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 Philadelphia Orchestra
Author: kdk 2017
Date:   2021-03-13 23:23

Hi. I'm doing a little cross-hop from my usual haunt in the clarinet Bboard. I hope you won't mind.

A recent member posted about "Standardization" in the clarinet world, maintaining that there is basically too much conformity in the equipment used by clarinetists and the way they approach the clarinet conceptually. If you're interested in the full context of the question I'm about to ask here, you can read the thread beginning with http://test.woodwind.org/oboe/BBoard/read.html?f=1&i=489847&t=489847.

At the end of his original post, the OP writes:

"My inspiration from writing this post was learning about the Philadelphia Orchestra oboe audition in 2019 and the uproar it caused in the oboe world. If you don't know about this, just ask any of your oboe friends and they will instantly know and tell you about it."

As a Philadelphian and Philadelphia Orchestra subscriber, I heard some of the local discussion that went on here once Woodhams announced his retirement and the search for a successor began officially. But I'm interested, my curiosity piqued by this poster's suggestion, what the oboe world outside Philadelphia thought about the process (and the result). And whether or not the departure represented by Phillipe Tondre from the Tabuteau-DeLancie-Woodhams tradition attracted attention in the oboe world at large.

Karl



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 Re: Philadelphia Orchestra
Author: concertmaster3 
Date:   2021-03-15 05:39

As not a traditional student of the American Tradition (I wrote my dissertation on a Western --Hollywood-- style of oboe playing, which is what my teacher taught me here in North Carolina), I'm excited about the idea. There is no reason that the two different playing styles can't blend. Almost no one plays on the style that I use, and I think it works out fine in all of the ensembles that I play in.

I also have a friend that plays German reeds, and we play well together (me using my non-traditional American style reeds). She's honestly one of my favorite oboists to play with because of it.

I was taught to be malleable with my color to match the current playing situation, not just 1st/2nd oboe, but even blending with flute, clarinet, bassoon, violin, trumpet, etc. I think that we all have to be able to do that at any point. My curiosity is peaked at how the 2nd player works to achieve this task. I find that playing 2nd is much harder than playing 1st. When I'm playing first, I can lead with the sound I want, when I'm playing second, even in exposed parts, I still have to mimic the other player's sound to some extent.

Ron Ford
Woodwind Specialist
Performer/Teacher/Arranger
http://www.RonFordMusic.com

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 Re: Philadelphia Orchestra
Author: CogentCap 
Date:   2021-05-12 02:21

Oboe player here. Yes, it attracted a LOT of attention, throughout the entire US and even a bit in Canada. Everyone has an opinion on the matter. Also of similarly scream-ey interest was the hiring of Ramon Ortega in the LA Phil, although he left the post only after a year or so.

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