Yoshiaki Obata is Professor at Tokyo University of the Arts. He graduated from the Tokyo University of the Arts (Tokyo National University of Fine Arts and Music), after which he completed the master course at its graduate school. While at school, he won third prize in the wind instrument category at the 42nd Music Competition of Japan.
From 1979 to 1982, Obata was a member of the Tokyo Symphony Orchestra. He then went to Berlin to pursue further studies. After returning to Japan, he became principal oboist with the New Japan Philharmonic. While serving as a professor at Tokyo University of the Arts, Obata has been enjoying extensive performing activities as soloist, chamber musician and player of early instruments.
Akiko Kuwagata is a harpsichord player. She is in charge of class "Koraku Solfege" at the Tokyo National University of Fine Arts and Music,
Kenichi Furubu (Osaka Kenichi, 1968 -) is an oboe player in Japan.
In 1991 while studying at Tokyo University of the Arts, he was the Chief Oboe player of the New Japan Philharmonic Symphony Orchestra.
From 1995 he studied at the National Munich Music College Graduate School. So far, he studied oboe with Kazuhiko Nakayama, Kitajima A, Kobata Yoshiaki, Kojima Yoko, Randall Wolfgang, Günter Passin and others, and chamber music under Yusuke Murai and Ryohei Nakagawa.
In 2000, he won the Idemitsu Music Award.
He works at New Japan Philharmonic Orchestra, performs numerous orchestras at home and abroad, including regular performances. In addition, he appears at Saito Kinen Festival Matsumoto, Kiso Music Festival etc, ... He is often invited as a guest performer from overseas orchestras such as the Hamburg North German Radio Symphony Orchestra.
Kenichi Furubu also actively participates in recital and chamber music, and has earned high praise for baroque performances such as duo with harpsichord Christianne Schollensheim. He also worked on numerous contemporary works, Japan premiered such as Messian "4 Concert" and Shunitke "Oboe and Harp Concerto".
Hansjörg Schellenberger is a German oboist and conductor born in 1948.
He won the first prize at the German Jugend musiziert Competition at seventeen, which led to a scholarship enabling him to further his education at Interlochen (Michigan, USA). He continued his studies in Munich with Manfred Clement and he attended master classes with Heinz Holliger. During this period he took part in numerous concerts, many of them dedicated to contemporary music, and obtained prizes in several international competitions, among them, second prize in the ARD International Music Competition in Munich.
In the seventies he was soloist of the Cologne Radio Orchestra and from 1980-2001 of the Berlin Philharmonic Orchestra. Between 1980 and 2001 he has played under conductors such as Karajan, Leinsdorf, Giulini, Muti, Mehta and Abbado. He has dedicated a great part of his artistic activity to chamber music with groups such as the Wind Ensemble of the Berlin Philharmonic and the Vienna-Berlin Ensemble.
From 1981 to 1991 he taught at the Berlin Music Academy. He has also been Guest Professor at the Chigiana Academy in Sienna, Italy and participated with his master classes in the Magister Musicae project. Currently he is principal professor of oboe at the Reina Sofía School of Music in Madrid.
In 1991 Schellenberger founded the Berliner-Hadyn-Konzerte cycle, which he continues to conduct himself. He has recorded Beethoven's and Mozart's Piano and Wind Quintets and Poulenc's Trio for piano, oboe and bassoon with J. Levine and M. Turkovic.
Maurice Bourgue studied at the Conservatoire de Paris in the oboe class of Étienne Baudo and chamber music of Fernand Oubradous. He won a First Prize for oboe in 1958 and a First Prize for chamber music in 1959. He then won first prizes in the following international competitions: Geneva (1963), Birmingham (1965), Munich (1967), Prague Spring International Music Festival (1968), Budapest (1970).
Maurice Bourgue was called in 1967 by Charles Munch at the Orchestre de Paris, where he remained solo oboe until 1979.
In parallel, he performed as a soloist, under the direction of prestigious conductors such as Claudio Abbado, Daniel Barenboim, Riccardo Chailly, John Eliot Gardiner, and undertook conducting activities in France and abroad.
