Académique Documents
Professionnel Documents
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MATERIALES DE REFERENCIA
DE GOURDON, Socite: "Nancy Ambrose King", Lista de msicos de Lore, 2013 [En lnea]
Disponible
en
http://www.loree-paris.com/musiciens/nancy-ambrose-king/?lang=es
[Consultado el 27/12/2014]
KING, Nancy Ambrose: Sitio Web, 2013 [En lnea] Disponible en
http://www.nancyambroseking.com/index.htm [Consultado el 27/12/2014]
ITUNES: "Making Reeds Start to Finish with Dr. Nancy Ambrose King", iTunes Preview, 2014 [En
lnea]
Disponible
en
https://itunes.apple.com/us/book/making-reeds-start-tofinish/id555727084?mt=11 [Consultado el 27/12/2014]
MICHIGAN, Universidad de: "Nancy Ambrose King", Faculty & Staff, 2006-2014, [En lnea]
Disponible en http://www.music.umich.edu/faculty_staff/bio.php?u=nak [Consultado el
27/12/2014]
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habr un nmero igualitario de hombres y mujeres en las mejores posiciones orquestales y docentes, al
igual que en la gran mayora de escuelas de msica y conservatorios hay ms mujeres obostas que
hombres, as que las prximas generaciones parecen estar ms orientadas hacia lo femenino.
D.: Qu modelo de Lore usas? Cul es tu opinin sobre los oboes Lore?
N.: Toco con un oboe Royal hecho por Lore. Siento que los oboes Lore son los ms flexibles y
tienen un gran mecanismo tambin. Se estn fabricando muchos buenos oboes por todo el mundo. No
se trata de encontrar el mejor oboe, sino aquel que te sienta mejor y funciona mejor con tu estilo de
caa. Lore Royal es el que funciona mejor con mis caas, aunque algunos obostas de EE.UU. se
estn moviendo hacia oboes con menos flexibilidad y ms contencin.
D.: Qu tipo de caas [reeds] (Rigotti, Lore, Marigau, Neuranter, Le Rouseau Chantant, etc.)
usas?
N.: Pienso que te refieres a "caa" [cane]? Compro tubos de caa de diferentes lugares: Rigotti,
Alliaud, Lore, Le Rouseau Chantant. Uso una mquina gubiadora Kunibert Michel. Te remito otra
vez a mi interesante ebook Haciendo caas de principio a fin con Nancy Ambrose King si tienes iPad
o eBooks cargado en un ordenador Mac.
D.: Tocas el corno ingls, oboe d'amore, oboe barroco u otro tipo de oboe?
N.: Tengo tanto un corno ingls como un oboe d'amore y los he tocado muchas veces. Desde que tuve
una mala lesin en mi mano y mueca derecha, sin embargo, el corno ingls es muy doloroso de tocar.
Puedo probar caas para mis estudiantes, y tocar un poquito, pero es muy doloroso para mi mueca. El
oboe d'amore es ms cmodo y me gusta mucho tocarlo.
D.: Qu estilo de Msica Clsica te gusta interpretar: Barroco, Clsico, Romntico o
Contemporneo/Moderno?
N.: Me gustan todos, pero [los obostas] tenemos predominancia de Barroco y Contemporneo. Me
gusta la ornamentacin de la msica barroca, la cualidad florida del Clasicismo y los ritmos de la
msica contempornea.
D.: Te gustan otros estilos musicales como el Jazz o el Flamenco para tocar con el oboe?
N.: Me gustan mucho. Aunque no estoy entrenada en Jazz o Improvisacin, me gusta especialmente
tocar msica con elementos o ritmos/estilo jazzstico. Muchos compositores estadounidenses
ltimamente incorporan elementos jazzsticos.
D.: Tienes algn artculo, libro u otra publicacin? Si tienes algo, Me lo podras pasar? Me
gustara leerlo. Yo tengo un artculo sobre los instrumentos de doble lengeta en los espectculos
gladiatorios de la Antigua Roma, pero est en castellano y no tiene un resumen en ingls.
N.: Ahora mismo slo tengo el libro de hacer caas, aunque actualmente estoy aadiendo ms
captulos que se sumarn sin cargo a travs de actualizaciones eBook para todos los que compraron el
libro.
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scrape reed (corners of the mouth in and forward, with the oboe held down closer to the body). We
still hold him and his teaching in very high regard, and most all American oboists can trace their 'oboe
lineage' back to Tabuteau. I am fortunate that I am only one generation away from his teaching.
D.: We generally talk of three types of making Oboe reeds: French, German and
American. What does it consists of and what are this advantages and disadvantages?
N.: You would be more able to describe the difference between the French and German than I am,
however the American reed is sometimes referred to as a 'long scrape' reed, because the bark of the
reed is scraped down almost to the string. We have 3 areas of the reed: the tip, the heart, and the back.
You might be interested in reading my e-book which is available on Itunes for Ipad or Mac....it is
called Making Reeds from Start to Finish with Nancy Ambrose King. It will give you a LOT of detail
about our reeds! I think the advantage of the American reed is that it is very flexible with the softer
dynamic levels, but it can't play as loud perhaps. Ironically, since the embouchure we use is different,
to accommodate the reeds, I have found when judging many international competitions recently that
Oboists are sounding more and more alike no matter where they are from, although we use very
different reeds and embouchures to get there!
