Ferillo's extraordinary sound and penchant for seeking musical truth goes back to DeLancie's teacher, Marcel Tabureau, principal oboeist of the Philadelphia Orchestra for over 40 years and an enormously influential teacher at Curtis. Tableau originated a school that was vigorously promulgated by DeLancie and then by HIS student Richard Woodhams. Worth noting is that before joining the Boston Symphony, Ferillo had been principal oboe at the Met Opera. Hearing the many great singers of that era as well as working under the great conductor James Levineb(first at the Met abd then at the BSO) must have added immeasurably to his prodigious musical sensibility.
John thank you so much for letting us listen to you play. Both the Tchaikovsky and the Shostakovich shoulders were truly beautiful. - God bless you and yours - Bill - UK
As a vocalist, all I can say is - such sensitive, cultured, expressive playing. I can see why the new wave of Euro-wannabe oboists in the U.S. with sub-par training are jealous of Mack and DeLancie students who play with such refined vocality and color. Ferrillo happened to have studied with both, and has an incredibly diverse palette of color and expression to my ears. Heard him live with the Boston Symphony- he simply soars across the orchestra with this expansive lush sound, and yet he can totally bring everything in dynamically too. Proof that you can be refined, beautiful, and in tune alwaysss while having a huge dynamic, color, and expressive palette. What an absolutely joy to listen to. Wish more American oboists would remember their roots. Everyone is after the shallow show-man way of playing, lacking in sincerity. My father was an oboist and has seen this unfortunate trend (didn’t let me play the oboe though I wanted to- told me to stick the voice- kind of glad I did!).
Having heard John Ferrillo in concerts several times in Boston and once at Julliard, I still find it difficult relating to your comments regarding the color and expression of the traditional American oboe playing. For me - personally - the old American oboe school is synonymous with a lack of serenity, a dull tone and disjointed phrases unmatched by the great schools of Germany, the Nordic countries and Italy. That definitely stems from me having my roots in those parts of Europe, thus being incredibly accustomed to the styles of the said countries, just as you are to your roots. Though not sharing the same views on what makes a great oboe sound, I definitely agree with you on the topic of remembering the roots. I cannot begin to imagine how dull a life not embracing the diversities would be.
You sound like a real douche. You can't say all oboist of any country are any one thing or aspire to anything. I can safely say however, that you sound like an ignorant bigot. Perhaps what you are complaining about are not the worlds players themselves fault but the music companies who decide who to hire for their performances after hearing them audition. They have a set voice they are looking for and hire accordingly. Think on that. And don't ever impose opinions or desires onto a massive class of people you absolutely do not know. Truly ignorant. Judging by your haughty tone, I judge your singing to sound like this: th-cam.com/video/uRiYtW1KRdo/w-d-xo.html
You do sound like DeLancie ... I like that. And I agree about the loss of some of the delicate colors of expression employed by many new Oboist’s. HAROLD Gomberg is still one of my most favorite Oboist’s. Ralph Gomberg from BSO, his shoes you’ve filled honorably.
I have an 8th grade oboist now who is dedicated and passionate, but might not continue in high school. I hope someone can help her see how special playing music is, ESPECIALLY oboe. It's such a beautiful and unique instrument!
@@theodorefrazier2989 I have just deduced that this might be called a "Ferrillo" model Loree. Standard bore, no third octave, no forked-F resonance key ("Tabuteau" model), no low-B-flat resonance key, plus the "Philly" D key. Played one recently and I can hear and admire the differences. Some of the above (and below) comments on his sound are connected to these choices.
Ah, the bait-and-switch instrument. Just as I learned how to produce a beautiful sound, I found as well that to continue would require me to learn reedmaking. Nothing doing. No whittling for me, thanks. Bless the oboists of the world willing to put up with that crap and give us beauty. People won’t tell you that, given a good reed, playing the oboe is not terribly difficult. Given a good reed...
