Hailed as “an aristocrat of his
instrument” (Los Angeles Times) and “undoubtedly one of a few world masters”
(San Diego Union), Allan
Vogel is one of
America’s leading wind soloists and chamber musicians. Principal oboist of the
Los Angeles Chamber Orchestra, he has appeared as soloist with orchestras
throughout the country and has been featured at the Marlboro, Santa Fe, Aspen,
Mostly Mozart, Summerfest,
Sarasota, Oregon Bach, Music @ Menlo and Chamber Music Northwest festivals.
Allan has been guest principal oboist
with the Boston Symphony Orchestra for concerts in the major European capitals,
Carnegie Hall, the Kennedy Center and Boston Symphony Hall. He has also
performed with the Academy of St. Martin in the Fields, the Orpheus Chamber
Orchestra and the Berlin and Los Angeles philharmonic orchestras. Allan is a
frequent guest with the Chamber Music Society of Lincoln Center and toured Japan
several times. He also performed at the White House during the last State dinner
of the Clinton presidency
His discography includes two solo
recordings on the Delos label: Bach’s Circle (Baroque sonatas), and Oboe
Obsession (virtuoso romantic works), which has been called “the single finest
disc of oboe music ever recorded” by American Record Guide. He has also appeared
on the Nonesuch, Dorian, and
RCA
labels and has recorded Bach cantatas with Helmuth Rilling.
In 2003, he recorded the Bach Concerto for oboe and violin with Hilary Hahn and
the Los Angeles Chamber Orchestra under Music Director Jeffrey Kahane
for Deutsche Grammophon.
Photo by Michael Miller
Renowned for his performances of the
Baroque literature, Allan serves on the advisory board of the American Bach
Society, and is a member of Bach’s Circle Baroque Ensemble. He is on the faculty
of the California Institute of the Arts, the University of Southern California
and the Colburn Conservatory of Music.
Kathy Riemann, Victoria Racz, Allan Vogel, Ann Kosanovic-Brown
Back row (left to right)
Hannah Femling, Mickey Hansen, Quinn Middleman,
Michael Loveland, Ben Serna-Grey, Gordon Davis, Victoria Racz
Front row (left to right)
Allan Vogel, Kathy Stockwell-Riemann, Rebecca
Nederhiser, Paul Wallace, Jessica Woolf, Cramer Kallem, Noah
Weiner, Kirsten Saul, Annie Kosanovic-Brown
Carolyn Hove has been the solo English horn player in
the Los Angeles Philharmonic since 1988.
Following her graduation from the Oberlin College Conservatory
of Music, until she assumed the English horn position with the
San Antonio Symphony in 1986, Ms. Hove had an active musical
career in the Chicago area, where she performed with numerous
ensembles and was a member of the faculties of Elmhurst College
and Northern Illinois University. It was at this time that she
developed her enduring interest in new music as the result of
her association with prestigious Contemporary Chamber Players of
the University of Chicago under the direction of
composer/conductor Ralph Shapey.
Ms. Hove has appeared as a soloist in many venues, including a
recital on the acclaimed Dame Myra Hess Concert Series in
Chicago and appearances with the La Jolla Chamber Music Society,
the Los Angeles Philharmonic and many other leading ensembles.
In 1993, she performed the U.S. premiere of Esa-Pekka Salonen’s
SecondMeeting, for oboe and piano, on the
Philharmonic’s Green Umbrella New Music Series, with pianist
Gloria Cheng. In 1995, she performed the U.S. Premiere of
Salonen’s Mimo II (a work derived from Second Meeting)
for oboe and orchestra, with the Los Angeles Philharmonic. In
Los Angeles, in March of 1999, she performed to critical
acclaim, the world premiere of William Kraft’s Encounters
XI: The Demise of Suriyodhaya for English horn and
percussion, which was followed by a repeat performance in Alice
Tully Hall in Lincoln Center in New York. This work was
commissioned by the Los Angeles Philharmonic and written for Ms.
Hove and Raynor Carrol, the orchestra’s principal percussionist.
In January 2003, Ms. Hove performed the world premiere of
William Kraft’s Concerto for English Horn and Orchestra
with the Los Angeles Philharmonic, conducted by its Music
Director, Esa-Pekka Salonen. The work was commissioned by the
Los Angeles Philharmonic and written expressly for Ms. Hove. In
addition, she has premiered works by Gerhard Samuel, Paul Turok
and many others.
