Alex Klein Alex Klein, principal oboist of the Chicago Symphony Orchestra, was winner of the world's most prestigious competitions in oboe performance, and an oboe teacher at a major university in the United States before the age of 28. Hailed by critics for his astonishing virtuosity,& “superb tone, subtlety of phrasing, and the charming freedom of his interpretations. He began his musical studies in Brazil at the age of nine, Intent on learning the oboe but unable to buy one, he began study on the recorder. At age ten, he began actual lessons on the oboe, starting out with only the reed, on which he would practice at home. Just once a week, at his lesson, would he actually play on an instrument, his teacher's. The experience on the recorder was helpful during this unusual beginning which ended with the purchase of an oboe six months later. Progress was rapid and by the time he was a teenager, Klein was appearing frequently as a soloist, performing and recording with some of the country's leading ensembles. He came to the United States in July 1984 to study oboe at the Oberlin Conservatory of Music. After completing a degree in 1987, he continued studying at Oberlin, earning an Artist's Diploma in 1989. The conservatory then hired him to teach with his former teacher, James Caldwell. Klein joined the music faculty at the University of Washington in Seattle in 1991 While at Oberlin, he competed with five professional oboists from some of this country's major orchestras to win first prize in the first Lucarelli International Competition for Solo Oboe Players. He then went on to win the First Prize in the Gillet International Oboe Competition, the top prize in the second International Oboe Competition of Tokyo, and First Prize in the 1988 Concours Internationale d'Execucion Musicale in Geneva, Switzerland. He was the first oboist to be so honored in the Geneva Competition since Heinz Holliger, the most recorded oboist of all time, won first prize in 1959. His interest in the Adventist church came about through his contact with Marlise Botelho, a viola player, and other musicians from the church whom he met at music festivals in Brazil. These friendships, coupled with his interest in God and the Bible, led to his joining the church in November 1983. What impressed him most about his Adventist friends was their knowledge of the Bible and their lifestyle. They were intelligent, happy and well-rounded people. This, more than their belief in the Sabbath or other doctrines, and his growing interest in Marlise led him to want to be an Adventist. Klein joined the CSO in 1995 when he was one of four oboists invited by the conductor, Daniel Berinboim, to participate in the final round of auditions which had included over 130 candidates. He also serves as an adjunct professor in oboe at Northwestern University. Klein performs frequently as a soloist and recitalist. He has soloed with the Philadelphia Orchestra and the Orchestre de la Suisse Romande and given recitals at Aspen and in Boston, Chicago, Cleveland, Los Angeles and New York. He and his wife frequently perform chamber music. (see biography of Marlise Botelho Klein) In 1993, Klein was asked about being an Adventist and a frequent performer with groups which often rehearse and perform on Friday evening and Sabbath. When I joined the church I really wasn't aware of how much a problem this would be, and am I glad. It might have kept me from making what was an important decision. Although I at first felt betrayed by the Adventists who play on the Sabbath, it no longer bothers me. It is, after all, a personal choice. I think that Adventist young people should not hesitate to become professional Musicians. God gave them a talent, a very special talent. He also says to use and multiply that talent and that if they don't, they will be held accountable. There may be trouble with the Sabbath but don't let that stop you. The most marvelous happenings in my career, so far, have happened since I became an Adventist and took stances over the Sabbath. My prayer has been, 'God you gave me the Sabbath and you gave me the talent to play. I want to do both. The only one who can help me is You.' He has answered that prayer and blessed me beyond what I ever thought possible. When I applied for the 1988 Concours Internationale d'Execucion Musicale in Geneva, they stated on the form that if I was to win I would have to perform with la Suisse Romande Orchestra on Friday. I actually didn't think that would be a problem since the first prize in oboe had not been awarded in twenty-nine years. Since it had not been won in such a long time, it was the most coveted award in the oboe world. As the competition progressed, I passed the preliminaries, semi-finals and then played in the finals After a short deliberation the group came out and announced me as the first place winner. I soon discovered I had a problem. When I told them I would not be able to perform Friday evening, their first response was to tell me that I would have to give up the award. Most of the administration were sympathetic and supportive, however, except for those at the very top. They were not happy about this surprise stance and it appeared I would not receive the diploma, $6,500 prize, and the Rolex watch given to all first place winners. There was an attempt at this point to have a pastor in Switzerland call their offices and tell them that the church stood behind me and explain my stance. Instead, I got a call from someone trying to convince me that I should play, that they saw nothing wrong with it. An Adventist pastor called one of the competition's secretaries. She ended up trying to convince him that what I was doing was right. The church's position was disillusioning for me and my Adventist friends.

The following Monday morning, I went to the competition office, and this is where the angels came in. When we inquired about my possibly getting the diploma, the director said no, since they couldn't find it. At that very moment, one the secretaries came and said, “Hey, I found this and it hasn't been awarded.” It was my diploma. He then continued by saying that the person who was supposed to sign the check had not signed it, implying that it was because of all the trouble I had made, and so he couldn't give it to me. At that moment the phone rang. It was the treasurer asking why he hadn't received the check for my prize for his signature. I knew this was happening because my friend who was with me, was translating the director's response. he treasurer insisted the check be sent to him at once for his signature. The director went on to say that the Rolex watch company had been upset by the situation and had withdrawn its gift of the watch. The phone rang at that moment and it was the Rolex company asking why hadn't the watch been picked up? We drove over to the company and were given the watch, a special edition inscribed with my name and the prize I had received. Before this competition in Switzerland, I had sent a tape to another one, enclosing a letter explaining that I couldn't play on the Sabbath. They didn't read my letter but sent one to me shortly after congratulating me on being a finalist, and that my performance would be at 2:30 Sabbath afternoon. I withdrew from the competition. I got a very nasty letter from the manager of the competition telling me that I would never be anything in music since most music activities are on Friday and Saturday - that I should probably give up music and be a priest! The same week that I received that letter, I got one from the International Lucarelli Competition inviting me to play in their finals, which were scheduled on Sabbath. I explained my situation to them, not expecting much in response, since I was still quite depressed from that earlier letter. They said they would work on it and get back to me. They redid their very busy schedule at Carnegie Recital Hall and scheduled the competition two hours later so that I could play nine minutes after sundown. As it turned out my warm-up was soak the reed, put the oboe together, and walk on stage. I won, I believe, with some divine help.

I don't believe Adventist musicians should be excluded from contests, opportunities or any kind of exposure just because we are different. In reality reality, we are not. We want to pursue success in our careers just like everyone else. However, most organizations outside the Adventist church are not prepared to make last-minute adjustments based on someone's religious points-of-view and therefore fear the anarchy such a precedent can bring. Although we won't publicly express our dissatisfaction with the religious intolerance on The part of some organizations, it is important for us not to forsake any opportunity for fear of discrimination. Adventist musicians have much to contribute to this world's culture. A major part of this contribution is based on our understanding of the Sabbath and God's plan for us. God is aware of what we experience and He won't disappoint us. ds/1993