D.: As I said before, American Oboe world is not very well-known for me and my classmates,
and in general for a lot of Spanish oboists. Could you recommend us some current actually
American oboists? And musical works?
N.: Well-known American oboists with recordings and a youtube presence in addition to myself:
Eugene Izotov, Andrew Parker, Elaine Douvas, Frank Rosenwein, Liang Wang, Katherine
Needleman, Rebecca Henderson, Richard Killmer (teacher), Elizabeth Koch....and you might look up
a current student of mine who has many Youtube recordings: Andreas Oeste. American composers
with works for oboe include John Williams, Roberto Sierra, Corigliano, Jennifer Higdon, Michael
Daugherty, Christopher Rouse, John Steinmetz, John Harbison, Alyssa Morris.
D.: What Lore model do you use? What is your opinion about Lore oboes?
N.: I play a Royal oboe made by Lore. I feel that Lore oboes are the most flexible and have great
key work, too. There are many fine oboes being made all over the world now....it is not about finding
the best oboe, but finding the one that feels best to you and works best with your reed style. Loree
Royal works best with my reeds, although some American oboists are moving toward oboes with less
flexibility and more containment.
D.: I think that USA is less interesting as a musical reference that France, Germany or Russia.
But I think that USA is very important in other scientific subjects (as Archaeology or Ancient
Near East Studies). What do you think and why?
N.: I am not sure I completely understand your question, but I think probably because the US is a very
young country without the musical history of the other countries that you mention. US is important
musically because of its introduction of jazz and many popular musical genres such as rock and roll,
hip hop, improvisational rock, etc., which has influenced even the 'art composers' writing for
traditional instruments now. Just as Dvorak was influenced by the folk tunes of the 'New World' you
have modern day composers writing for solo and orchestral instruments influenced by jazz, ragtime,
and popular American or Latin American rhythms and harmonies.
D.: I do not know a lot of very important women oboists in the world. Do you think the Oboe
World is still an Male World in the highest levels?
N.: It is changing very fast now. In fact, the entire oboe section of the Los Angeles Philharmonic is
now female! You are correct that most of the high level positions held for many years are occupied by
men, but more and more women are taking these positions when the older men retire. I believe that in
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only a few more years, there will be equal numbers of men and women in prominent orchestral and
teaching positions....as most music schools and conservatories have more female oboists than male, so
the next generations appear to be more female oriented.
D.: What kind of reeds (Rigotti, Loree, Marigaux, Neuranter, Le Rouseau Chantant, etc.) do you
use?
N.: I think you mean cane? I purchase tube cane from many different places....Rigotti, Alliaud, Loree,
Le Rouseau Chantant. I use a Kunibert-Michel gouging machine. Once again, you might find my
ebook interesting: Making Reeds from Start to Finish by Nancy Ambrose King, if you have an iPad or
IBooks loaded onto a Mac computer.
D.: Do you play the English horn, oboe d'amore, Baroque Oboe or another kind of oboe?
N.: I have both an English Horn and an oboe d'amore and have played them many times. Since I had a
very bad injury to my right hand and wrist, however, the English horn is very painful to play . I can
test reeds on it for my students, and play a little bit, but it is quite painful for my wrist. The oboe
d'amore is more comfortable and I really enjoy playing it.
D.: What style of Classical Music do you like to perform? Baroque, Classical, Romantic or
Contemporary/Modern?
N.: I like all of it, but we have a predominance of Baroque and Contemporary music. I enjoy the
ornamentation of Baroque music, the florid quality of classical period, and the rhythms of
contemporary music.
D.: Do you like other musical styles as Jazz or Flamenco to perform with the Oboe?
N.: I do like them very much. Although I have not been trained in jazz or improvisation, I especially
like to perform music with jazz elements and rhythms/style. Many American compositions lately
feature jazz elements.
D.: Have you any articles, books or another publications? If you have someone, could you pass
me them? I would like to read them. I have an article about double reed instruments in
gladiatorial spectacles of Ancient Tome, but it is in Spanish and it has not got an English
abstract.
N.: Right now, I just have the reedmaking book, although I am currently adding more chapters to it,
which will be added for no charge via Ibook updates to all those who purchased the book.
D.: Last year, I studied Lebrun Oboe Concerto in d minor. This is an Mannheim School author,
he met Classical Music from authors as Mozart or Salieri. I have read that some from his oboe
concertos have pre-romantic elements (as number 4 in F Major). I have listened a lot of versions
from important oboists as A. Mayer, H. Holliger or O. Zoboli. All these musicians do free and no
written ornamentations as in Baroque Music. I think that I must not do ornamentations because
it is Classical and no Baroque. What do you think and why?
N.: I have recorded 4 Lebrun Concerti, including the Dminor. They are available on Cala Records and
through Itunes. I did ornament freely. I think it is mistaken to think that ornamentation just stopped
very suddenly at the end of the Baroque era. Certainly Mozart freely improvised his cadenzas,
although we don't feel comfortable ornamenting his music other than turns and trills on occasion.
Lebrun's music is quite sparse in many movements, so I assume that it would have been elaborated at
will by the performer.
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D.: Finally, What advice you would give me and my Oboe classmates for our Oboe studies?
N.: Work hard but keep an open mind! Don't be afraid to try new things on the oboe, find new
audiences for our instrument, and introduce it to people who dont know much about the oboe or
artistic musical genres. Have a great attitude toward other oboists, be a good colleague, and support
each other. We have a very small community and benefit from our combined knowledge and helpful
advice!
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