Ms. Hove maintains a busy schedule as a teacher whose activities
have included guest lectureship at leading music schools
throughout the U.S., Europe and Canada including the Royal
Academy of Music and the Guildhall School (London), the Royal
Northern College of Music (U.K.), The Banff Centre (Canada), the
University of Texas, and the Music Academy of the West. She
also has presented the annual "English Horn Master Classes with
Carolyn Hove" held at Brigham Young University. For 2009 the
venue has been changed to Ball State University. She has served
on the Executive Committee of International Double Reed Society.
Carolyn coaching Paul Wallace in her focus session
(left to right - back row)
Noah Weiner, Cramer Kallum, Cooper Wright, Michael Loveland, Quinn
Middleman, Ben Serna-Grey,
(middle row)
Paul Wallace, Hannah Femling, Betty Booher, Kathy Apland, Victoria
Racz
(front)
Seminar Assistant Margaret McShea, David Roddy, Jessica Woolf,
Seminar Assistant Kathy Stockwell-Riemann, Guest Carolyn Hove
Seminar Assistant Kathy - "Have Some Cake!"
Victoria and Carolyn in Portland's Rose Garden the day after
Seminar
Photo by Rob Prout
Grammy Award winners Eric Tingstad and Nancy
Rumbel have performed, recorded and touring together for over 24 years
with 19 albums to their credit. Traveling to as many as 50 concert
venues a year, they are friends who enjoy each other's company and truly
love making music.
Eric and Nancy began their collaboration in1985.
Their debut album, The Gift, quickly became a holiday classic. The next
20 years saw countless reviews including The New York Times, The
Washington Post, Billboard and number one debuts on radio charts. In
1998, American Acoustic was honored as "Acoustic Instrumental Album of
the Year." A Carnegie Hall appearance in 2000. And in 2003 they received
a Grammy Award for "Acoustic Garden."
Nancy grew up in San Antonio, Texas and continued
her musical education at Northwestern University where she became
interested in ethnomusicology, improvisation and dance. She was a member
of the Paul Winter Consort for several years prior to her move to the
Pacific Northwest.
(standing left to right - back row)
Hannah Femling, Michael Loveland, Cooper Wright, Ben Serna-Grey, Betty
Booher, Seminar Assistant Kathy Riemann, Victoria Racz
(front row)
Seminar Assistant Margaret McShea, Paul Wallace, Kathy Apland, Quinn
Middleman, Jessica Woolf, Carren Walker, Nancy Rumbel
Humbert Lucarelli has been hailed as "America's
leading oboe recitalist" (The New York Times). The New York Daily
News wrote that he "has proven his preeminence among oboists
today." Prof. Lucarelli has performed extensively throughout the
United States, Canada, Mexico, South America, Europe, Japan,
Australia and Asia. He has been featured in the numerous music
festivals including: Angel Fire, Aspen, Chautauqua, Marblehead,
Martha's Vineyard, Music Mountain, Newport, Victoria International
Music Festival and Il Festival Eleazar de Carvalho in Fortaleza,
Brazil. In the summer of 2002, he was invited to perform and teach
at the Central Conservatory of Music in Beijing, China.
Prof. Lucarelli's wide range of musical activities includes solo
performances with the American Symphony Orchestra, I Solisti
Veneti, Lehigh Valley Chamber Orchestra, London's Orchestra of St.
John's Smith Square, The Manhattan Chamber Orchestra, Orquestra
Sinphônica Do Estado De Sâo Paulo and the Philharmonia Virtuosi.
Concerts with the original Bach Aria Group, the Trio Bell'Arte,
the American, Amernet, Audubon, Biava, Cassatt, Chester, Colorado,
Emerson, Lark, Leontovich, Manhattan, Miami, Muir, Panocha and
Philadelphia string quartets have brought a vast new audience to
the oboe. Of his performance with I Solisti Veneti, Allen Hughes
of the The New York Times wrote, "Mr. Lucarelli is a true virtuoso
on the oboe."
As an orchestral performer, Prof. Lucarelli has performed and
recorded with some of the world's leading conductors, including
Leonard Bernstein, Kiril Kondrashin, Josef Krips, James Levine,
Dimitri Mitropoulos, Artur Rodzinsky, Sir Georg Solti, Leopold
Stokowski and Igor Stravinsky.
