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Doublereed Archive - Posting 000033.txt from 2006/02
From: barbara trautwein <mzeztee@-----.edu>
Subj: Re: [DR-L] RE: Ray Still/Heinz Holliger... Favorites?
Date: Fri, 03 Feb 2006 09:29:08 -0500
Parochial is the word! In my isolation, I have never heard OF, let
alone heard the playing of, many of the players listed below (except, of
course, Allan Vogel and Elaine Douvas who both are wonderful).
Shame on me!
Stephen, not meaning to be picky but what do you mean when you say Allan
Vogel's "dark quality gets in the way"? In the way of what? His
musicality? Do you have trouble hearing that because his sound detracts
you? That was the problem I had when listening to the European players
from the mid - 20th Century. I just couldn't get past what I had been
taught as being the "wrong" sound to even be able to sense musicality.
I believe that the Americans felt that the depth of the dark sound
enabled a player to reach an intensity of musical expression which
didn't ring true with a lighter sound or one permeated with a buzzy
vibrato.
I think that at the beginning of the 20th Century, the European
orchestras played repertoire related to their home bases: Parisian
groups played French music, Italian orchestras played Rossini and
Vivaldi, Germanic groups played Brahms. American orchestras, on the
other hand, having virually NO repertoire of their own, had to play
everything, French, German, Italian, Czech etc., and in bigger halls.
That, supposedly, was why Tabuteau devised the reed style and tone
concept that he did. . .so that he could address the entire repertoire
and have it heard in all dynamic ranges in the the back of the big
auditoriums.
I realize that this is pretty simplistic but I think this is what many
of us were taught. . . to make a reed with a core that would enable the
tone to project with the richness needed in Brahms and Schumann but to
be flexible enough to deal with Daphnis and Chloe and La Scala di Seta
and be responsive enough so that one would still be alive at the end of
a 10 to 13 service week.
I'm . . .uh. . . .still working on it. . . .
And I'd better get going. . . .
Barbara
Stephen Kaupiko wrote:
> Just so my liking of Heinz isn't taking too out of
> context these are my favorite oboists... in order of
> how I'm feeling right now.
>
> I wonder what everyone else likes. It would be nice to
> hear some new things.
>
> The list:
>
> Lajos Lences - Beautiful "singing" quality
>
> Ruth Bolister - Absolutley lovely "regal" sound.
>
> Pierre Pierlot - Simply floats on air with occaisional
> unexpected breezes of heavenly bliss.
>
> Hansjorg Schellenberger - Sweet and lilting
>
> Christian Hommel - Like butter!
>
> Cynthia DeAlmeida - She's has a bit of reedy character
> with a smidgen bit of that darkness. Very lovely
> playing.
>
> Allan Vogel - Absolutley phenomenal, but sometimes
> that dark quality gets in the way.
>
> Elaine Douvas - Very exressive and lyrical, but a bit
> submerged (I think it's the recording though)
>
> Burkhard Glaetzner - Sweet, if a bit submerged.
>
> Heinz Holliger - Baroque personified. Paired with a
> harpsichord his tone color rises to the occaision.
>
> ...left off the ones I didn't like, for lack of space.
> (Kidding!) >;)
>
> Regards,
> Stephen
>
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