Twentieth Century Oboe Sonatas Alex Klein & Phillip Bush
- York Bowen (1884 - 1961): Oboe Sonata, Op. 85:
- 1Oboe Sonata, Op. 85: I. Allegretto grazioso07:02
- 2Oboe Sonata, Op. 85: II. Andantino espressivo05:07
- 3Oboe Sonata, Op. 85: III. Finale. Allegro giocoso04:16
- Petr Eben (1929 - 2007): Oboe Sonata, Op. 1:
- 4Oboe Sonata, Op. 1: I. Militare. Allegro risoluto03:38
- 5Oboe Sonata, Op. 1: II. Pastorale. Andante cantabile05:01
- 6Oboe Sonata, Op. 1: III. Ballabile. Presto05:06
- Henri Dutilleux (1916 - 2013): Oboe Sonata:
- 7Oboe Sonata: I. Aria. Grave03:03
- 8Oboe Sonata: II. Scherzo. Vif03:49
- 9Oboe Sonata: III. Final. Assez allant03:47
- Eugène Bozza (1905 - 1991): Oboe Sonata:
- 10Oboe Sonata: I. Très calme05:29
- 11Oboe Sonata: II. Vif02:17
- 12Oboe Sonata: III. Extrêmement tendre, expressif02:59
- 13Oboe Sonata: IV. Animé02:01
- Francis Poulenc (1899 - 1963): Oboe Sonata, FP 185:
- 14Oboe Sonata, FP 185: I. Elégie05:28
- 15Oboe Sonata, FP 185: II. Scherzo04:10
- 16Oboe Sonata, FP 185: III. Déploration04:29
- Camille Saint-Saëns (1835 - 1921): Oboe Sonata, Op. 166:
- 17Oboe Sonata, Op. 166: I. Andantino03:42
- 18Oboe Sonata, Op. 166: II. Ad libitum - Allegretto - Ad libitum04:40
- 19Oboe Sonata, Op. 166: III. Molto allegro02:10
Info for Twentieth Century Oboe Sonatas
Grammy Award-winner Alex Klein, former principal oboist of the Chicago Symphony Orchestra, performs sonatas that signify the oboe’s 20th-century reemergence as a brilliant solo instrument. One of the world’s most famous oboe players, Klein says he waited to acquire a professional lifetime’s worth of experience before putting his stamp on the six sonatas heard here.
With pianist Phillip Bush, Klein plays works that he says “define the modern oboe”: Camille Saint-Saëns’ jovial, late-Romantic Sonata for Oboe and Piano, Op. 166; York Bowen’s lushly beautiful Sonata for Oboe and Pianoforte, Op. 85; Henri Dutilleux’s emotionally wide-ranging Sonata for Oboe and Piano; Petr Eben’s youthful, inventive Oboe Sonata, Op.1; Francis Poulenc’s late, philosophical Sonata for Oboe and Piano, FP 185; and Eugène Bozza’s Sonata for Oboe and Piano, an ethereal, rarely heard tour de force.
Klein possesses a “tone so unique and beautiful that musicians from around the globe would flock to [Chicago’s] Symphony Center to hear him play” (Chicago Magazine). He won a Grammy Award in 2002 for Best Instrumental Solo Performance (with Orchestra) for his recording of Richard Strauss’s oboe concerto with conductor Daniel Barenboim and the Chicago Symphony Orchestra (Teldec).His Cedille Records discography includes Baroque, Classical, Romantic, 20th Century, and contemporary oboe works. Gramophone’s review of Klein’s Vivaldi Oboe Concertos album proclaimed, “it’s possible to listen to this recording repeatedly and rarely take your ears away from Klein, who dispenses melodies with musical charm and technical requirements with effortless grace.”
Notes by Alex Klein: This is an album I've wanted to do all life: to go on the record (so to speak) with the pieces that are the meat and potatoes of oboe playing, plus a few more that are personally important to me. It is a pleasure and an honor to make such a musical statement. They are all part of my personal history of oboe playing, a history where I now have more years behind than in front. I find myself in the Eben, which is part of my youth. And like Poulenc when he wrote his Sonata, I too am facing mortality. The Saint-Saëns and the Poulenc are really the core of the oboe recital repertoire, but I'm also really in love with the other pieces here. The Bozza is wild and free and engaging. It runs from an incredible depth of musicality to torrid technical display. The Dutilleux is some of the most driven and energetic music that's been written for the instrument. And the Bowen is such a delight; all three movements are right up there with best music an oboe player can play.