Prof. Lucarelli is soloist in John Corigliano's Oboe Concerto (RCA
Victor), which was written for and premiered by him with the
American Symphony Orchestra at Carnegie Hall. He has recorded
extensively with Koch International, Lyrichord, MCA Classics,
Musical Heritage Society, Pantheon and Stradivari. His recorded
repertoire includes Bach, Baksa, Bax, Bliss, Britten, Debussy,
Hindemith, Leclair, Lefebre, Mozart, Poulenc, Rameau, Saint-Saens,
as well as concerti of Strauss, Telemann, Vaughan Williams and
Wolf-Ferrari. His recording of All Bach was praised in The
Gramophone as a "memorable recital that boasts a deeply expressive
soloist".
(standing left to right - back row)
Howard Lazarus, Guest Composer/Coach Norman Leyden, Michael Loveland,
Bert Lucarelli, Quinn Middleman, Ben Serna-Grey, Judy Purrington, Paul
Wallace, Victoria Racz
Fred Korman incorporates his unique background and varied talents,
along with his passion for people and performance, in his
achievements as a nationally acclaimed leader of workshops on the
"Psychology of Performance"; as a renowned oboist; and in his
private counseling practice.
A native of Brooklyn, New York, Mr. Korman maintains a private
counseling practice in Portland where he sees adults in individual
counseling. In addition, Mr. Korman presents master classes and
workshops at major universities and music festivals around the
United States for performers of all levels and mediums focusing on
the psychology of performance. The uniqueness of his combined
expertise allows him to provide a richness of experience both as a
therapist and a musician.
Mr. Korman's training includes undergraduate work in
psychology. He is currently a member of the Portland Gestalt
Institute led by Dr. Jeffrey Sher, PhD, and Carol Swanson, LCSW.
Among his most recent engagements are workshops at the University
of Washington, University of Nevada at Las Vegas, and the
International Gestalt Therapy Seminar in Siena, Italy.
The Principal Oboist with the Oregon Symphony since 1978, Mr.
Korman is a frequent soloist in the Northwest. He has received
critical praise for his "flawless playing", "tour-de-force"
performances and "lyric flair". His performances of George
Rochberg's
Oboe Concerto with the Oregon Symphony drew robust approval
from music critics who said: "Korman played
passionately . . . his oboe rang clear and true" (The
Columbian) and "He cleanly etched
Rochberg's mournful and erratic themes . . . against the score's
constantly shifting patterns" (The
Oregonian). His playing in the critically acclaimed Oregon
Symphony recording of Strauss' Don Juan
was praised by the CD Review.
Before beginning his tenure with the Oregon Symphony, Mr.
Korman held positions with the New Orleans and Hartford Symphony
Orchestras. In addition to his recordings with the Oregon
Symphony, Mr. Korman has recorded both classical and jazz on
labels including Delos, Opus One, Koch, and a premier recording of
the Wind Quartet by Gieseking on the
Centaur label. He has participated as Principal Oboist in music
festivals including Tanglewood, Chamber Music Northwest, Peter
Britt, Centrum, Shenandoah Valley, Festival of the Amalfi Coast
(Italy) and the Saint Barthelemey Music Festival (French West
Indies).
Aside from performing, Mr. Korman enjoys a successful teaching
career, having held positions at the Hartt College of Music,
Loyola University, University of New Orleans, Lewis and Clark
College and Portland State University. He is currently on the
faculty of Oregon State University in Corvallis. He has
twice been a guest artist in the Northwest Oboe Seminar.
(standing left to right - back row)
Victoria Racz, Theo Hunter, Quinn Middleman, Michael Loveland, Seann
Branchfield, Paul Wallace, Seminar Assistant Margaret McShea
(front row)
David Roddy, Laura Mulholland, Judy Purrington, Fred Korman, Erica
Gonzalez, Seminar Assistant Kathy Stockwell-Riemann
The
Northwest Oboe Seminar presents the annual
Mack in March Series - two Master Classes
with Mr. John Mack!
