#oboe d'amore

[gasparodasalo]

Georg Philipp Telemann (1681-1767) - Concerto for 2 Oboes d'amore, Cello, Strings and Basso continuo in D-Major, TWV 53:D3, III. Allegro. Performed by Camerata Köln on period instruments.

[emilyhopebunny]

when it's like english horn

but less low and forlorn

oboe d'amore

[deadpanwalking]

if you had to pick a cantata (just one)

BWV 8: Liebster Gott, wenn werd ich sterben?

“Our cantata here has a unique texture. Plucked violins and violas play slow broken arpeggio patterns over isolated arco bell tones in the bass. Two oboes d’amore weave sinuous patterns above sometimes imitative, sometimes in thirds and sixths. On top of all of this the flute plays two types of figures, a repeated note pattern of 24 notes, the number of times the church bell in Leipzig rang to announce the death of a parishioner. The flute also at times goes into a wonderfully lazy arpeggio figure that brings on the final cadence before the chorus enters. As is usual the sopranos in the chorus sing in long notes, but here the melody is ornamented and softened by passing tones. The fact that the chorale is made to fit into an easy-going 12/8 meter gives it an even more refreshing “popular” cast. The opening tutti and the interludes are quite lengthy giving the orchestral sections an even more prominent role in the musical argument. Although unusually complicated, the texture has a kind of miraculous clarity that is positively hypnotic.

The bell tones continue in the bass of the tenor aria #2. Not only do the instruments remain pizzicato, but also the rhythmic pattern is set up in the first bar and repeated in virtually every bar throughout the piece. The oboe and the tenor weave an arching and very detailed duet over this bass. The whole mood is of a mildly melancholy yearning. The accompanied alto recitative brings forth a bit of the terror of death, but it is just a transition to the amazingly jolly bass aria with flute and strings. Like the opening chorus this aria is in 12/8 time, but the calm flowing character of the opening has been replaced by a real jig tempo. The aria is in a very sophisticated da capo form. One should notice how the melodic contour of the last line of the A section is completed and answered by the opening of the B section.” - Craig Smith, from his Notes & Translations of Bach's Cantatas

[supercantaloupe]

was thinking about this in my lesson this morning, how it’s really common for woodwind players to have multiple instruments. like i have two oboes in addition to my english horn but not even including other instruments like EH or d’amore, most oboists i know (especially professionals) will have two or three or more. i know flute and clarinets who’re the same way but i have no idea if it’s A Thing for string or brass players too

[innervoiceart]

Johann Sebastian Bach: Concertos For Oboe & Oboe D'Amore

[fuzzkaizer]

Maestro - W-2 sound system for woodwinds

"In an age where more and more pedal companies are cropping up and more and more esoteric circuits are resurrected to broaden the total tonal spectrum, it’s surprising when new old circuits crop up. Circuits like the S. Hawk Tonal Expander and SRS EQ Exciter ended up enjoying their time in the spotlight by virtue of being undiscovered one-off devices. But it’s even rarer when one such circuit hides in plain sight, but stays obscure for one reason or another. This is the Maestro W-2.

To be clear, there’s a definite reason why the W-2 didn’t get much due, and we’ll definitely get into that. And there’s a strong possibility that you, the reader, have actually heard of this unit. But the Maestro line is well celebrated in gear circles, both from its individual units and clones of more obscure devices becoming more popular than the originals (the DOD Carcosa becoming more well-known than the FZ-1S, for example). Instances like this are becoming less and less common, but there’s at least one more unit in the Maestro line that I don’t think many folks are talking about—stay tuned for that.

However, the W-2 remained in relative secrecy for three reasons, chief among them that it’s designed to be used in conjunction with a woodwind instrument (saxophone or clarinet) and special pickup. This generally implied a couple things: One is that the unit would only be purchased by reed effects enthusiasts or studio owners. Secondly, if you lose the pickup you were well out of luck. Even though a handful of units at the time used the same pickup, later models didn’t include the strange output configuration, making them harder to find as time goes by.

The second reason for the lack of recognition is the fragility of the unit itself. Finding them in good working order is a difficult feat, and finding someone to work on them is harder still. The units are notoriously hard to repair; because they feature a handful of moving parts, finding replacements can prove difficult. This leads right into the third reason.

