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Johann Sebastian Bach
Scottish Camber Orchestra
Robin Miller, oboe
Conductor: Oscar Shumsky
Recorded 1984
Allegro: 0:00
Adiago 5:11
Allegro: 10:51
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Robin Miller Oboist | lonarcfoundation
He moved to Scotland in 1976 to play principal oboe with the Scottish Chamber Orchestra. He is fondly remembered by many of the SCO players and audience members …
Source: www.lonarcfoundation.com
Date Published: 12/27/2022
View: 8554
Happy 75th Birthday Robin Miller (1942-2014)
I first met Robin Miller in the late 1970’s. He was the principal oboe of the newly created Scottish Chamber Orchestra, based in Edinburgh …
Source: www.lonarcoboetrio.com
Date Published: 6/12/2021
View: 1180
Robin Miller on Apple Music
Find top songs and albums by Robin Miller including Strathclyde Concerto No. 2 for Cello, Op. 131: I. Moderato, … 1 for Oboe, Op. 128: II. Adagio and more.
Source: music.apple.com
Date Published: 10/28/2022
View: 5232
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주제와 관련된 더 많은 사진을 참조하십시오 BWV 1060 – Concerto for Oboe and Violin in C minor. 댓글에서 더 많은 관련 이미지를 보거나 필요한 경우 더 많은 관련 기사를 볼 수 있습니다.
주제에 대한 기사 평가 robin miller oboe
- Author: Cedar Drawers
- Views: 조회수 6회
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- Date Published: 2022. 1. 2.
- Video Url link: https://www.youtube.com/watch?v=yqlO4pVm34U
Robin Miller Oboist
Robin Miller (1942-2014)
Robin Miller was an extraordinarily naturally gifted musician whose delicate and sensitive phrasing was often perfect for interpreting the works of the classical composers.
Sadly in 1989, Robin had to stop playing due to a debilitating illness.
He moved to Scotland in 1976 to play principal oboe with the Scottish Chamber Orchestra. He is fondly remembered by many of the SCO players and audience members, particularly for his performances and recording of Sir Peter Maxwell Davies Strathclyde Concerto No 1, which was written for him. He is also remembered in his recordings of Vivaldi and Handel. Until recently, Robin was a regular in the audience at SCO concerts in St Andrews, where he made his home after leaving the SCO.
After graduating from the RAM, where he studied with Neil Black, he was quickly appointed to become principal oboe with Ballet Rambert, a position Joseph Sanders now holds. Then moving swiftly on to Sadlers Well Orchestra, City of Birmingham Symphony Orchestra, BBC Concert Orchestra, and then co-principal with BBC Symphony Orchestra under Pierre Boulez.
He was a founder member of the Nash Ensemble and also played with Janet Craxton in early London Sinfonietta recordings with Stockhausen.
He experimented with other genres including prog rock with King Crimson in 1970 and features on their album Lizard alongside jazz pianist Keith Jarrett and Yes vocalist Jon Anderson.
Judy was lucky enough to meet Robin in 1978 commencing lessons with him before coming down to London to study at the RAM in 1981. Joseph Sanders also deputised for Robin during his last days of professional playing and after he left the SCO.
Judy would like to believe that Robin’s style of playing and musicianship can be heard directly in the Lonarc Oboe Trio performances. We therefore should like to dedicate our early Oboe Trio recordings to the abiding memory of this gentle, generous and beautiful musician, who was forced to stop performing far too soon.
Happy 75th Birthday Robin Miller (1942-2014)
I first met Robin Miller in the late 1970’s. He was the principal oboe of the newly created Scottish Chamber Orchestra, based in Edinburgh at the Queens Hall with John Tunnell leading. Michael Storrs took over the management and with Jukka-Pekka Saraste, Sir Charles Mackerras and Jerzy Maksymuik conducting they soon established themselves as one of the top chamber orchestras in the UK, touring all over the world.
