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Doublereed Archive - Posting 000058.txt from 2004/08
From: MPeaceman@-----.de (Matthew Peaceman)
Subj: [DR-L] =?ISO-8859-1?Q?Lor=E9e=2C_Rigoutat=2C_Yamaha_et_al?=
Date: Wed, 11 Aug 2004 17:10:34 -0400
Without taking sides as to which instruments are the best, I would like
to recommend a new book called "The Oboe" by Bruce Haynes and Geoffrey
Burgess. (Yale Musical Instruments Series) Since the out of print
P.Bates book written in the fifties, there has been no comparable
volume. Regardless of how we feel about our own instruments, the
question as to why Lorée dominates on the American market, and nowhere
else in the world, has some extremely interesting historical roots.
Mostly these developments have to do with the oboe players who came to
America to become the guiding lights on this instrument during the first
half of the last century. Since only a few actually did come and even
fewer had a lasting impact on what is called the "American School" (as
difuse as this term is), it is their influence that still plays a major
role in the choices made. This is what has been most widely disseminated
in the US. Players have become used to the characteristics that have
been most widely propagated and have learned to make reeds that fit
these characteristics but which are perhaps less satisfying on other
instruments. I have some very strong opinions about certain instrument
brands, and varying opinions on others. My work on historical oboes has
made me look for some traits in a modern oboe that someone else might
never think of. Some have told my that the instrument I now play feels
almost like a baroque oboe in many ways, and in fact, I think this is
true. If I had the financial resources I would go out and buy
instruments of varying manufacturers that interest me and at the moment
three come to mind: Josef, Yamaha and Lorée. Interestingly Yamaha is
building instruments for each of its markets. The German professional
Yamaha is not the same instrument as the American professional model.
Yamaha can afford to do this. Most companies do not have that kind of
financial strength. I haven't had the pleasure of playing on any
American made instruments since the 70's where I flirted with a Laubin
for a short while (and returned immediately to Lorée). Perhaps some day
I'll be able to try others.
I ramble. Sorry. Actually I only meant to recommend the above mentioned
book for those who are interested in the fairly fascinating history of
the oboe, its music and its players through history.
Matthew
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Email: mpeaceman@-----.com
Web: http://www.mpeaceman.com
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