Author: HautboisJJ
Date: 2006-07-31 16:26
I recently listened to Tabuateau's rendition of the Mozart oboe quartet, a recording from the Casals festival, and it was stunningly beautiful, and no, though the artistics standards are way above most American players i listen to today, his technical facility probably does not pass on today's current conservatory standards. Even Tabuteau had a lighter sound back then, you don't get that from most players today, who play reeds so strong they almost melt into everything.
I guess more and more people started playing, and the teachings in time became better and more efficient, allowing the growth of more capable oboists to emerge. The development of the instrument itself of course had a major influence into the change of fashion i presume, i.e. intonation became better, projection became easier etc.
A fuller tone, i guess that would certainly in some sense mean darker sound. I have no idea why this came about as the international favour of sound. Albretch Mayer plays like that, Alexei Ogritchouk plays like that, Elaine Douvas plays in that way. Leon Goosens, Han De Vries, Pierre Pierlot (Beautiful beautiful recordings done together with Rampal), even Tabuteau in my opinion had a much lighter and flexible sound in the old days, and i would certainly prefer the way they played over most artists of today.
I think it is sort of like Christian Lindberg in the trombone world, when suddenly 25 years ago, the standards of trombone playing was raised to another new level, and students take that as an example and pushed themselves to the limits of what was possible back then. Somehow this happened in the oboe world, without one obvious exponent leading the whole way.
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