Doublereed Archive - Posting 000026.txt from 2006/02

From: herb fawcett <herbgosia@-----.net>
Subj: Re: [DR-L] RE: Ray Still/Heinz Holliger
Date: Thu, 02 Feb 2006 12:29:33 -0500

There was a jazz musician(possibly Ornette Coleman, can't remember) who
played alto sax. He used one of the white plastic ones that sounded pretty
uninteresting. His message was that it had such a poor sound that it would
not interfere with listening to the beautiful music he was making. He was
wrong, as it sounded so awful that it was uninteresting music.
Kazoo OK too no doubt.
Herb

On 2/2/06 2:17 AM, "Stephen Kaupiko" <musicman@-----.net> wrote:

> What an interesting topic. I had the opportunity to
> study with a student of Ray Still for a short while
> not too long ago. On the subject of oboists to listen
> to I was given a short list with Ray Still, Allan
> Vogel, Alex Klein, and Gelato something or other, but
> on top of that I was implicitly told NEVER to buy a CD
> of Heinz Holliger with the reason being that his tone
> was similar to that of a synthesizer.
>
> In my search of oboe recordings I found I loved the
> playing of many oboists regardless of where they were
> from. I particularly found a lovely little piece,
> Cimarosa, quite fetching and looked into the oboist a
> bit. The oboist happened to be Pierre Pierlot, who I
> came to find out was Holliger's teacher.
>
> Go fig.
>
> I did eventually get to listen to Holliger and I find
> he plays quite well. I would understand why those who
> prefer a dark full bodied timbre would be against it,
> but it just a matter of individual taste. I'm sure
> there are Holliger fans that might have some other
> oboist up their sleeves to suggest to their students
> as an example of really bad timbre. Holliger just
> happens to be uber famous thorn towards those who
> prefer darker timbre and so is a popular example.
>
> I just like a well performed piece. My favorite
> oboists sound nothing alike.
>
> Regards,
> Stephen
>
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