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PhD Candidate
Departamento de Comunicação e Arte | Universidade de Aveiro
Campus Universitário de Santiago
3810-193 Aveiro
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Tel: (+351) 234 370 389 (ext. 23700)


Tiago Patrocínio Coimbra plays principal oboe at the Göttinger Symphony Orchestra. Tiago started his oboe lessons with Saul Silva and Ana Madalena Silva in Portugal at the Music Conservatoire in Vila Nova de Gaia. Later on he did his Master's degree at the Zürcher Hochschule der Künste with Thomas Indermühle having finished in 2013 with the highest mark. In 2016, Tiago finished, with distinction, the Soloist Diplome studies at the Hochschule für Musik Basel with Emanuel Abbühl. Furthermore, he studied with Maurice Bourgue at the Academie Musicale de Villecroze.
Tiago has performed in the main European cities as member of the Gustav Mahler Jugendorchester and as guest principal oboe with the NDR Radiophilharmonie Hannover, MDR Sinfonieorchester Leipzig, Staatsoper Hannover and Staatsorchester Kassel. He has also played with the Luzerner Sinfonieorchester, Opernhaus Zürich, Orquestra Gulbenkian, Orquestra Nacional do Porto, Orquestra XXI and Remix Ensemble Casa da Música. He has also performed in China and Japan. He was awarded prizes in international competitions and played as soloist with Basel Kammerorchester, Göttinger Symphonie Orchester and Argovia Philharmonic. Chamber music takes a very important role in his career. He plays often with the harpist Carolina Coimbra, CODA Quintet, Trio Fermata and with soloists of the Göttinger Symphony Orchestra. He worked with some of the most important composers of his time, Hans Ulrich Lehmann, Helmut Lachenmann, Heinz Holliger, James MacMillan, Sérgio Azevedo, Luís Carvalho and David Philip Hefti, and performed the premiere of some of their pieces for the oboe. Tiago's own piece, "Absurdo, after a text by Fernando Pessoa" for solo english horn, is available AVA Musical Editions. Tiago Coimbra was a scholarship holder of the prestigious Swiss foundations LYRA Stiftung, Fritz-Gerber Stiftung, Bruno-Schuler Stiftung, among others. 
Doctoral Projects
In Dialogue with Leon Goossens through the Concertos for Oboe and Orchestra by Rutland Boughton and Cyril Scott
Leon Goossens (1897-1988) was an important English oboist, who stood out for his unique and singular approach to the instrument, considered by critics as "the best woodwind instrumentalist this country has ever produced" (Holland 1988). He influenced several generations of English oboists and composers, and at least forty-one pieces were dedicated to him. Goossens was a key figure for the increase of the oboe repertoire as a solo instrument during the first half of the 20th century. The music of the English composers Rutland Boughton and Cyril Scott is not heard regularly in the concert halls, and they are still unknown by a great part of the musicians academics in general. Boughton wrote two oboe concertos and several chamber music pieces as well (oboe and piano, oboe and string quartet) and Scott wrote one oboe concerto. Boughton's second concert and Scott's concert were dedicated to Goossens, who considered them "more appropriate for the oboe than the Richard Strauss concert" (Goossens and Roxburgh 1977, 157). The two concerts are not part of the central repertoire of the instrument. They were premiered by Goossens and went then almost forgotten. Boughton's second concert (1937) will soon be published by the Rutland Boughton Music Trust, in an edition where the present author was responsible for transcription and critical review. Scott's concert (1948) was recorded in 2010 by the English oboist Jonathan Small, but there are no records of any public performance in concert. In the present project of doctoral research it is tried to recover and to analyze critically the approach of Goossens to the oboe, based on his book Oboe (1977), where he wrote in the first person some of his main ideas and teachings about his approach to the instrument. Afterward his school of oboe will be applied to the interpretation of the concerts by Boughton and Scott. The result will be a historically informed interpretation, since the concerts were written with Leon Goossens and his art of playing oboe as a source of inspiration.