Author: jamesoboe
Date: 2004-07-19 21:29
Hi! I'm the Principal Cor Anglais with the BBC SSO in Glasgow, Scotland. It's virtually impossible to say whether one style is better than another, but let's try to get some perspective. Love him or hate him - no-one is in Heinz Holliger's league. He is yet to be bettered! However, if you're looking for great international talents, then of course Thomas Indermuhle, Francois Leleux, Albrecht Mayer all immediately spring to mind. I studied with Indermuhle in Germany 15 years ago. At the time, in my class, was Diana Doherty; already mentioned on this board. A very gifted player, we were all very proud when she beat Leleux in the Prague international oboe competition. Being fair, however, I think Leleux has the edge for his generation, as being one of the greatest in the world. That said, one must be careful, because the school in France is probably second to none, and there are incredible talents appearing there on a regular basis. For me the german school is becoming stronger all the time due to the french influence. It has suffered in the past, preferring a dark, fairly inflexible tone, at the expense of expression and colours. The feeling in Europe is that we have yet to be convinced by the American approach. It seems to Europeans that you are a fairly insular nation and resistant to other oboe schools. Personally, I am fonder of the cor anglais playing in America than the oboe playing. Generally, in Europe, things are lightening-up somewhere mid-way between the French and German Styles. Cross-influences are the way forward, I think! Hope I have not been too controversial. Best wishes. James.
Nissen wrote:
> Lothar Koch is definately one of the greatest players ever, the
> sound always quite full and intense. Pick any CD with BPO from
> 1960-1990 and you can relatively easy determine whether Koch is
> sitting first or not.
> I must say though, (shame on me, I have been a fan for years,
> but it must be said) that the tone and dynamics are often quite
> stiff, sometimes it even sounds like he is starting to drift a
> little bit out of tune, trying to manage with his supposedly
> extremely heavy reeds. I have this from my teachers studying
> with Koch in the 70's.
> Today these students manage a much more flexible playing style,
> the tone even darker and fuller, but you hear the influence
> from Koch in the intensity of their playing.
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