He was giving an informal recital in the Queens Hall bar area. He played Malcolm Arnold’s Sonatina. Maybe he played something else too, I can’t remember. But I do remember the slow movement in particular. It was mesmerically beautiful.
My father had recently moved to Edinburgh in 1973, his last posting as an RA officer with the Ulster Scottish regiment. I had started school at George Watson’s in Edinburgh a few years later in January 1975 and had won a Macfarlane Scholarship to study the oboe with Philip Hill (Principal BBCSSO) in Glasgow on Saturday mornings as a Junior at the RSAMD. David Nicholson the principal flute with the SCO coached the wind chamber ensemble at the Junior RSAMD when I played principal oboe. Julia Girdwood principal oboe of ROH Covent Garden since the late 1980’s was principal oboe in the RSAMD Junior orchestra. David suggested that I should think of having lessons with Robin, which I did in 1979.
I remember driving out to the house that Robin and Mary had in Perth just after their first son William was born. I had just passed my driving test and my parents kindly had said I could use their car. I remember arriving early and going to get a cup of coffee in a hotel. Then Mrs Miller (Mary) admonishing me for not just knocking on the door even though I was early. I remember addressing Mary as Mrs Miller on that day – and for me, on some levels, she will always be Mrs M.
Listening to his playing again more recently whilst preparing his pages on the Lonarc Foundation website, I realise even more now, having played with so many different oboists, how similar our styles of playing are. Maybe in the two years of having lessons with him before I came to the RAM in London, he influenced me more than I realised. I also found myself moved to tears listening to him play again, his presence so strongly embalmed in these recordings.
I soon became friends with Mary and Robin, their children – William, Ellen, Edward & James and Katy & Jo-Jo, Robins children from his first marriage; Mary’s mother Margaret, her sister Elizabeth and husband Brian and their four children. Mary and Robin in effect became my musical ‘god-parents’. I was often babysitting the children and cousins from soon after they were born, during the holidays as a student and accompanying them abroad to festivals like Aix-en-Provence.
After I moved into my flat in Marble Arch I often had the Millers ‘en masse’ staying over night sleeping on spare beds, sofas and cushions on the floor, taking any space available, when they were en route from the continent back to Edinburgh.
Whilst at the RAM it was lovely to be able to pop into the Wigmore Hall when he was rehearsing with the Nash Ensemble, or nip into a rehearsal at the RFH or Barbican when the Scottish Chamber Orchestra were down for a concert.
I remember rushing on a rainy evening, from having played at Janice’s (one of their nannies) wedding in Ayr, to attend the premier of Peter Maxwell Davies ‘Strathclyde Concerto No 1 for Oboe and Orchestra’ at the Queens Hall and unfortunately crashing my parents car by going into the back of a stationary car at traffic lights, I had not seen in the dip of the road, having come off the motorway. After the concert attending a party for Mary’s birthday hosted by Elizabeth in Royal Crescent, Elizabeth commiserating and helpfully suggesting I take some of the left over cheese from the party to my Dad the next day as a peace offering when confessing. I was banned from driving one of their cars for a good 15 years afterwards!
I remember evenings full of wine and fantastic food (Mary is a superb cook) and interesting talks. Robin once gravely intoned, whilst puffing on a cigarillo with a glass of wine in hand – “Be careful what you wish for Doodles, because that is what you will get”.
I remember the model wooden galleon he was building. I remember the model metal soldiers he would painstakingly paint. I remember his laugh – a sort of sniggering, snorting “Mutley”- style mischievous giggle. I remember him admonishing me to not throw a tea bag away after one use, but to put it to one side to use again. I remember him petting the Millers enormous dog Rory. I remember him advising me to have a boiled egg with marmite toast soldiers before a concert as the egg gave energy and the marmite with its B12 properties helped to soothe the nerves. I remember him always doubting his playing, always asking if the performance was good enough. I remember him sitting by the beach at St Andrews in 2008 and telling me St Andrews was a lovely place to retire to, that he was happy. I remember his expression of joy recognising me when I went to visit him in Bristol in the summer of 2012. The nurses were concerned that my appearance might confuse or upset him so I had to stand back and wait for the nurse to wheel him towards me. He recognised me from a fair distance, which was very heartening. I also remember him admonishing me, later that afternoon, for taking too long reading the record sleeves of his Stockhausen/London Sinfonietta recordings with Janet Craxton. Even then he was well aware that these recordings were precious.