Plugging a guitar into the W-2 is not feasible unless you provide some outboard equipment, which isn’t included with the unit, nor did Maestro offer such a device to make this conversion. Essentially, your guitar outputs a signal that’s low, relative to the expected input level of the woodwind mic. Such a device is a simple preamp booster, which Electro-Harmonix had been offering for a handful of years, but Maestro did not provide such an offering, and made no effort to divulge this info to non-woodwindists. To make matters worse, the input jack is a eighth-inch type, so you had to chase down an adapter.

In short, there just weren’t many of these produced, and the pickups were similarly scarce. When trying to redeem the value of the W-2 with a guitar, players will wonder if they’re connecting the device up properly at all, and when no sound comes out, they’ll assume the unit is broken. And given its reputation, that’s the end of the line. It’s a perfect storm for cult status, really.

Knowing this, once everything is hooked up and dialed in, you’re treated to a rich synthy sound along with many different horn emulations. Like the USS-1 in the same line, the W-2 is multi-effect unit, but unlike that unit which sought to transform the guitar into some type of malleable synth spectre, the W-2 cleanly emulates a variety of instruments, while adding tone controls for each section and a nifty tremolo section.

Much has been made about the relative limbo of this unit, as well as the limitations and the lengths that one must traverse to simply connect an instrument. But like many other obscure devices from this era, this particular one was used by Frank Zappa and the Mothers of Invention. Though many things are mistakenly attributed to the man’s sound, the Maestro W-2 is not one of them. Zappa’s clarinet section ran into the W-2 and through a particular patch called “Oboe D'Amore” on “Dog Breath in the Year of the Plague,” from 1969’s Uncle Meat.

While Zappa actually used clarinets to generate those tones, you can thank that simple fact for keeping the prices of the W-2 at relative bay. Had he plugged his guitar into one, the prices on these would be ten times as much and one might not have found its way into the cabinet, and the knowledge of its existence into your head."

cred: catalinbread.com/blogs/kulas-cabinet/maestro-w-2

[real-antonio-vivaldi]

Do I even NEED an introduction?

Hm, Well, Hello. I'm Antonio Vivaldi, the red priest, and the greatest composer of all time. As you should know, I wrote Le quattro stagioni (The Four Seasons), my most famous work. Part of Il cimento dell'armonia e dell'inventione ("The Contest between Harmony and Invention"), it depicts moods and scenes from each of the four seasons. I also wrote more than 500 other concertos. About 350 of these are for solo instrument and strings, of which 230 are for violin, the others being for bassoon, cello, oboe, flute, viola d'amore, recorder, lute, or mandolin. About forty concertos are for two instruments and strings, and about thirty are for three or more instruments and strings. As well as about 46 operas, I composed a large body of sacred choral music, such as the Magnificat RV 610. Other works include sinfonias, about 90 sonatas and chamber music. Some sonatas for flute, published as Il Pastor Fido, have been erroneously attributed to me, but were composed by Nicolas Chédeville.

I go by any pronouns except she/her, and I'm aroace, so don't even try to Rizz me up (you'll fail anyway). Yes I'm autistic and yes I'm depressed. And yes I will speak some (poor) Italian here.

I'm the best composer, don't even try me. And yes, I hold grudges, every pretty boy does.

If you want to be removed/added to my tag list, please don't hesitate to tell me.

[lesser-known-composers]

Carl Ditters von Dittersdorf (1739-1799) - Concerto for oboe d'amore in A major L. 43 II. Adagio ·

Lajos Lencsés · oboe

Liszt Ferenc Chamber Orchestra, Budapest, János Rolla - conductor

[chopinsupremacy]

many months ago i realized that they both have high germany??? in one of their pieces (somerset rhapsody and english folk song suite) which is really cool

somerset rhapsody has a very pretty oboe d'amore solo which makes me happy oboe d'amore is so underrated

and english folk song suite has a nice oboe solo in the second movement i think

this account is still dead since i still have so much anxiety and self criticism when posting something but screw it my art is much better than my old posts anyways

[babygirlisagun]

As summer comes to a close in this new country, I am reflecting on what I am grateful for and what I would like to do differently when this season comes around again. I will sleep less and spend more time exploring the sea. I will spend less time as a recluse. I will put myself out into the world and foster connection. I hope to be able to play the harp for an audience by then. I will study and practice this art through the fall and winter. I will work harder at learning this beautiful language during that time as well. Cheers to a rich life where I find wealth in the whimsy of it all ✨

[finlands-beret]

Some morning Sylvotonin: Sylv learning how to play the oboe d'amore, simply because of its name.

