Editor's Note: Julia C. Combs holds degrees from Memphis State University, and she has done graduate work at the Catholic University. Former principal oboe with the U.S. Army Chamber Orchestra, she has also performed as a member of the Memphis and Norfolk Symphonies and Opera Theaters, and the Washington D.C. Baroque Arts Orchestra. Currently an Assistant Professor of oboe and theory at the University of Wyoming, she is a frequent oboe and oboe d'amore soloist as well as a member of the New World Wind Quintet.
America's newest premier oboe player, Joseph Robinson, principal of the New York Philharmonic, was the featured guest artist and lecturer at the first "Seminar of the American School of Oboe", held July 13-17, 1981, at the University of North Carolina in Greensboro. This seminar was an outgrowth of Mr. Robinson's 1980 "All-Day Oboe Lesson" which was held at the Brevard Music Center and attracted about 40 participants from all over the United States and Japan. At the invitation of Dr. James Prodan, seminar coordinator, Mr. Robinson began what this year's participants hope will become an annual event in the oboe world. The seminar was designed as a week-long investigation of the basic concepts involved in producing the characteristically dark and full- bodied sound for which American players are well-known, and of constructing reeds which contribute to the depth and flexibility of the tone. Mr. Robinson held morning and afternoon master classes each day. The classes held early in the week were concerned with building and reinforcing the fundamentals of tone production through proper breathing, articulation, and reed placement. These classes were followed by in-depth discussions of the principles expounded by the late Marcel Tabuteau on the two record set pressed by Coronet Records. By mid-week, sessions on reedmaking were scheduled. Mr. Robinson systematically discussed and demonstrated all phases of reedmaking from the choice and preparation of cane for gouging to the smallest adjustments to improve a playable reed. He also spent several late afternoon and evening sessions giving individual help to all the participants on scraping and adjusting reeds. Morale took such a quantum leap from these "private reedmaking lessons" that the result was a seminar T-shirt printed with the logo "Good Reeds Have Heart."
A Participant's Recital was featured on Tuesday, Wednesday, and Thursday of the week. Many standard works, along with some lesser known pieces, were heard with the able accompaniment of Bruce Moss. (Bruce, who has also accompanied the past John Mack Oboe Camps, probably holds the world's title for knowing the oboe literature!) Mr. Robinson's helpful and encouraging comments and suggestions to the performers brought a new level of performing awareness and excitement to each afternoon's recital. Some of the works heard were:
An interesting departure from the daily schedule was a session late in the week which dealt with the aural perception of "American School" oboists. The class listened to a dozen recordings of different oboists, and each participant was asked to list the performer, his country or playing tradition, and the selection performed as a means of identifying players who are typical of the American School. Dr. Prodan furnished the recordings. Some were new releases, and others were quite obscure. When the performers were revealed, some of the answers were real surprises! This entertaining exercise certainly reinforced our discussions about American School tone quality.
Another part of an afternoon was set aside for a demonstration of instrument care and maintenance. The class went through a step-by-step lesson on mechanism adjustment accompanied by a slide and cassette show put together by Stephen Lickman of the Dallas Symphony.
As the week drew to a close, the highlight was Mr. Robinson's performance of the Strauss Oboe Concerto with the Eastern Music Festival's Young Artists Orchestra. Mr. Robinson, who played with brilliance, marvelous control, and incredible variety in tone color throughout this terrifically demanding work, treated his audience to a delicate and sensitive rendering of "Pan" from the Britten "Six Metamorphoses" as an encore.
The final day of the seminar was a "Wrap-up" session which served as a general review of the week's work with a question and answer period. That evening, participants attended a joint recital given by Mr. Robinson and Mr. Tom Stacy, English Hornist of the New York Philharmonic. Mr. Stacy was at UNC-G to conduct his third annual International English Horn Seminar, which was held the following week.
Participants at Mr. Robinson's seminar included 33 people from 16 states. From professional orchestral players, university professors, and college and high school students, the response to the week was overwhelmingly positive. Mr. Robinson's well-organized and highly articulate lectures, coupled with his warm, personal teaching style, created an atmosphere where an eager exchange between teacher and students led to many personal playing discoveries. "Team Spirit" began at a high level and rose! Those attending the 1981 Seminar look forward to the next opportunity to work with Mr. Robinson, and we enthusiastically urge our colleagues to attend his future workshops.
1. Group shot of participants at Joseph Robinson Seminar
2. Mr. Robinson demonstrating reedmaking
3. Mr. Robinson giving individualized help on reeds
4. 'The changing of the guard' -- Joe Robinson and Tom Stacy before their duo recital
