Author: d-oboe
Date: 2005-10-07 22:09
Crispin...
Sorry to burst the bubble...but not all of us want to be principal oboists, not all of us want a super dark sound (we want our OWN sound) and not all of us want to be professionals in symphonies.
Argument 1: "Study with Tabuteau lineage." Nice concept, but worthless in today's society. It is a misconception to think that every player who learned to play oboe in NA will have learned the Tabuteau way. There are many MANY excellent teachers and excellent players who didn't study with Tabuteau or his students. And who's to say that Tabuteau's students are the best teachers? Was Tabuteau really that great of a teacherhimself? Or did he really just change the reeds to make them easier to play, and to sound better?
Who knows?!
I have studied with a few teachers. Lucky for me, they were all excellent, intelligent, responsive, and great teachers...who had great personalities. One of them was a principal oboe. ALL OF THEM taught me things that completely changed my oboe playing for the better. Not ONE of them had ever studied with Tabuteau, or his lineage.
Why on God's green earth would I refuse to study with someone simply because they didn't have the Tabuteau stamp of approval?! It's like the whole Loree thing....they may have been the first to get the oboe design to function well....but now MANY make it function well. (Howarth, Marigaux, Rigoutat....even Yamaha)
Another fault in the argument is that you seem to presume that because you study with a good oboe player, you will get a job (in the states or otherwise)
Untrue! Even if the player studied with John Mack, or de Lancie, there is no guarantee that the player will get a job. Sometimes players who come from even the most anonymous teachers get positions.
I think it's safe to say that if we base our musical achievement on *what we did/had; who we studied with* rather than WHAT WE CAN DO WHEN THE CONDUCTOR SAYS GO then we are bound for failure.
My broken oboe reed's worth...
D
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