I have a certain nostalgia besides the one caused by age: focal dystonia brought a significant burden to my life and led me to rebuild my playing. Still, I don't know how long I have left to play oboe. This recording has more to do with closing than anticipating ambitious projects for the future. This may well be one of my last oboe statements.
Alex Klein, oboe
Phillip Bush, piano
won the 2002 Grammy Award, Best Instrumental Soloist with Orchestra, for his recording of Richard Strauss’s Oboe Concerto with the Chicago Symphony Orchestra conducted by Daniel Barenboim. Klein also won first prize at the International Competition in Geneva, New York International Oboe Competition, and Fernand Gillet International Competition, as well as important prizes in competitions in Japan, Prague, and Aspen, Colorado.
Artistic Director of the São Paulo International Chamber Music Festival ("Oferenda Musical"), Alex Klein is also conductor at the Sunflower Music Festival (Kansas, USA) and Saint Barts Music Festival (French Antilles) and Artistic Director of the Santa Catarina Music Festival in Brazil. He regularly performs as guest conductor and soloist with orchestras worldwide.
From 1995 to 2004, Klein was principal oboist of the Chicago Symphony Orchestra. He has also performed as soloist with the Philadelphia and Suisse Romande Orchestras and shared the stage as soloist with Pinchas Zukerman and Itzhak Perlman. Conductors with whom he has collaborated include Daniel Barenboim, Pierre Boulez, Sir Georg Solti, and Plácido Domingo.
Klein’s extensive recordings include works by Schubert, Hummel, Telemann, Bach, Albinoni, Vivaldi, Britten, Martinu, Strauss, and Bliss, for the Cedille, Boston, Teldec, and Sony Classical labels.
Klein was Artistic Director of the Curitiba Music Workshop between 2001 and 2005, and regularly participates in important international festivals including the Aspen and Santa Fe Music Festivals (USA), Instrumenta Verano (Mexico), Alex Klein Oboe Festival (China), International Music Festival of Santa Maria da Feira (Portugal), and Music Festival of the Pacific (Japan), among many others.
Alex Klein gives master classes at the Juilliard School of Music, National Conservatories of Paris and Lyon (France), and Beijing Central Conservatory (China).
Acclaimed as "a pianist of poetry, elegance, and power" (American Record Guide), "a pianist of exceptional, cherishable finesse" (Los Angeles Times), and "one of those rare pianists who combine structural intelligence with a hundred color gradations" (The Village Voice), Phillip Bush has established a performing career over the past three decades noted for its remarkable versatility and eclecticism, with a repertoire extending from the 16th century to the 21st. Since launching his career upon winning the American Pianists Association Fellowship Award and his subsequent New York recital debut at the Metropolitan Museum of Art, he has appeared as a recitalist throughout North America as well as in Europe, Asia, and the Caribbean. Widely acknowledged as one of the most experienced American chamber music pianists of his generation, Phillip Bush has performed and recorded with the Chamber Music Society of Lincoln Center, and performed at prestigious Festivals including Grand Canyon Music, Newport Music, Bridgehampton Chamber Music, Cape Cod Chamber Music, Strings in the Mountains (Colorado), Sitka Music (Alaska), St. Bart's Music, Music at Blair Atholl (Scotland), and Cape May Music, among many others. He has collaborated in recital and chamber music with concertmasters and principal players of many of the world's great orchestras, including those of Berlin, Chicago, Los Angeles, Philadelphia, New York, Cleveland, Houston, and the Metropolitan Opera. Bush has made guest appearances with the Kronos, Miami, Parker, Jupiter, Lutoslawski, and Carpe Diem string quartets, and also performed with members of the Emerson, Guarneri, Tokyo, Orion, and St. Lawrence quartets. Notable recordings include the complete Beethoven violin sonatas with Aaron Berofsky and the Brahms viola sonatas with David Harding. Bush is a graduate of the Peabody Conservatory, where he studied with Leon Fleisher. Since 2012, Phillip Bush has been a member of the piano and chamber music faculty at the University of South Carolina School of Music.
This album contains no booklet.