Klarinet Archive - Posting 000879.txt from 1997/09

From: HatNYC62@-----.com
Subj: Tabuteau
Date: Thu, 18 Sep 1997 20:44:15 -0400

Folks,

This speculation is all very amusing. However, in all probability, the story
isn't true, at least according to Lou Rosenblatt, a former student of
Tabuteau and retired EH of the Philadelphia Orchestra. He said it is possible
that Tabuteau took the reed and used it, but he really found it unlikely that
he would simply destroy it, although it makes a good story.

As for the "pedegogical theories" you folks have been trying to assign to the
stories, you forget or are unaware of one fact: Tabuteau was a cruel and
frightening person. Yes he was a great teacher and player, but he had few
scruples in matters regarding his students. He borrowed money from them he
never repaid (he had a gambling problem) etc. If he destroyed someone's reed,
it was probably due to jealousy or spite, or even a recent gambling loss.
Very unlikely any teaching theory was in use. Otherwise, it would have
happened a lot more, considering some of the oboists he taught.

In a message dated 9/18/97 1:24:42 AM, you wrote:

<<> The story goes that a student would arrive at a lesson and proclaim,
> "I've got a really good reed today, Mr. Tabuteau!" ........
> Mr. Tabuteau would look over innocently and say, "Gee, really? Let
> me take a look at that." The student would naively pull the reed off
> of his/her instrument and hand it to him. In one swift stroke, Tabuteau
> would then swing his arm around and smash that reed straight into the
> wall! He'd then hand it back to the student and say, "Here, find another
> one..."
> ========
>
> AND THIS WAS PRODUCTIVE BECAUSE......??? (Yes, I'm yelling !)

"Productive" because, in Tabuteau's mind, it robbed the student of
his "good" reed, meaning that if he hoped to play his 'best' during
that lesson, he would have to learn to adapt his breathing and muscular
technique in order to circumvent the idiosyncrasies of a less accom-
modating reed. Relaxation spawns control which, in turn, can be
transmitted to each individual area of muscular technique, creating
a unified approach to tone production/manipulation via the air
stream.
>>