I also remember him telling me that when the SCO asked him to re-audition in 1989 that he would not do so. Chosing to keep his dignity and to walk away, explaining he had seen other oboe and horn players humiliated similarly in the past and knew it was not worth fighting. At the time I was shocked and confused and really didn’t understand why he hadn’t fought for his right to stay.
But I didn’t understand. No-one did. Not fully. Not then.
Old colleagues from his BBCSO London days tried to assist. I remember Robin coming to stay in late 1989, when I was on a UK tour with South Pacific, and David Theodore had suggested him to play 3rd Oboe in the BBCSO on an Asian tour and also in ROH Covent Garden ‘down the line’. Mike Geanes said, however, that folk soon began to realise that something was not ‘quite right’.
It was very shocking when Robin was asked to leave the SCO as no-one at the time realised he was suffering from the hereditory muscle-wasting Huntington’s Disease. Robin was adopted, and this kind of information was obviously not passed on to his adoptive parents. He was only correctly diagnosed a good 10 years later. This intervening period was a very difficult and distressing time for the family. One sliver of good to come out if this sorry saga, was that due to most families who have Huntington’s Disease in UK being registered, Robin was reunited with some of his blood relatives – his birth mother and siblings who were still alive, before he died.
https://www.lonarcfoundation.com/robin-miller-recordings
It is so lovely to have these recordings of him to listen to. Robin Miller was an exceptional oboist and he needs to be remembered. I feel so very privileged to have known him. I just wish we had had more time to play together professionally as I think we would have made a very good oboe section.
I miss him terribly.
Robin Miller
Profile:
Classical oboe player (1946-2014).
Founding member of The Nash Ensemble, was also principal oboe player with the Scottish Chamber Orchestra from 1976-1989.
Experimented with other genres including prog rock with King Crimson.
Robin Miller
In leafy Burgh House (pictured) a concert by the Lonarc Trio celebrated the life of British oboist Robin Miller (1942-2014). I wasn’t going to miss this, as Robin had been my oboe teacher during my last two years at school, a period when he became co-principal oboe of the BBC Symphony Orchestra and also played with a wild new group called the London Sinfonietta. I can even remember him recording a track with Robert Fripp of King Crimson.
Just thinking about this period brought back not just Robin, but the incredible wave of musical creativity that hit London during those years. As a schoolgirl from the outer suburbs, I already knew I was fortunate to be experiencing it via my oboe lessons, even when dragging myself through the Gillet Studies (don’t ask). At the BBCSO Robin worked daily with their then principal conductor Pierre Boulez, and he would come home with amazing anecdotes. ‘Boulez asked us to play a note of shimmering golden fire, for as long as possible, sounding all round the universe…’ (this may have been the legendary day the BBCSO decided to tackle Stockhausen’s Setz die Segel zur Zonne.)
Suave and witty in person, Robin was also an actual craftsman, able to approach the fraught area of reed-making with considerable technical skill. Introducing this concert by the Lonarc Trio, Mary Miller rightly pointed out the litter of oboe stuff, Rizla papers, water containers, reed knives on the floor beneath the performers’ feet, extremely familiar to her from her years married to an oboist. The Lonarc Trio, two oboes and cor anglais, play Mozart-era original music. We learned that this repertoire (including a Beethoven Trio) bloomed thanks to the recent invention of the cor anglais, whose name should in fact be ‘cor angelique’. I marvelled at the stamina of these fine professionals, able to play their physically exhausting instruments continuously for ninety minutes, with unfailing sprightliness and invention.
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