The Oboe BBoard
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Author: jhoyla
Date: 2009-10-12 14:44
Cooper, this is a really valuable essay for us all.
I grew up in the UK, and fell in love with the playing of Leon Goosens and Heinz Holliger. I was first exposed to the full, warm, rounded and (yes) largely inflexible USA tone when I heard the Beer Sheva Sinfonietta back in 1987 or so. The oboist (Avi Yosselevitch) was a Juliard graduate and had "that" sound. I was so impressed that I ran backstage and became his pupil for two years.
Since then, I have gravitated more and more to the more flexible side - a "B" side player, if you will. I have seen that non-oboists, even gifted musicians, will often prefer the extended range of expression of "B" playing, to the warm unity of tone that typifies an "A" player.
If you listen to gifted cellists, violinists, singers - they will growl, scrape, yelp in all manner of ways - all in the service of the music. We are fortunate enough to play a wind instrument that is capable of all this, and more. Why limit ourselves, in our search for the "perfect" sound?
J.
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cjwright |
2009-10-11 23:46 |
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GoodWinds |
2009-10-12 01:51 |
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justme |
2009-10-12 03:54 |
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cjwright |
2009-10-12 03:58 |
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mschmidt |
2009-10-12 14:05 |
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Re: The "Flexibility" of Oboes, Tone Color, Reeds and the Player new |
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jhoyla |
2009-10-12 14:44 |
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mjfoboe |
2009-10-12 18:55 |
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cjwright |
2009-10-12 19:41 |
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mjfoboe |
2009-10-12 20:51 |
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cjwright |
2009-10-12 21:32 |
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mschmidt |
2009-10-12 21:39 |
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GoodWinds |
2009-10-13 05:19 |
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Wufus |
2009-10-13 17:14 |
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GoodWinds |
2009-10-19 01:50 |
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The Clarinet Pages
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