Wednesday, March 29 & Thursday, March 30, 2006
6:30 - 9:30 pm
All Saints' Episcopal Church, Portland
John Mack was appointed to the principal oboe chair at the Cleveland
Orchestra by George Szell in 1965; during his tenure, which lasted until
2001, he also played under music directors Lorin Maazel, Christoph von
Dohnányi and, most recently, Franz Welser-Möst. Since 2001, Mack served
as a member of the Cleveland Orchestra board of directors.
Mack was born in Somerville, New Jersey, where he received his early
musical training, studying with Bruno Labate and Marcel Tabuteau in high
school. Friends urged him to study science or physics, but he was
determined to continue with music, and went on to train at the Juilliard
School with Harold Gomberg and with Tabuteau at the Curtis Institute of
Music in Philadelphia.
His professional orchestral career began in the Sadler's Wells Ballet
Orchestra in1951 and was followed by eleven seasons (from 1952-63) as
first oboist with the New Orleans Symphony. He then had a brief stint
with the National Symphony in Washington, D.C. Mack was also a founding
member of the Plymouth Trio and a regular chamber music performer.
A renowned teacher, Mack was chairman of the woodwind division at the
Cleveland Institute of Music since 1965. Many of his former students
hold positions with major orchestras, including the Boston Symphony,
Cleveland Orchestra and Metropolitan Opera Orchestra. He was also a
faculty member of the Kent/Blossom Music program since its founding in
1968, and since 1976, he taught and performed at the John Mack Oboe Camp
in North Carolina.
David Zauder, a retired member of the orchestra's trumpet section,
told the Cleveland Plain Dealer, "John Mack was an icon of the
Cleveland Orchestra. He touched thousands of lives with his special way
of helping. He made everybody better."
Fred Korman and Victoria
Fred with Mr. Mack
Mr. Mack signing a CD
The 11th Annual Northwest Oboe Seminar
Saturday, August 21, 2004
All Saints' Episcopal Church, Portland
What Every Oboist Needs to Know about the Body with guest
Barbara Conable
barbarabodymaporg
During her twenty-two years as an Alexander Technique teacher Barbara
Conable helped to save hundreds of musical careers and to enhance hundreds
more. She experienced frustration, however, because she knew that
thousands more musicians were losing careers and capacity. To enhance her
effectiveness, she wrote the book
What Every Musician Needs to Know about the Body and developed a
Body Mapping course by the same name which is now taught by
Andover Educators around the world. The goal of Andover Educators is
to put music education on a secure somatic (anatomical) foundation for all
time.
Now retired from teaching, Barbara Conable continues to develop the
theory and practice of Body Mapping.
(standing left to right - back row)
Victoria Racz, Seminar Assistant Kathy Stockwell-Riemann, Laura
Mulholland, Eleonore Schaff, Linda Brest, Quinn Middleman, Paul Wallace,
Seann Branchfield, Seminar Assistant Laura Kramer
(front row)
Jessica Croysdale, David Roddy, Bridie Goodwin, Janna Chae, Spencer
Slocumb
Barbara Conable in her Focus Session
The
Northwest Oboe Seminar presents the annual
Mack in March Series - two Master Classes
with Mr. John Mack!
Dan
Stolper
Michigan State University Professor Emeritus of Oboe
Interlochen Arts Academy Instructor of Oboe
Interlochen Arts Camp Instructor of Oboe
Dan Stolper is a member of the Interlochen Arts Camp faculty. He holds
the degrees of BM, MM and the Performer's Certificate from the Eastman
School of Music, where he studied with Robert Sprenkle. Further studies
include work with Robert Bloom, Heinz Holliger and John Mack. He has
served as principal oboist of the San Antonio Symphony, the New Orleans
Philharmonic, the Greater Lansing Symphony, and the Eastman Chamber
Orchestra, with whom he gave the United States premiere performance of
Bohuslav Martinu's "Oboe Concerto."
Mr. Stolper is professor emeritus at Michigan State University and he
has also held visiting professorships at the University of Illinois
(Urbana/Champaign) and Louisiana State University (Baton Rouge). He has
given masterclasses at all the major conservatories in Australia (in
Sydney, Canberra, Melbourne, Brisbane, Adelaide, and Perth); at the
Royal College of Music, the
Royal Academy of Music, the Guildhall School of Music and Drama in
London; the Conservatoire in Birmingham; and at the Sibelius Academy in
Helsinki.
