{"id":28663,"date":"2018-01-22T01:06:06","date_gmt":"2018-01-22T00:06:06","guid":{"rendered":"http:\/\/eg-reeds.com\/?p=28663\/"},"modified":"2025-02-20T11:40:55","modified_gmt":"2025-02-20T10:40:55","slug":"interview-with-ramon-ortega-oboe-brso","status":"publish","type":"post","link":"https:\/\/eg-reeds.com\/de\/interview-with-ramon-ortega-oboe-brso\/","title":{"rendered":"Interview with Ram\u00f3n Ortega, principal oboe of BRSO."},"content":{"rendered":"

Interview with Ram\u00f3n Ortega.<\/strong><\/h1>\n

Today I have the great honor of publishing the interview with Ram\u00f3n Ortega, principal oboe of the Bavarian Radio Symphony Orchestra (BRSO). Many thanks to Ram\u00f3n Ortega for the interview. I hope you like it.<\/p>\n

\"Ram\u00f3n<\/p>\n

Ram\u00f3n Ortega<\/p>\n

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How were your beginnings in music \/ with the oboe? Were there more musicians in the family?<\/strong><\/h4>\n

I grew up with music. My father is a teacher at the Granada Conservatory. My sister and I listened to a lot of music, both live (I remember attending the rehearsals of the conservatory band conducted by my father when I was 6\/7 years old) and recordings.<\/span><\/p>\n

There was also one piano at home (my father’s instrument) so it was the most natural thing to play it and learn music.<\/span><\/p>\n

The oboe came at my father’s suggestion. When I turned 8, when I finally enter the conservatory, my sister (a year and a half older than me) was already studying piano and there were conflicts over who could play the piano. (I wanted to prove that I could also play the pieces that my sister played, of course much better than me!) My father thought of the oboe because one of his best friends at the conservatory was the oboe teacher, Miguel Quir\u00f3s. So we tried it and here I am, 21 years later!
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 <\/p>\n

When did you decide that you wanted to be a professional oboe player?<\/strong><\/h4>\n

In general, there has never been anything else that caught my attention more than music until now. However, I remember when I was 15 years old and I made my first tour with the West Eastern Divan Orchestra, conducted by Barenboim, that my desire to become a professional musician became stronger. Working with someone of that level when you are a student, as well as how well we spent on tour, playing in famous concert halls and traveling through fantastic cities, was a great experience that marked my life, reaffirming my desire to dedicate my life to music.<\/span><\/p>\n

 <\/p>\n

Which teacher has influenced you the most?<\/strong><\/h4>\n

I have only had two teachers who have given me something: My first teacher Miguel Quir\u00f3s, who, for me, helped me to develop my talent in the best way. I remember him giving me some reeds that were very easy to play! With eight years! I’ve never had more comfortable reeds in my life (and that in Granada, where the weather is bad for reeds). I also think it was very important that he adapted his method to each student. In my case, I was always very fast, so we always went ahead. Although at Christmas we were already studying the repertoire of the next course! After a couple of years, I was able to play Haydn or Mozart Concerto (I would not like to hear how). But the important thing for me is that I could do it and I had a great time! Also I went to the band, and I loved to prelude with other flute or clarinet comrades, without any complex.<\/span><\/p>\n

My other teacher was Gregor Witt, who discovered a new sound for the oboe I had never heard before: the traditional German sound. As well I developed with him aesthetics for German music, especially Mozart, Schumann, Brahms, Beethoven, Wagner and Strauss.<\/span><\/p>\n

Gregor also believed that I should submit to competitions even if I was very young. And I think he was right, because it was the right way for me.<\/span><\/p>\n

 <\/p>\n

What type of oboe do you play with and why did you choose it?<\/strong><\/h4>\n

The oboe that most convinces me is the Marigaux 901. It seems to me the most balanced of the market and the instrument with which you can access more types of music without having to constantly change reeds. I feel comfortable with the oboe both in the orchestra, as soloist, recitals or in chamber music.<\/span><\/p>\n

It\u2019s not perfect, of course, but it seems to me the closest to what I imagine an instrument should offer.<\/p>\n

 <\/p>\n

In 2015 you premiered the work „Legacy“ by \u00d3scar Navarro, what can you tell us about this work and what did it mean for you to premiere it?<\/strong><\/h4>\n

I am very proud to have been able to carry out the ‚Legacy‘ project. I listened to the II Clarinet Concert by \u00d3scar Navarro and it caught me from beginning to end! At that time, I thought there was no such work in the oboe repertoire, so I contacted Oscar immediately to put the project in motion. Once I knew his conditions and interest in the project, I had to find an orchestra to commission the work. Finally, we were lucky that the Nordwestdeutsche Philharmonie wanted to do it. Also, he offered us to premiere and a tour with six concerts, which I thought it was very important for a new work! So it was a very good premiere, and, I have to say, the work is doing very well. It has been played a lot and I predict it will have a long life. Lately, in all my masterclasses, someone always comes with ‚Legacy‘. So I am very happy. Of course, working hand in hand with a composer, and creating something completely new, is a very exciting job!
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