{"id":14137,"date":"2013-07-28T06:48:36","date_gmt":"2013-07-28T11:48:36","guid":{"rendered":"https:\/\/www.ludwig-van.com\/?p=14137"},"modified":"2013-07-28T06:52:52","modified_gmt":"2013-07-28T11:52:52","slug":"vilem-veverka-one-of-the-pros-who-overcomes-the-oboes-challenges","status":"publish","type":"post","link":"https:\/\/www.ludwig-van.com\/toronto\/2013\/07\/28\/vilem-veverka-one-of-the-pros-who-overcomes-the-oboes-challenges\/","title":{"rendered":"Album review: Oboist Vil\u00e9m Veverka beguiles through the challenges of Telemann and Britten"},"content":{"rendered":"

\"veverka\"<\/a><\/p>\n

One of the most thrilling of my summer listens so far has been a new Supraphon album of solo Fantasias<\/em> by Georg Philip Telemann and Six Metamorphoses after Ovid<\/em> by Benjamin Britten, brilliantly played by younger Czech oboist Vil\u00e9m Veverka.<\/p>\n

Unlike a violin or a gamba, which can imitate a full harmonic instrument with some clever bowing, the oboe can only play one note at a time. But Telemann and Britten, each in their very, very different ways, manage to make more out of that single note than we could ever reasonably expect.<\/p>\n

\"supraphon\"<\/a>It helps to have as fine an interpreter as Veverka doing the work, with a modern instrument with a beguiling timbre — with the discrcreet clickety-click of the instrument’s keys doing their tap dance in the background.<\/p>\n

The Telemann pieces, which together make up nearly an hour of impressively layered moods and styles, were originally written for flute, but they suit the oboe well.<\/p>\n

Veverka and his audio engineers chose the chapel at a Czech monastery for the recording, and the blooming sound helps give the single line of music an extra layer of depth.<\/p>\n

The Britten suite, which has a watery theme, was written for an outdoor concert in 1951 — and has become a staple of the oboe repertoire.<\/p>\n

You find much more detail about the album here<\/a>.<\/p>\n

Here is Veverka’s rather rough-hewn personal invitation:<\/p>\n