In the US he has given masterclasses at the Eastman School of Music,
Cincinnati Conservatory, Hartt College, Peabody Conservatory, Florida
State University, and the Universities of Colorado, Oregon, and
Washington. He has been featured artist at "Double Reed Days" at Wichita
State University, California State University at Fresno and for the
Northwest Oboe Seminar in Portland.
Mr. Stolper has served on juries for the Castello de Duino Competition
(in Trieste, Italy); the Isle of Wight International Oboe Competition
(in the United Kingdom); the Lucarelli Competition for Solo Oboists (in
New York); and the Fernand Gillet International Competition.
He can be heard as first oboist in the Eastman Wind Ensemble's
distinguished series of recordings for Mercury, including works of
Mozart, Strauss, Stravinsky and Hindemith. He has also recorded with the
Marlboro Festival Orchestra (under Pablo Casals) and with the Richards
Quintet (for Crystal Records).
He is co-editor of the "DOUBLE REED" magazine, the journal of the
International Double Reed Society.
(standing left to right - back row)
Victoria Racz, Paul Wallace, Seann Branchfield, Chris Sigman, Dan
Stolper and Seminar Assistant Laura Kramer
(front row)
Mitch Iimori, Jessica Croysdale, Marisa Fisher, Bridie Goodwin, Laura
Mulholland
Other Picture:
Dan Stolper with Seminar Assistant (and his former student!) Kathy
Stockwell-Riemann
The
Northwest Oboe Seminar and Classical
Millennium present a Master Class and CD Release Recital with
Humbert Lucarelli!
Gayle Stuwe Neuman, voice, strings, and winds,
co-directs the Oregon Renaissance Band and is a member of the Trail Band
and has performed with Capella Romana, and Magnificat. She teaches Music
History at Marylhurst University.
Philip Neuman, winds and plucked strings, co-directs the Oregon
Renaissance Band and teaches Counterpoint and Scoring and Arranging at
the University of Portland and Music History at Marylhurst University.
He is a member of the Trail Band and has performed with the American
Bach Soloists, Philharmonia Baroque Orchestra, The Chicago Chorale,
Handel & Haydn Society Orchestra, and Spiritus Collective.
The Oregon Renaissance Band
The Oregon Renaissance Band is an 8 to 12 member ensemble
dedicated to performing and recording music of the Renaissance, played
on faithful reproductions of historical instruments. These include
violins, cittern, harp, bandora, chitarrino, recorders, krummhorns,
racketts, sackbuts, pipe & tabor, bagpipes, schreierpfeiffen, and
percussion, many of which were built by the performers. The Oregon
Renaissance Band has presented concerts and workshops since 1991 and has
been featured on NPR's "Performance Today". Their cd with ensemble De
Organographia is entitled "Carnevale! Carnival Songs, Frottole, Dances
and other Festive Music of 16th century Italy". In 1998, ORB performed
at the early music festival in Regensburg, Germany.
Ensemble De Organographia Ensemble De Organographia, Philip and Gayle Neuman, specializes
in the music of four distinct periods; Antiquity, Medieval, Renaissance,
and the 19th century, all performed on period instruments or
faithful reproductions. Their concerts are entertaining and
informative, combining text and song to bring to life the musical art of
the distant past.
The repertoire of ensemble De Organographia is performed in an
improvisatory style based on precepts preserved in period treatises.
They perform ancient music of the Greeks, Egyptians and Sumerians on
lyre, kithara, pandoura, salpinx, trichordon, aulos, psithyra, sistrum,
syrinx monokalamos and tympanon. Their medieval repertoire is
played on recorders, shawm, vielle, citole, bagpipe, douçaines, and
slide trumpet. Their renaissance repertoire is performed on recorders,
cittern, bandora, violin, sackbuts, carnival whistle, curtal, racketts,
krummhorns, schreierpfeif, and pipe & tabor. Their 19th century
performances are played on violin, viola, flageolets, cetra or english
guitar, spanish guitar, banjo, czakan (walking stick recorder),
ophicleide, serpent, and sausage bassoon.
De Organographia has presented numerous concerts, lectures and
demonstrations in the US, Germany, Norway, Japan, Turkey, Greece,
Israel, and Jordan since 1978. They have performed at the Getty Center,
The Cleveland Museum of Art, Florida State University, Oberlin
Conservatory, Case Western Reserve University, the Bodrum Museum, the
Amman Music Conservatory, and the Regensburg Old Town Hall.