[gasparodasalo]

Christoph Graupner (1683-1760) - Concerto for Flauto d'amore, Oboe d'amore, Viola d'amore, Strings and Basso continuo in G-Major, GWV 333, II. Allegro. Performed by Marcel Ponseele/Ensemble Il Gardellino on period instruments.

[mrbacf]

G.P. Telemann: Concerto for Viola d'amore, Oboe d'amore and Flute in E ...

[supercantaloupe]

woke up to a text from our first oboe this morning saying "Dude. I need to try some d’amore crooks quite urgently. Like today or early next week. Are there any shops that might have some anywhere near here? Dx" literally the beginning of our text convo. i have several questions

[sonyclasica]

HAUSER

CLASSIC II

Su nuevo álbum Classic II llega el viernes 19 de abril e incluye 18 melodías inolvidables con nuevos arreglos, grabados con la Orquesta Sinfónica de Londres dirigida por Robert Ziegler. Hoy, para celebrar la llegada del álbum junto a la reserva, HAUSER presenta la emotiva versión de la canción "Kiss the Rain" del compositor y pianista coreano Yiruma.

Reserva el álbum AQUÍ

Escucha/mira el vídeo de "Kiss the Rain" AQUÍ

Tras finalizar 2023 con el lanzamiento de su primer álbum navideño, HAUSER no da señales de bajar el ritmo en 2024, mientras se prepara para su primera gira en solitario por Estados Unidos esta primavera. La gira, que comenzará el 31 de mayo en el Hard Rock Live de Hollywood, Florida, incluye paradas en lugares emblemáticos como el Carnegie Hall de Nueva York, el Festival Ravinia de Chicago, el Ryman Auditorium de Nashville y el Orpheum Theatre de Los Ángeles. Las entradas para la gira estadounidense 2024 de HAUSER ya están disponibles en HAUSERofficial.com/tour.

"Es imposible equivocarse dándole al violonchelo una melodía bella y cantarina", dice HAUSER sobre su nuevo álbum. "¡Siempre hay muchas posibilidades de que suene incluso mejor que el original!"

En Classic II, que él mismo produjo, HAUSER se reúne con sus colaboradores creativos de Classic: el arreglista Robin Smith, Ziegler y la Orquesta Sinfónica de Londres. Con Smith, reinventó sus melodías favoritas con nuevos y elegantes arreglos para el violonchelo solista, quizá el más "vocal" de todos los instrumentos orquestales. Las melodías que eligió se escribieron originalmente para voz, piano, oboe o -en varios casos- orquestas sinfónicas enteras, desde la época barroca hasta nuestros días. El objetivo era hacer que estas melodías "cantaran" de nuevo en el violonchelo.

"Es un gran placer para mí", dice HAUSER, que define Classic II y Classic como sus "álbumes soñados". "Es lo que más disfruto en realidad: cuando vuelvo a mis raíces, al repertorio clásico. Cuando era pequeño, mi sueño era este: tocar con una orquesta increíble, en un buen estudio, con un buen violonchelo. Estas melodías son algunos de mis primeros recuerdos, cuando me enamoré de la música. Para mí es algo natural".

Classic II incluye dos melodías que cambiaron la vida de HAUSER.

El violonchelista escuchó por primera vez la luminosa "Canción de la Luna" de la ópera de Antonín Dvořák Rusalka cuando, siendo un jovencísimo estudiante de violonchelo en Londres, HAUSER fue elegido para tocar en una orquesta que acompañaba a la soprano Renée Fleming en el aria de una representación en el Palacio de Buckingham para el Príncipe Carlos. La música en sí impulsó tanto a HAUSER que la transcribió para sí mismo - "un momento crucial en mi vida", dice, que le enseñó cómo podía "cantar" el violonchelo.

Años más tarde, antes de que HAUSER lanzara su carrera como mitad de 2CELLOS, la conmovedora elegancia barroca del "Adagio" de Albinoni le sirvió de inspiración para adaptar la pieza como solo de violonchelo e interpretarla en un vídeo que él mismo montó. Lo publicó en YouTube, sin imaginar que iba a ser un gran fenómeno, consiguiendo unos 91 millones de visitas. En Classic II, se han recreado ambas obras para aprovechar la madurez artística de HAUSER y el suntuoso sonido de la Orquesta Sinfónica de Londres.

