Author: HautboisJJ
Date: 2006-07-08 03:20
Ah what a wonderful topic to discuss about!
Han De Vries (Sad that these days not many people know him, i just bought an EMI double disc reissue of his baroque recordings on both baroque and modern oboe), Heinz Holliger, John De Lancie, Gordon Hunt (will be hearing him perform this august, what a treat!) and Leon Goosens tops my list, in terms of how they are able to move me, not by sound but by how they 'use' their sound to convey emotions in the music.
Some players i find have the most glorious tone, the darkest biggest tones, but they don't exhibit the same artistic factor which you can find from the players i mentioned above, but of course, one must remember i must have missed a lot of other players (OF COURSE!)
David, i find De Lancie's vibrato very attractive too! Han De Vries has a glorious vibrato and i think it is totally oppositie of De Lancie's concept but yes, non the less it is always always beautifully applied. I have a recording of De Lancie doing Strauss and The Flower Clock etc with the London Symphony and Andre Previn which is absolutely beautiful! And the recording quality is in fact superb. I recommend everyone to get this!
Going back to David's original question....
John De Lancie - Very transparent and light, but not lacking body.
John Mack - Very dark and big sound, but a very flexible sound.
Lothar Kock - I am surprised you like styles that are so much in contrast!
The old school German playing which is still recognizable in
orchestras such as the Leipzig Gewandhaus is one of the
most difficult to learn in terms of technique from what i know.
Though i don't find it the most atrractive. Lothar Kock sounds
rather full in tone but has an edge in the shape of the sound
that doenst appeal to me, sort of strident. On the other hand,
the younger players like Albrecth Mayer nowadays has lose
the edge and has generally grown much warmer in tone.
Douglas Boyd is one player that you cannot forget after one hearing, and he sounds very much the same in his orchestral recoridngs compared to his chamber recordings. This is because of his way of 'pushing' the tone, which is easily identified as his trade mark. This sort of characteristics are hard to find in other players nowadays, and usually chamber records don't do the artists any justice due to the weird pick up of overtones and etc that make phrases sound weird etc.
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