One day walking across the Vltava on one of Prague's famous bridges, Jiri told me of a production of Janacek's Kat' a Kabanova, conducted by Talich At the National Theatre. You and your wife must go and see this marvellous opera", he said.

We did and from that moment I decided to devote my time to discovering more about this fascinating omposer. Until then. I knew only his wind sextet 'Mladi' or 'Youth' which I had played in Australia. he first hearing of Kat'a was an overwhelming experience and I am forever grateful to Jiri for introducing me to this great composer in the first month or so of our arrival in Prague.

During our recent visit to Australia in September/October 2003, Jiri and his wife Vera, told us many new and astonishing things of their escape with Vera's family from Communist Czechoslovakia over the order to West Germany, trying to put police dogs off the scent and drugging a child in the group in case she cried, how they stayed in a German D.P. camp until they could scrape together the money from a relative in the USA to Emigrate to Canada.

At that time there was no job for an oboist available in Canada. Jiri and Vera emigrated instead to Australia, where Sir John Barbirolli had arranged with the then Director of NSW Conservatorium, Sir Eugene Goossens,
for Jiri to became a professor.

From the time of his arrival in Australia, he overcame opposition to his joining the Musicians` Union as a "bloody reffo", to full recognition of his exceptional talents, first in the Melbourne Symphony Orchestra and then in Adelaide as a distinguished member of the University's Quintet.

In Adelaide he has been the inspiration and beloved teacher of many of today's best Australian oboist Not only have his pupils been very successful but his two daughters are exceptional string players. Sandra , who lives in Berlin, plays regularly in the finest European orchestras and Eve, who now lives in Adelaide, is a successful string teacher.

Jiri`s grandchildren have also carried on the musical heritage, Raphael a talented solo violinist and concert master and Sarah, harpist of the Vienna Philharmonic,one of the very few female members of that illustrious body. On Hannah, the youngest, has fallen her grandfather's mantle of the oboe.
 
With Jiri's passing, a great musician and a wonderful personality is lost to us.

-Sir Charles Mackerras
Sir Charles Mackerras has recently been appointed Principal Guest Conductor of the Czech Philharmonic Orchestra, following his lifelong association with both the orchestra and many
aspects of Czech musical life.

Those are words I heard from Jirí on more than one occasion over the thirty-three years that I had the pleasure of knowing him. Whenever I drive to Adelaide I think of that statement as we traverse the hundreds of kilometres of empty country between Horsham and Adelaide. How different the life that he and Vera found in Adelaide in the sixties must have been from their native Czechoslovakia, and how fortunate we all are that their flight from Czechoslovakia ended here. How fortunate also are the myriad of oboists from all over Australia who have benefited directly or indirectly from his teaching. When Jirí arrived here, nobody had ever heard oboe playing of this calibre. It changed the direction of oboe playing in this country forever.The effect on those people who heard him play through his presence at music camps, performances at music clubs, broadcasts for the ABC, his time as Principal Oboe in Melbourne, the numerous concerto appearances and the commissioning
of the Martinu concerto, even before he arrived in Adelaide, must have been dramatic.

For all the oboists here today, just imagine what it must have been like for Jirí arriving in Adelaide, in reed-making terms alone. Coming from Europe, admittedly via Sydney and Melbourne, it still would have been as extreme a change as it would be possible to make I would think.

Jirí loved music and just loved the oboe. I don’t know of any other oboist anywhere who loved the instrument as he did. His face would light up when discussing what it was capable of, and part of his success as a teacher was being able to instill that love of the instrument into his students. One always felt that all the work and practice one did was worthwhile, never a drudgery, because one always had this wonderful teacher to visit who was so positive and supportive – someone who new the difficulties and suffered with you. One really looked forward to lessons with Jirí, not just because of what one was going to learn, but also for the opportunity of just being able to spend an hour or two in his company. Such a lovely person, he was extremely kind but firm, and would almost hesitatingly criticize some aspect of your playing, trying gently not too offend. I knew of one student who was going to be going to Holliger the following year and to whom Jirí suggested that perhaps it might be better if that student didn’t actually study with Holliger. I can’t forget what he said to that student: “He might criticize you and you might hit him Jeffrey”.

An anecdote from the early years...
Norman Weiner was an oboist who moved to Melbourne from Sydney to study the oboe with Jirí, starting at the comparatively late age of 21. He eventually succeeded Jirí in the role of principal oboe in the MSO, but in those early years as a student he made his first appearance as an extra player sitting second to Jirí in the MSO in a programme which included Beethoven’s Pastoral Symphony conducted by the 29 year old wunderkind, Lorin Maazel. In the course of these duties, Norman played a rather obvious wrong note at one of the more exposed parts of the symphony. Afterwards Maazel approached Norman, mentioned the wrong note and said:
“I saw you were contrite, so I forgave you”. Jirí immediately appeared, wrapped his arms around Norman’s shoulders and said to Maazel – “he’s a beautiful boy and a beautiful player”. Norman still remembers that moment with great fondness, when Jirí leapt to his defence in his very first time playing in a symphony orchestra. Norman Weiner taught Stephen Robinson, Stephen Robinson taught Diana Doherty. Jirí’s legacy is far-reaching.