Cuando HAUSER publicó Classic a principios de 2020 -antes de la pandemia de COVID y del inicio de las turbulencias políticas mundiales-, el violonchelista dijo de la música: "Esto es lo que el mundo necesita". Sobre Classic II, afirma lo mismo y añade: "El mundo necesita esta música ahora, más que nunca".

HAUSER – CLASSIC II

TRACKLISTING –

Albinoni Adagio 

Mozart Piano Concerto No. 23

Arioso 

Rachmaninoff Symphony No. 2

Slavonic Dance 

Emmanuel 

Kiss The Rain 

Serenade 

Song to the Moon (de Rusalka) 

Una Furtiva Lagrima 

Pathétique Sonata

Intermezzo 

Tristesse 

Adagio d'Amore

Rhapsody on a Theme of Paganini 

Postlude No. 3 

Adagietto

Lullaby 

HAUSER - 2024 EUROPA

Martes, 9 de julio de 2024 - Tartu, Estonia - Tartu Lauluväljak

Mié, 10 de julio de 2024 - Sigulda, Letonia - Castillo De La Orden De Livonia

Jueves, 11 de julio de 2024 - Vilna, Lituania - Kalnų parkas

Sáb, 13 de julio de 2024 - Bucarest, Rumanía - Las Arenas Romanas

Dom, 14 de julio de 2024 - Plovdiv, Bulgaria - Teatro Antiguo

Lun, 15 de julio, 2-24 - Plovdiv, Bulgaria - Teatro Antiguo

Mié, 17 de julio de 2024 - Ratisbona, Alemania - Thurn und Taxis Schlossfestspiele

Dom, 21 de julio de 2024 - Łódź, Polonia - Atlas Arena

Mié, 24 de julio de 2024 - Nitra, Eslovaquia - Anfiteatro

Vie, 26 de julio de 2024 - Kroměříž, Chequia - Palacio Arzobispal de Kroměříž

Sáb, 27 de julio de 2024 - Kroměříž, Chequia - Palacio Arzobispal de Kroměříž

Jue, 1 de Agosto de 2024 - Sitges, España - Jardines de Terramar

Dom, 4 de agosto de 2024 - Chiclana de la Frontera, España - Concert Music Festival

Mié, 7 de agosto de 2024 - Marbella, España - Starlite Marbella

PARA ENTRADAS E INFORMACIÓN, VISITA HAUSERofficial.com/tour.

SOBRE HAUSER

Tras una increíble carrera de 10 años como integrante del dúo 2CELLOS, la estrella mundial HAUSER ha inaugurado una nueva era como artista en solitario y creador de conceptos visuales, utilizando sus innovadoras habilidades musicales y su irresistible carisma para llevar una nueva ola de música de violonchelo a los fans de todo el mundo. Tras debutar en solitario en 2020 con el lanzamiento de Classic y The Player en 2022, HAUSER acumula más de mil millones de streams de audio y 4.000 millones de visualizaciones de vídeo en todo el mundo. Reconocido internacionalmente por su espectacular directo, el músico croata es un fenómeno que se nutre de la interacción con el público. Se ha subido al escenario en más de 40 países de todo el mundo (incluidos lugares históricos como el Radio City Music Hall de Nueva York y el Royal Albert Hall de Londres) y ha actuado junto a artistas de la talla de Andrea Bocelli, Red Hot Chili Peppers y Elton John. Su electrizante presencia en el escenario también le ha llevado a realizar varias apariciones de alto nivel, como una actuación en la noche inaugural del Festival Internacional de Cine de Venecia de 2022, una actuación en el Vaticano para el Papa y actuaciones especiales para la NFL y la UEFA. Nombrado uno de los Hombres Vivos Más Sexys en 2022 por la revistaPeopley entrevistado por medios comoRolling Stone, Forbes y The New York Times, ha aparecido en numerosos programas de televisión; recientemente ha añadido Love Island a un largo currículum de apariciones que incluye The Bachelorette, TODAY Show, Good Morning America, Ellen, The Late Show with Stephen Colbert, CNN en Español y muchas más.

CONECTA CON HAUSER: PÁGINA WEB | FACEBOOK | INSTAGRAM | YOUTUBE | TIKTOK

Sony Music Masterworks comprende los sellos Masterworks, Sony Classical, Milan Records, XXIM Records y Masterworks Broadway. Para recibir información y actualizaciones por correo electrónico, visite https://lnk.to/milanrecords.