April 2012 - Queensland Symphony Orchestra

Backstage Pass
ALEXEI OGRINTCHOUK
You are an inspiration to QSO’s Principal
Cor Anglais player, Amelia Coleman, who
won the 2012 Ann Hoban Fellowship to
take part in your oboe class in Geneva. Can
you describe what you teach in one of the
most sought after oboe classes in Europe?
I am happy to be a successor of Maurice
Bourgue at the Geneva Conservatory. It’s a
wonderful school! I studied in Paris, and in
my teaching I try to continue the line of my
teachers: Maurice Bourgue, Jacques Tys and
Jean-Louis Capezzali.
When did you first start to play the oboe
and what made you decide to choose the
oboe?
I started to play oboe when I was nine.
When I was a small boy my parents brought
me to listen to many classical concerts,
and even the symphony orchestra. I always
remembered the oboe sound especially, and
we can say I fell in love!
What type of oboe do you play?
I play an oboe Marigaux 2011.
Do you make your own reeds and if so can
you describe the making process?
I think every oboe player should be able to
make his own reeds. I make the reeds myself.
It takes the greatest part of the working
time, and is a very delicate and complicated
process. Some people say that the mood
of an oboe player depends on whether he
has a good reed or not.
14 2012 | QSO APRIL PROGRAM
You have a distinguished career as both
a soloist and an orchestral performer.
How does your concert preparation differ
between both performance styles?
I feel happy and rich musically, playing in such
a great orchestra, as Royal Concertgebouw,
to have many exciting solo and chamber
music performances and to teach in Geneva.
It gives a feeling of a full musical life!
How would you describe Mozart’s Oboe
Concerto?
Of course it’s one of the greatest pieces of
oboe repertoire, which we carry and develop
during all life! I am always happy to perform
this great music!
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