganini Moscow International Violin Competition for a year of playing… Follow the link for entry details.