Oboe Concerto in D Major, Op. 144
Oboe Concerto in D Major, Op. 144
Oboe master Céline Moinet discusses how to play effectively with an orchestra, among other principles with student Ho Ting Tsui.
Produced by the Saline royale Academy in October, 2020 at Arc-et-Senans.
In this oboe masterclass, Céline Moinet underlines the relationship between soloist and orchestra. Moinet begins her instruction by telling Ho Ting Tsui to carefully listen to the accompaniment. This is echoed throughout the class as she advises her student to avoid rushing the notes in order to secure a dialog between soloist and orchestra. Maintaining a stable tempo, as the master puts it, is imperative. In addition, the oboe teacher specifies that playing vivace is not about playing fast but about playing with character and humor. It is meant to be played as if it is ‘full of life.’ Even with vivace, the master indicates, it is important to keep a solid tempo and avoid rushing the notes.
Other crucial elements that are discussed in this session include breathing, and more specifically, how to breathe in order to save air and energy, as well as when to breathe in order to achieve a high level of expression. The goal is to tell a story, which is accomplished by being expressive, changing color, and adding contrast.
Longer lines and more expression so that you can extend your vibrato, sing more with the instrument, and make it easier to regulate tuning.
Aim for excellence! You can improve your skills with expert advice. Download the annotated sheet music of this oboe masterclass. Please note that this piece has been annotated in accordance to Céline Moinet’s feedback and comments.
In 2006 she won first prizes for oboe and chamber music in the classes of David Walter and Maurice Bourgue.
Born in Lille in 1984, Céline Moinet studied the oboe and chamber music at the Conservatoire National Supérieur de Musique de Paris in the classes of David Walter and Maurice Bourgue.
In 2006 she was awarded a Premier Prix in both disciplines. She also studied the Baroque oboe with Marcel Ponseele and Xenia Löffler. In 2004 and 2005 she completed her orchestral training as a member of the Gustav Mahler Jugendorchester under the direction of Claudio Abbado.
After this experience, she was invited to appear as guest principal with leading German orchestras such as the NDR Sinfonieorchester Hamburg, the Deutsches Symphonie-Orchester Berlin, the SWR Radiosinfonieorchester Stuttgart, the Philharmoniker Hamburg, and the orchestra of the Frankfurt Opera. In 2006 she was appointed principal oboe of the Nationaltheater-Orchester Mannheim. Since June 2008 she has occupied the same position with the celebrated Staatskapelle Dresden. In the autumn of 2011, she was invited by the Vienna Philharmonic Orchestra to appear on an extended tour of Asia and Australia. Céline Moinet performs regularly in solo and chamber repertoire. She plays the major oboe concertos with the Staatskapelle Dresden, the Prague Philharmonia, the Pacific Music Festival Orchestra, the New Japan Philharmonic, the Kammerorchester Basel, and the Dresdner Kapellsolisten At the invitation of Fabio Luisi, she has given recitals and masterclasses at the Pacific Music Festival in Sapporo.
Céline Moinet plays an oboe by Marigaux, Paris.
In 1945, Richard Strauss was apprehended by American soldiers in his home. After explaining that he was a composer and musician, a sign stating “off limits” was placed in front of his house. Among the American soldiers was John de Lancie who would later become First Oboist for the Pittsburgh Symphony Orchestra. He asked the composer if he would consider composing a concerto for the oboe, to which Strauss refused but reconsidered the proposition at a later date. A year later, the concert premiered in Zürich, Switzerland with Marcel Saillet as soloist, accompanied by the Zürich Tonhalle Orchestra, and conducted by Volkmar Andreae.
The concerto was written for an oboe soloist with an orchestra consisting of two flutes, an English horn, two clarinets, two bassoons, two horns, and strings. It has three movements which include I. Allegro moderato; II. Adante; and III. Vivace Allegro. Furthermore, this oeuvre is made up of three main themes. The first theme is four sixteenth notes (Ré, Mi, Ré, Mi). The second theme is characterized by a long note followed by sixteenth notes. Lastly, the third theme is a sequence of short notes then long followed by differing continuations. After the second cadenza, Strauss concludes the the piece with a surprise by inserting a playful Allegro in 6/8 meter, which almost playfully emerges as a fourth movement with a unique personality of its own.