(standing left to right - back row)
Seminar Assistant Laura Kramer, Victoria Racz, Mark Filip, Mitch
Iimori, Bridie Goodwin, Seann Branchfield, Mary Ellen Kenreich
Jennifer I. Paull discovered the world of Music at the hands of
an enlightened and very patient piano teacher as a young child. The
discovery of the
oboe d'amore, whilst an oboe student at the Royal College
of Music (London), changed both her life and that of this almost
forgotten, beautiful instrument to which she subsequently dedicated
her own. She remains the only soloist in the world ever to have
devoted a career exclusively to its cause.
Although having performed with many of the leading orchestras in
England and Europe as an oboe and cor anglais player as well as
being an oboe d'amore specialist (BBC Symphony and
Philharmonic, English Chamber Orchestra, Rotterdam Philharmonic
etc), the orchestral repertoire was neither where her heart beat the
fastest, nor in which the instrument of her predilection was
anything other than an occasional guest.
Music in all its guises as well as performance itself enabled her
to explore her passion much more intensely. This extended from
orchestral concerts and solo recitals to publishing new repertoire
(for all members of the oboe family of instruments, especially the
rarest of its members), music therapy and education, the
organisation of concerts and festivals and working in artist and
orchestral management. The fascination with the Comparative Arts'
perspective of her subject led Jennifer Paull to writing.
"The lens through which I view my subject is one of a
musician who delights in the juxtaposition and oneness of all of
the Arts: their comparison to my own and the very lack of
separation and division between."
Jennifer Paull's first book, Cathy Berberian and Music's
Musings was published in 2007 by Amoris Imprint. Details can be
found on the
Books
page of this site -
www.amoris.com
She has two sons and two daughters and lives in Switzerland near
the French border in a charming, wine-growing village not far from
Montreux. Fascinated by travel, history, and synaesthesia (her
'secret weapon'), she freely admits to an advanced addiction to The
Arts in all their guises and intellectual sleuthing at its most
intense. Since retiring from her active playing career,
Jennifer is in the process of donating her lifetime of collected
repertoire for the rare oboes to the Werner Icking Music Archive (WIMA)
so that it is freely available to players everywhere.
http://icking-music-archive.org/index.php
(standing left to right - back row)
Seminar Assistant Laura Groves (Kramer), Matt Habjan, Paul Wallace,
Rachel Molzer, Seann Branchfield, Liz Bartman, Victoria Racz
The Amoris Consort - Victoria Racz (musette/oboe), Jennifer Paull
(oboe d'amore), Kathy Stockwell-Riemann (English horn) with a
Seminar participant trying out the bass oboe
Oboemotions What Every Oboe Player Needs to Know About
the Body
Stephen Caplan is Professor of Oboe at the University of Nevada, Las
Vegas. He also serves as Principal Oboist of the Las Vegas Philharmonic
and the Sierra Winds. His solo recording of American music for the oboe, A
Tree in Your Ear, has received international acclaim. He has been a
featured soloist with a variety of orchestras including the New Orleans
Philharmonic, Arctic Chamber Orchestra, Reno Philharmonic and Oregon
Symphony. He has performed with many of classical music’s leading
musicians such as Hilary Hahn, Jan de Gaetani, and Ransom Wilson. He has
also played in orchestras accompanying superstars Andrea Bocelli, Luciano
Pavarotti, Ray Charles, Tony Bennett and others.
Caplan’s oboe teaching is widely recognized. He has twice been a
featured clinician for Nora Post’s “Oboe Blowout,” and has also been a
featured artist and teacher for the California Double Reed Day and the
Northwest Oboe Seminar. He has given workshops at music schools
throughout the United States including Brigham Young University, Ohio
State University, University of Michigan, University of Oregon, and
University of Texas. He served on a Pedagogy Panel for the International
Double Reed Society and has been featured many times as a recitalist at
their annual conferences both in America and in Europe.
Caplan can be heard on numerous recordings as a soloist and as a member
of Sierra Winds. He is a three-time recipient of the Nevada Arts Council’s
Performing Artist Fellowship and has received the Governor’s Award for
Excellence in the Arts. Caplan is an Artist for Rigoutat Oboe
Manufacturers.