We all remember arriving at our first lesson I am sure to be greeted by a teacher who’s very first act was to make sure that he had his cotton wool in his ears. This unnerved me at first – I wasn’t sure whether I should play more softly to avoid hurting Jirí’s ears, or more loudly so that he could hear me at the proper level. It seemed he did it for everyone, so I quickly became comfortable with the idea.

We all remember also how at the hint of a sneeze or a cold in any of his students, Jirí would almost melt into the wall on the other side of the room. I always loved the way he came to hear every performance one gave while one was a student with him. He was a great listener, and even in later years I valued greatly the telephone calls from Adelaide. He would listen to the broadcastsfrom Melbourne regularly and would occasionally ring to let me know what he thought of something I had played, both positive and negative aspects in equal measure. I was always aware when performing in the MSO that Jirí might be listening, and it always made a difference to how
I approached the performance.

Today this has been a celebration of a wonderful man and a wonderful life. A true gentleman, respected and loved by all who knew him, I am grateful that he was able to be such a large part of my life, and his legacy as an oboist will continue for many years to come.

-Jeffrey Crellin
Principal Oboe, Melbourne Symphony Orchestra

When Jiri Tancibudek left Czechoslovakia under very dramatic circumstances in 1950, I was experimenting with a four key piccolo and being pianist by my interests, I had not opportunity to meet Jirí . It was later, when I took more serious approach to study flute that I learned about the outstanding oboist Jiri Tancibudek. My first "viva voce" contact with Jiri occurred in Sweden, when he called me from Australia asking me: "Are you accepting the Lecturer's job at our University"?

Since the end of my arrival to Adelaide - 30th October 1973 - an artistic collaboration and friendship has developed up to end of his days - through Adelaide Wind Quintet and our chamber music making outside the quintet. And the contacts extended,  of course, to the many social activities involving our families. Rather than delving into Jirí's contribution to oboe playing - recitals, concertos, Australian and overseas tours, broadcasts and teaching - I wish to draw attention to his great contribution as a conductor of the University of Adelaide Chamber Orchestra. Jirí started playing violin as a boy and it was in the family home where, as young teenager, he played in the string quartet and acquainted himself with the treasures of music - quartets by Mozart, Haydn, Beethoven, Dvorak etc. Another great inspiration - this time as a professional principal of the Czech Philharmony - was his membership in the Czech Chamber Orchestra, founded by the great conductor Vaclav Talich at the request of the then leading musicians. The Chamber Orchestra gathered the cream players of the time - just as an example, the first desk of first violins was shared by Josef Vlach [leader of the Vlach Quartet] and Jiri Novak [leader of the Smetana Quartet]. It is inevitable that such a company of the best, together with Jiri 's upbringing at home, was the best preparation for his undertaking of leading the University Chamber Orchestra. Jiri - in his modesty - never talked about himself as a conductor - but, what a musician he was!!

His enthusiasm, passion for music and uncompromising perfection was a great inspiration for the students who took part. Indeed, it ought to be recognized that not only for the oboe students, but for a cream of string players who played in the University Chamber Orchestra during the two decades and who are now in the leading position throughout Australia and even overseas, Jirí Tancibudek was a real mentor and inspiration. The reverence of the students was also illustrated by the fact that when the students talk about him, they always talked about "Mister Tancibudek", not Jiri, as it is customary in the relaxed Aussie way. On the ground of CDs of the recordings of this chamber orchestra, I am able to say that they surpass - in the term of expressions, dynamics and excitement - many performances of professional bodies. I find it very deplorable that Jirí 's contribution in this field was not duly recognized.

However - as an artist - he felt the dilemma: leaving the country, where he was established himself as a premier oboist with opportunities to record, recitals and prestigious teaching - or to throw it behind and emigrate. The emigration was a necessity for the extended Tancibudek and Hasek families - Haseks, owners of a factory, would be the first target of serious oppression, which would extend  even to their children.

Jiri 's legacy - apart from LPs - is embodied in the ABC CD in the Australian Heritage series. However, in the recent years Jirí "mined his archives" and produced a lot of CDs, using his computer. There is a wealth of small pieces [his favorites], chamber music and concertos - of particular interest is his remiere of Feld concerto, arguably the best 20th Century oboe concerto alongside Martinu. There are also many CDs with the University of Adelaide Chamber Orchestra - all are outstanding and some, such as Williams Fantasia on theme by Talis for two string orchestra could challenge even the best professional chamber orchestras. Try to get it and listen! For Jirí music was the great passion up to the end of his life. Being a devoted family man, the outstanding professional and artistic success of his children - Eva and Sandra - and grandchildren - Sarah and Rafael - was a source of great joy and pride. It was a nearly Shakespearean tragedy that he died before seeing his bellowed granddaughter - harpist of the Vienna Philharmonic - wedding.

-Zdenek Bruderhans
Former principal flautist of the Prague Radio Symphony and Associate Professor and Dean of Music of the University of Adelaide. Current member of the Research Board of Advisors of the American Biographic Institute.