Redlands Concert Reunites Oboe Teacher & Student
April 17, 2012
(from L) Nelms McKelvain, Liang Wang, Carolyn Beck and Sara Andon. Photo Peter Askim.
By Marcia E. Gawecki
For most music students, saying good-bye to a beloved teacher is painful, and starting over with another can be scary.
“I’ve had the same oboe teacher since I was 10 years old,” exclaimed Camille, who is graduating from Idyllwild Arts this year.
She was talking about Francisco Castillo, principal oboist for the Redlands Symphony. He’s the same oboe instructor as the popular Liang Wang, principal oboist for the New York Philharmonic.
Francisco was Liang’s first oboe instructor in the U.S. Last Saturday, April 14, Liang came for Francisco’s World Premier of his recent composition, “Rhapsody for Oboe, English Horn & Orchestra.”
“There’s Francisco, the big guy,” exclaimed Shen, a clarinet player from Idyllwild Arts, who attended the concert with music director Peter Askim and five other students, including Henry, Yoana, Elena, Suriah and Cynthia.
Francisco remained in touch with Liang, who graduated from Idyllwild Arts and the Curtis School of Music in Philadelphia. In January, Liang visited Idyllwild Arts, taught Master Classes and played with the student orchestra (see blog post, “NY Phil Oboist Makes Idyllwild Arts Proud,” dated Dec. 9, 2011).
“Liang has brought such prestige to our instrument,” Camille said.
Dr. Nelms McKelvain, piano instructor at Idyllwild Arts, drove down from Idyllwild to see Liang in concert.
“Liang was my advisee when he was here,” said Nelms. “I’d go a long way to see him.”
For the Saturday night concert, the students sat in the balcony in the Redlands Memorial Chapel, yet had a full view of the stage. Some of those around them had binoculars so they could see the performer’s faces.
(from L) Idyllwild Arts Supporters: Henry, Shen, Elena, Yoana, Cynthia, Suriah, Carolyn, Sara, William & Peter
After the Redlands Symphony warmed up with “Overture to Le Nozze di Figaro,” by Wolfgang Amadeus Mozart, Liang played “Oboe Concerto,” by Richard Strauss.
“Liang’s phrasing is so unique,” said Peter Askim, afterwards. “He phrases like a singer — so natural and pure. He never plays anything the same way twice. It’s like he’s discovering the piece for the first time – every time.””
During the first two songs, Co Boi Nguyen, the assistant conductor, led the orchestra. According to the program notes, Co Boi is an assistant professor of music at the University of Redlands School of Music, and she usually conducts at least one program during the regular symphony season.
After intermission, conductor Jon Robertson took over for the World Premier of Francisco’s work, “Rhapsody for Oboe, English Horn and Orchestra.” Liang and Francisco took the stage to great applause. Liang was playing his oboe, while Francisco had a much longer oboe with a lower sound, which is the English horn.
The two played well together, like father and son, carefully not upstaging each other. The piece was lively, and even frenetic at times, but was well liked by the audience. Both Liang and Francisco received a large bouquet of flowers afterwards.
According to the program, Francisco said his rhapsody came about in a funny way. While he was talking with Liang about what pieces he would play with the Redlands Symphony, Liang suggested that they play something together.
(from L) Carolyn, Francisco, Liang, Sara and Peter. Photo Peter Askim.
“I jokingly said that I didn’t want to play an Albinoni or Vivaldi concerto, and would prefer something more interesting and new,” Francisco recalled.
“Well, then, write something yourself!” Liang replied.
For inspiration, Francisco listened to oboe concertos by Mozart, Strauss, Pasculli and Piazzola. He also listened to favorite composers, Bach, Villa-Lobos, Charles Ives and Louis Armstrong, among others. In the end, Francisco turned to his oboe, English horn and computer to make something uniquely his own.
“As you listen, you will find some of my favorite musical ideas, including Polyrhythm, Latin folk melodies, simple harmonies, virtuosic, demanding, yet sustained lyrical passages, silly moments are at the same time dramatic and tense,” Francisco wrote in the program.
“However, if you are looking for a form, you won’t find it,” Francisco added.
“I really liked Francisco’s piece,” said Shen. “It wasn’t boring like the Hayden piece” (“Symphony No. 104 London” ended the evening.)
Camille, who was away at college auditions on Sunday, had heard a rehearsal of Francisco’s piece.
“It’s New Music, and it had a very Latin feel to it,” Camille said.
After the Redlands concert, the students and Peter went to the stage to meet and congratulate the performers.
(from L) Yoana and Elena, students from Bulgaria, enjoy a pre-concert dinner. Photo Peter Askim.
According to Peter, several principals from the Redlands Symphony have also taught music at Idyllwild Arts, including Todor Pelev, associate concertmaster/violin; Gail Cruz, violin; Carolyn Beck, principal bassoon; Sara Andon, principal flute; David Scott, principal trumpet and William Schlitt, principal timpani.
Francisco, who dedicated his rhapsody to Liang Wang, conductor Jon Robertson and the Redlands Symphony, was all smiles afterwards.
“This was the first time it was played before a live audience,” Francisco said. “It’s a good feeling.”
In other news, get your tickets now for the New Music Concerts featuring new works by Richard Thompson, Chen Yi and Peter Askim with the Idyllwild Arts Student Orchestra on Saturday, April 28 at the IAF Theatre (free) on campus, and on Sunday, April 29 at 4 p.m. at the Barnsdall Gallery Theater in Los Angeles. Pre-concert general admission tickets for the Sunday show are $10 to $20 and are available on the Idyllwild Arts web site at www.idyllwildarts.org. Click on ‘Academy,’ then ‘Music’ and ‘New Music Concert.’
For more information, see Idyllwild Me blog post, “New Music: Dramatic Shift for Students” dated April 9.
Copyright 2012 Idyllwild Me. All rights reserved.
