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Thomas Oboe Lee

The prominent American composer (and somewhat much less prominent jazz fusion flutist) Thomas Oboe Lee was created in China in 1945. At age 15, he still left China for SOUTH USA, staying six years in Brazil and permanently shifting to america in 1966. After acquiring an undergraduate level (B.A., not really in music) in the School of Pittsburgh, he inserted the New Britain Conservatory, where he examined structure with Gunther Schuller, George Russell, and William Thomas McKinley. Each impacted Lee’s very own music-making in essential ways (Schuller continues to be instrumental in the publication of many Lee functions). He spent a summer season at Tanglewood through the mid-’70s, and from 1977 to 1981 was at the job on the doctorate at Harvard University or college. Some honours and fellowships gained by Lee through the 1980s helped provide him to nationwide and international interest: included in this are MacDowell Colony Fellowships in 1981 and 1983, 1st prize in the Kennedy Middle Friedham Honours in 1983, Guggenheim Fellowships in 1983 and 1986, as well as the American Academy in Rome’s Rome Award Fellowship for 1986 – 1987. He was, furthermore, featured within a 1984 Esquire newspaper article honoring powerful American women and men under 40 years. In 1990, after almost ten years of lifestyle as an unbiased composer, Lee resolved down to employment over the faculty of Boston University. He provides formed an electric outlet for his jazz flute inclinations using the music group Departed Feathers, which also is actually the name of the label under which his critical music is released (some together with G. Schirmer or Gunther Schuller’s Margun music). Thomas Oboe Lee provides proven an extremely prolific composer. He provides four symphonies to his name and several miscellaneous orchestral parts that are not quite build poems, but usually do not fall conveniently into every other category. Game titles invoking mythology or traditional Latin nomenclature — like Euridice, Jubilatus, Cavatina Cavadini, String Quartet No. 3 (…Kid of Uranus, dad of Zeus), or Flauta Carioca — are normal throughout his catalog. Various other parts, just like the chamber function The Mad Frog for oboe, bass clarinet, and harp, or I’ve Got the Munchies for violin duo, bass clarinet, and vibraphone, pass more fanciful brands. Those handful of Lee’s items that are designated traditional, basic titles — just like the symphonies — appear nearly invariably to carry pictorial or literary subtitles: Fallen Angels for Symphony No. 1 of 1993 – 1995, A Phantasmagorey Ballet for 1998’s Symphony No. 2, the ambitious Battle and Serenity for Symphony No. 4 of 2001. Lee enjoys the string quartet and in addition has written much better than a dozen items for vocalist or performers and ensemble, among which may be the chamber opera Unmasked (1990). Many major companies, including Amnesty International, the Koussevitsky Basis, as well as the Pro Arte Chamber Orchestra of Boston, possess commissioned functions from Lee and with an increase of and more carrying out bodies — just like the American and Kronos quartets as well as the American Jazz Philharmonic — jumping onto the Lee bandwagon, there appears little opportunity that he’ll slow the speed of his pencil soon.

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