{"id":11145,"date":"2018-10-14T13:50:13","date_gmt":"2018-10-14T20:50:13","guid":{"rendered":"http:\/\/classicalguitarmagazine.com\/?p=11145"},"modified":"2018-10-14T13:50:13","modified_gmt":"2018-10-14T20:50:13","slug":"different-duos-sunday-3-enno-voorhorst-guitar-and-pauline-oostenrijk-oboe-play-piazzollas-libertango","status":"publish","type":"post","link":"https:\/\/classicalguitarmagazine.com\/different-duos-sunday-3-enno-voorhorst-guitar-and-pauline-oostenrijk-oboe-play-piazzollas-libertango\/","title":{"rendered":"Different Duos Sunday #3: Enno Voorhorst (guitar) and Pauline Oostenrijk  (oboe) Play Piazzolla&#8217;s &#8216;Libertango&#8217;"},"content":{"rendered":"<p>It&#8217;s actually a bit surprising to me that the combination of guitar and oboe isn&#8217;t more common than it is. After all, the oboe&#8217;s close relative, the cor anglais, plays a major role in the famous &#8220;Adagio&#8221; of Rodrigo&#8217;s <em>Concierto de Aranjuez<\/em> (and many orchestras substitute oboe). Beyond that, it&#8217;s a beautifully evocative instrument capable of surprising power and great emotional range, and it combines well with a supportive guitar.<\/p>\n<p>Here, we find the Dutch duo of guitarist <a href=\"http:\/\/www.ennovoorhorst.com\" target=\"_blank\" rel=\"noopener\">Enno Voorhorst <\/a>and oboist Pauline Oostenrijk, who are both renowned soloists on their individual instruments, but also clearly in-sync together, as on this fine version of Astor Piazzolla&#8217;s <em>Libertango<\/em>. This piece appears on the duo album they put out last year called <a href=\"https:\/\/cobrarecords.com\/catalogue\/COBRA0060-Modinha\/\" target=\"_blank\" rel=\"noopener\"><em>Modinha<\/em><\/a>, which was favorably reviewed in <em>Classical Guitar<\/em>. And Voohorst also has a new album out, called <em><a href=\"https:\/\/cobrarecords.com\/catalogue\/COBRA0066-Concerto-Metis\/\" target=\"_blank\" rel=\"noopener\">Concerto M\u00e9tis<\/a><\/em>, devoted entirely to works by the late Roland Dyens. \u2014<em>Blair Jackson<\/em><\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>It&#8217;s actually a bit surprising to me that the combination of guitar and oboe isn&#8217;t more common than it is. After all, the oboe&#8217;s close relative, the cor anglais, plays a major role in the famous &#8220;Adagio&#8221; of Rodrigo&#8217;s Concierto de Aranjuez (and many orchestras substitute oboe). Beyond that, it&#8217;s a beautifully evocative instrument capable of surprising power and great emotional range, and it combines well with a supportive guitar. Here, we find the Dutch duo of guitarist Enno Voorhorst [&hellip;]<\/p>\n","protected":false},"author":11,"featured_media":11149,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"video","meta":{"advanced_seo_description":"","jetpack_seo_html_title":"","jetpack_seo_noindex":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[6,7],"tags":[],"class_list":["post-11145","post","type-post","status-publish","format-video","has-post-thumbnail","hentry","category-news","category-watch","post_format-post-format-video"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2018\/10\/voorhorst.jpg?fit=1280%2C720&ssl=1","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts\/11145","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/users\/11"}],"replies":[{"embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/comments?post=11145"}],"version-history":[{"count":0,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts\/11145\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/media\/11149"}],"wp:attachment":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/media?parent=11145"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/categories?post=11145"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/tags?post=11145"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}