Stephen Caplan received a Bachelor of Music degree from Northwestern
University. He was awarded the MM and DMA degrees from the University of
Michigan. His principal oboe teachers were Ray Still and Harry Sargous.
His music making and teaching have also been significantly influenced by
study with Arnold Jacobs, Marcel Moyse and Barbara Conable.
Caplan teaches a Body Mapping course at the University of Nevada, Las
Vegas. He has also given Body Mapping workshops for California Double Reed
Day, Las Vegas Music Festival, Western Horn Symposium and the Nevada Music
Educator’s Association.
The 7th Annual Northwest Oboe
Seminar
Saturday, August 19, 2000
Marylhurst University, Oregon
Established in 1984, Mark Chudnow Woodwinds
has been a leading innovator in the design and development of double
reed products since its inception. Mark started as a repairman in
1980 and is one of only a handful of Americans trained at the
F. Lorée factory in France! He brought to the business
an understanding and creativity not formerly found in the field.
Mark quickly brought to fruition some of the many ideas he had
developed in his years of talking and listening to musicians'
complaints involving instruments and accessories.
Among the innovative improvements are the CA and the Sierra line of
staples. The CAs are the first line of staples to be consistent,
seamless and chamfered. Mark's English Horn and Oboe d'amore bocals
are also noteworthy. Each one is constructed with a "tenon cork" at
the tip, insuring greater airtightness and security than any other
bocal on the market. Extremely popular among reedmakers
throughout the world are the precision MCW hollow ground knives. On a
whimsical note, Mark's introduction of colorful swabs has brightened
the otherwise black or brown world of double reed accessories.
In 1990, the Sierra oboe was introduced as a natural extension of
Mark's skills and interest. Debuting in 1991, the
MCW Oboe represents Mark's endeavor to provide an oboe of
professional quality at an affordable price. Designed for the
intermediate to advanced level student, the MCW oboe truly represents
handcrafted excellence for the serious student.
(standing left to right - back row)
Seminar Assistant Laura Groves (Kramer), Stephanie Rubel, Betty
Booher, Tim Whitcomb, Megan West, Victoria Racz
(front row)
Emily Kojis, Matt Habjan, Kevin McCullough, Seann Branchfield, Liz
Bartman, Sidney Brown
Laura Groves and Victoria with guest, Mark Chudnow
The 6th Annual Northwest Oboe Seminar
Saturday, August 21, 1999
Marylhurst University, Oregon
Paul Wallace, Coleen McMahon,
Elisabeth Bartman, Kristy Brayton, Tim Whitcomb, Tisha Marosi, assistant
Laura Groves (Kramer), Megan Toney, Victoria Racz
(seated left to right)
Megan West, Christine Webert,
Miranda Perry, Emily Kojis, Angela Piller, Jan Lovell
The 4th Annual Northwest Oboe Seminar
Saturday, August 16, 1997
Marylhurst College, Oregon
Contemporary Oboe Techniques with guest Stephen Caplan
Saturday, August 20, 1994
Marylhurst College, Oregon
Oboe Overview
Master Class
Repair and Maintenance with Jerry Porter
Reed-making
Ensemble Playing
Recital
(left to right)
Seminar Assistant Laura Groves (Kramer), Tisha Marosi, Allison Johnson,
Margaret Jacks, Sarah Pascoe, Erin Taylor, Jennifer Schroeder, Lara Wickes,
Tyler Gore, Shannon Stone, Carlee Blackburn, Cristina Hoffer, Amy Grove,
Laura Dippold, Elisabeth Shellan, Victoria Strong-Racz
John Mack was appointed to the principal oboe chair at the Cleveland
Orchestra by George Szell in 1965; during his tenure, which lasted until
2001, he also played under music directors Lorin Maazel, Christoph von
Dohnányi and, most recently, Franz Welser-Möst. Since 2001, Mack served
as a member of the Cleveland Orchestra board of directors.
bodymap
org
During her twenty-two years as an Alexander Technique teacher Barbara
Conable helped to save hundreds of musical careers and to enhance hundreds
more. She experienced frustration, however, because she knew that
thousands more musicians were losing careers and capacity. To enhance her
effectiveness, she wrote the book
Dan
Stolper
- Click to purchase his book
