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Klarinet Archive - Posting 001254.txt from 1998/03

From: Roger Shilcock <>
Date: Sat, 28 Mar 1998 17:39:28 -0500

Perhaps these composers expected the players to use Viennese-model oboes -
in fact, they almost certainly did. I don't know what the playing
characteristics are like, but the sound is quite different from that of
the general run of Anglo-Franco-American instruments. I think they use a
wider reed, too.
Roger Shilcock

On Fri, 27 Mar 1998, Bill Hausmann wrote:

> Date: Fri, 27 Mar 1998 05:47:42 -0500
> From: Bill Hausmann <>
> Reply-To:
> To:
> At 10:42 PM 3/26/98 -0500, you wrote:
> >Ed Lacy is correct in saying that the importance of being second applies
> >to the other sections of the orchestra as well.
> >There were certain works that had low 2nd oboe parts, especially in
> >certain chords, that were eventually played by the second clarinet.
> >Karl Ancerl recognized the difficulty and most likely did this through
> >tradition in the Czech Philharmonic. I'm not sure what the piece was but
> >it may have been something in the slow movement of the Seventh Symphony
> >by Dvorak.
> >
> >There is such a critical place in a chord situation in The Moldau.
> >There I think the solution was to give the low 2nd oboe note to the
> >English horn.
> >
> All of this with callous disregard of the composer's intentions! Dvorak
> and Smetana no doubt INTENDED the squawky nasty sound of the low second
> oboe notes as being critical to the overall sound of the piece.
> Transposing for an instrument in a different key indeed! I'm shocked!!! :-)
> Bill Hausmann
> 451 Old Orchard Drive
> Essexville, MI 48732
> ICQ UIN 4862265
> If you have to mic a saxophone, the rest of the band is too loud.

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