Author: Loree BF51
Date: 2012-03-03 15:37
In 2/12 a thread appeared on the Oboe BB asking about a vintage Loree English Horn. Within that thread a really lively discussion began about the origins of the so-called, American School of Oboe Playing and especially about the founder, Marcel Tabuteau, and the new style of reed scrape that he introduced. The discussion enlarged to include the playing of his students, as well as other outstanding players, and even included details about the various oboe manufacturers throughout the world, and reeds, too.
I would like to continue this discussion under this new subject and I hope that others will contribute to it, to keep it going.
One of my earlist memories of starting to play the oboe was buying the record, Philadelphia Orchestra - First Chair, with Tabuteau playing the Handel Concerto in g minor. I don't think I had actually heard it before on the radio, so it was the first time I ever, consciously, had heard Tabuteau. As I listened to the first note or two, I thought I was on the wrong track, as it sounded like a clarinet to me! I may not have been studying with Mr. Still yet, but I was very familiar with his sound and after I figured out I was on the correct track on the record, it was very obvious that there was a very different concept of tone production between them. I also noticed that Tabuteau started out many passages, if not all, with no vibrato at all. I later observed this characteristic in many popular singers, but not so much in classical singers, but please bare in mind, I was only about 13 at the time and wasn't all that experienced yet. And that was just an observation, not a criticism. Although Doris Day didn't sing the same reportoire as Elly Ameling, her vocal gifts are no less admirable, as far as I'm concerned.
So, this is my opening for this thread and it's a personal one and maybe a little offbeat, but so be it. Anything to just get started! Regards to everyone.
R. Still former student
|
|
The Oboe BBoard
.jpg){kind=small}