Provided you always have a good reed i'd put it's difficulty level right smack in between a clarinet and a flute (flute being harder), but that's just me. Realistically, i'd say the whole learning experience including reedmaking makes it about as tough as flute playing or maybe bassoon playing if the bassoonist has the guaranteed-good-reed clause (although i've had a couple bassoonists tell me their reeds are easier to make). I probably shouldn't make an involved difficulty hierarchy given that oboe clarinet and sax are the only instruments i can play with any decency, but i couldn't resist adding a couple others.
@@cmw12 I mean yeah like i don't play flute myself but my understanding is that the complete lack of resistance in flute playing presents sort of the opposite set of challenges to the oboe, in that you run out of air very quickly on the flute where on the oboe the issue is how you get rid of your residual air because you actually use so little of it. I know the required embouchure has a lot of fine points that need to be mastered before you can get a decent sound. And of course you have to consider the popular repertoire for the instrument, and flute players have a lot of insane stuff both lyrically and technically that they generally end up having to learn (not that other instruments don't; i've just heard some really crazy stuff on flute). I don't know how difficult their fingerings get but i imagine it's no trickier than for oboist and surely isn't as wonky as what bassoon players have to deal with.
@@MichaelWilliams-ow9ue weighing in one last time... Having played both oboe and bassoon, I’d say oboe is harder. You get used to bassoon fingerings, but the oboe embouchure is more demanding, as is oboe repertoire, and I think oboe reeds are more sensitive to fine adjustments.
Ferillo's extraordinary sound and penchant for seeking musical truth goes back to DeLancie's teacher, Marcel Tabureau, principal oboeist of the Philadelphia Orchestra for over 40 years and an enormously influential teacher at Curtis. Tableau originated a school that was vigorously promulgated by DeLancie and then by HIS student Richard Woodhams. Worth noting is that before joining the Boston Symphony, Ferillo had been principal oboe at the Met Opera. Hearing the many great singers of that era as well as working under the great conductor James Levineb(first at the Met abd then at the BSO) must have added immeasurably to his prodigious musical sensibility.
John thank you so much for letting us listen to you play. Both the Tchaikovsky and the Shostakovich shoulders were truly beautiful. - God bless you and yours - Bill - UK
As a vocalist, all I can say is - such sensitive, cultured, expressive playing. I can see why the new wave of Euro-wannabe oboists in the U.S. with sub-par training are jealous of Mack and DeLancie students who play with such refined vocality and color. Ferrillo happened to have studied with both, and has an incredibly diverse palette of color and expression to my ears. Heard him live with the Boston Symphony- he simply soars across the orchestra with this expansive lush sound, and yet he can totally bring everything in dynamically too. Proof that you can be refined, beautiful, and in tune alwaysss while having a huge dynamic, color, and expressive palette. What an absolutely joy to listen to. Wish more American oboists would remember their roots. Everyone is after the shallow show-man way of playing, lacking in sincerity. My father was an oboist and has seen this unfortunate trend (didn’t let me play the oboe though I wanted to- told me to stick the voice- kind of glad I did!).
Having heard John Ferrillo in concerts several times in Boston and once at Julliard, I still find it difficult relating to your comments regarding the color and expression of the traditional American oboe playing. For me - personally - the old American oboe school is synonymous with a lack of serenity, a dull tone and disjointed phrases unmatched by the great schools of Germany, the Nordic countries and Italy. That definitely stems from me having my roots in those parts of Europe, thus being incredibly accustomed to the styles of the said countries, just as you are to your roots. Though not sharing the same views on what makes a great oboe sound, I definitely agree with you on the topic of remembering the roots. I cannot begin to imagine how dull a life not embracing the diversities would be.
@@harley258 The fuck did I just read from the both of you.
What’s the story behind your oboist feather not wanting you to follow in his footsteps?