Since 1972, he has devoted an important part of his activities to chamber music within the Octuor à vent, which bears his name and of which he is the founder, composed of musicians of the Orchestre de Paris. He would record several records with this band.
As music director of the Sándor-Végh-Institute for Chamber Music,[2] he has a continuous pedagogical activity, both in the conservatories of Paris and Geneva, as well as during masterclasss he animates in Budapest, London, Lausanne, Moscow, Oslo, Jerusalem, and Kyoto.
The creator of works by Berio and Dutilleux (Les Citations, 1991), Maurice Bourgue has made a large number of records, many of which have won awards.
Kanami Araki was born in 1993, she grew up in Tokai-mura, Ibaraki Prefecture, and started an oboe at the age of 9. She graduated from Tokyo National University of Fine Arts and Music. In 2016 she entered the graduate school.
So far, she has studied oboe with Maki Sakamoto, Keiko Narita, Hitoshi Wakui, Yoshiaki Obata and Ayama Seiichi, studied chamber music with Masaharu Yamamoto, Ayako Takagi, Tsuyoshi Hidaka and Ryosuke Mizuno.
She passed the audition round while studying in the third year, and since June 2015 she served as the principal of the Tokyo Symphony Orchestra.
In the same year, she won the first Japanese prize (Oga Award), Karuizawa Mayor Prize (audience award) at the 11th International Oboe Competition at Karuizawa.
Wolfgang Amadeus Mozart (27 January 1756 – 5 December 1791), baptised as Johannes Chrysostomus Wolfgangus Theophilus Mozart, was a prolific and influential composer of the classical era.
Born in Salzburg, Mozart showed prodigious ability from his earliest childhood. Already competent on keyboard and violin, he composed from the age of five and performed before European royalty. At 17, Mozart was engaged as a musician at the Salzburg court, but grew restless and traveled in search of a better position. While visiting Vienna in 1781, he was dismissed from his Salzburg position. He chose to stay in the capital, where he achieved fame but little financial security. During his final years in Vienna, he composed many of his best-known symphonies, concertos, and operas, and portions of the Requiem, which was largely unfinished at the time of his early death at the age of 35. The circumstances of his early death have been much mythologized.
He composed more than 600 works, many acknowledged as pinnacles of symphonic, concertante, chamber, operatic, and choral music. He is among the most enduringly popular of classical composers, and his influence is profound on subsequent Western art music. Ludwig van Beethoven composed his own early works in the shadow of Mozart, and Joseph Haydn wrote: "posterity will not see such a talent again in 100 years".
Mozart's music, like Haydn's, stands as an archetype of the Classical style. At the time he began composing, European music was dominated by the style galant, a reaction against the highly evolved intricacy of the Baroque. Progressively, and in large part at the hands of Mozart himself, the contrapuntal complexities of the late Baroque emerged once more, moderated and disciplined by new forms, and adapted to a new aesthetic and social milieu. Mozart was a versatile composer, and wrote in every major genre, including symphony, opera, the solo concerto, chamber music including string quartet and string quintet, and the piano sonata. These forms were not new, but Mozart advanced their technical sophistication and emotional reach. He almost single-handedly developed and popularized the Classical piano concerto. He wrote a great deal of religious music, including large-scale masses, as well as dances, divertimenti, serenades, and other forms of light entertainment.
The central traits of the Classical style are all present in Mozart's music. Clarity, balance, and transparency are the hallmarks of his work, but simplistic notions of its delicacy mask the exceptional power of his finest masterpieces, such as the Piano Concerto No. 24 in C minor, K. 491; the Symphony No. 40 in G minor, K. 550; and the opera Don Giovanni. Charles Rosen makes the point forcefully:
It is only through recognizing the violence and sensuality at the center of Mozart's work that we can make a start towards a comprehension of his structures and an insight into his magnificence. In a paradoxical way, Schumann's superficial characterization of the G minor Symphony can help us to see Mozart's daemon more steadily. In all of Mozart's supreme expressions of suffering and terror, there is something shockingly voluptuous.
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