A Quote by Peter Drucker

Conductors do not know how the oboe does its work, but they know what the oboe should contribute. — © Peter Drucker
Conductors do not know how the oboe does its work, but they know what the oboe should contribute.
I guess I just look at talent as a very subjective thing. I mean, if you never tried playing an oboe, how do you know you're not the most talented oboe player ever? The point is that if you don't love it, then it doesn't matter.
If you take a violin, you can make it sound 50 different ways. Not just pizzicato and played by the bow, but ponticello, and harmonics, and tremolos. If you take an oboe and play it, there's about one way you can make it sound: like an oboe.
For forty years I have play the oboe, and still I never know what is coming out. It is a perpetual anxiety. But maybe this is good-I have never the time to get myself bored.
What the hell is an oboe?
Every orchestra is different. Sometimes, you're blown away by a particular musician. If I'm playing the Brahms concerto, it's crucial to have a great oboe player, because we work in tandem.
The oboe sounds like a clarinet with a cold.
An oboe is an ill-wind that nobody blows good.
I play the keyboard, but I am fond of all wind instruments, the oboe in particular.
One other hobby of mine has been playing the oboe but I have not kept this up after 1969.
And that unusual squawking sound is actually the mating call of the the rare...oh, it's just an oboe player.
The oboe's a horn made of wood. I'd play you a tune if I could, But the reeds are a pain, And the fingering's insane. It's the ill wind that no one blows good.
It might work with one orchestra, and the next orchestra - the oboe player might not get it. It's different every time, but some of the orchestras do end up enjoying it and having a great time.
I remember once, when I started writing for the alto saxophone, a saxophonist told me to think of it as being like a cross between an oboe and a viola, but louder.
When I was little, my mum would take me to see the orchestra, tell me to close my eyes and think about the story the music was telling. I always spoke about colours. I'd talk about how purple the oboe was.
Good conductors know when to push and when to lay back. I've known so many great conductors that I'm still doing what I can to learn the craft of this role.
Spent the fortnight gone in the music room reworking my year's fragments into a 'sextet for overlapping soloists': piano, clarinet, 'cello, flute, oboe, and violin, each in its own language of key, scale, and color. In the first set, each solo is interrupted by its successor; in the second, each interruption is recontinued, in order. Revolutionary or gimmicky? Shan't know until it's finished, and by then it'll be too late.
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