You sound like a real douche. You can't say all oboist of any country are any one thing or aspire to anything. I can safely say however, that you sound like an ignorant bigot. Perhaps what you are complaining about are not the worlds players themselves fault but the music companies who decide who to hire for their performances after hearing them audition. They have a set voice they are looking for and hire accordingly. Think on that. And don't ever impose opinions or desires onto a massive class of people you absolutely do not know. Truly ignorant. Judging by your haughty tone, I judge your singing to sound like this:
th-cam.com/video/uRiYtW1KRdo/w-d-xo.html
Appreciate his facial gesture!
I learned your tricky instrument today. It has a graceful and beautiful sound and I am lucky to enjoy your great performance
You do sound like DeLancie ... I like that.
And I agree about the loss of some of the delicate colors of expression employed by many new Oboist’s. HAROLD Gomberg is still one of my most favorite Oboist’s. Ralph Gomberg from BSO, his shoes you’ve filled honorably.
Grenadilla is an East African wood. Beautiful sound, by the way!
Great work John. I really admire what you have achieved, and are doing.
Paul.
John Ferrillo beautifully carries the mantel of the great John de Lancie.
Fabulous!
True
One of my biggest regrets is not continuing with learning/playing the oboe when I moved between junior high and high school.
I have an 8th grade oboist now who is dedicated and passionate, but might not continue in high school. I hope someone can help her see how special playing music is, ESPECIALLY oboe. It's such a beautiful and unique instrument!
Elegant solos
I want to see this guy loosened up at a party some time.
Joshua Brooks Hahahaha haha 😂
Huh?
Look at this my man
very informative
3:35
Sounds a lot like Albrecht Mayer in the solo from The Firebird! The European and American schools of playing are becoming less distinct I would say...
What type of oboe does this man have??!?!?!?!
I'm curious as well. I notice his doesn't have a low b vent like most professional oboes.
@@theodorefrazier2989 I have just deduced that this might be called a "Ferrillo" model Loree. Standard bore, no third octave, no forked-F resonance key ("Tabuteau" model), no low-B-flat resonance key, plus the "Philly" D key. Played one recently and I can hear and admire the differences. Some of the above (and below) comments on his sound are connected to these choices.
Ah, the bait-and-switch instrument. Just as I learned how to produce a beautiful sound, I found as well that to continue would require me to learn reedmaking. Nothing doing. No whittling for me, thanks. Bless the oboists of the world willing to put up with that crap and give us beauty. People won’t tell you that, given a good reed, playing the oboe is not terribly difficult. Given a good reed...
Provided you always have a good reed i'd put it's difficulty level right smack in between a clarinet and a flute (flute being harder), but that's just me. Realistically, i'd say the whole learning experience including reedmaking makes it about as tough as flute playing or maybe bassoon playing if the bassoonist has the guaranteed-good-reed clause (although i've had a couple bassoonists tell me their reeds are easier to make). I probably shouldn't make an involved difficulty hierarchy given that oboe clarinet and sax are the only instruments i can play with any decency, but i couldn't resist adding a couple others.
@@MichaelWilliams-ow9ue interesting. I’ve never thought of the flute as a difficult instrument. What makes it hard? Needs a lot of air, I know.
@@cmw12 I mean yeah like i don't play flute myself but my understanding is that the complete lack of resistance in flute playing presents sort of the opposite set of challenges to the oboe, in that you run out of air very quickly on the flute where on the oboe the issue is how you get rid of your residual air because you actually use so little of it. I know the required embouchure has a lot of fine points that need to be mastered before you can get a decent sound. And of course you have to consider the popular repertoire for the instrument, and flute players have a lot of insane stuff both lyrically and technically that they generally end up having to learn (not that other instruments don't; i've just heard some really crazy stuff on flute). I don't know how difficult their fingerings get but i imagine it's no trickier than for oboist and surely isn't as wonky as what bassoon players have to deal with.
@@MichaelWilliams-ow9ue weighing in one last time... Having played both oboe and bassoon, I’d say oboe is harder. You get used to bassoon fingerings, but the oboe embouchure is more demanding, as is oboe repertoire, and I think oboe reeds are more sensitive to fine adjustments.
Suppa
2:56