Author: HautboisJJ
Date: 2006-04-18 05:20
I totally agree with you Susan, but my point is rather more appropriately applied in solo playing than orchestral, and music is not dead, and i am not only pointing to the application of such technique in melodic phrases, but also interesting phrases that occur, for example in Stravinsky's Rite of Spring. (after listening to REALLY REALLY good players do this, you will understand that the change is not exactly negative, but enhances the situation, for example the use of harmonic fingerings for Britten's Six Metamorpheses.)
A good 'line' with one dynamic, a good line with many dynamics, and a good line with many colors, are totally different things. One can approach a phrase with no change of vibrato and play everything 'straight' but that would be absolutely boring, but not necessarily a bad line would be the result. It is so very personal, for example, Harold Wright (Late Boston Symphony clarinetist) did the Schubert Unfinished Solo with change of color through vibrato and dynamics, it literally made me drop down in tears. On the other hand, a recent hearing of the same solo from the Vienna Philharmonic (unknown soloist) was absolutely in contrast, nothing happened, it was just a stream of sound, nothing more than that!
<<You DON'T want to listen to someone who has big honking low notes and tinny, screechy high notes, do you?>>
Of course i don't, =) , but if that particular piece of music asks me to do so (Berio Sequenza 7), i would have to would i? Change of color in a solo like the Tchaikovsky Symphony no.4 slow movement would never be that drastic, but some people would approach it safe, playing it in a good line, but never a creative or singing line! Which is my point!
<<I would think that whatever one's personal approach, consistency throughout the range *must* be of paramount importance.>>
Agreed, but i guess it really depends on the music you are playing at that time. If the use of a harmonic fingering changes tone color but one has to abid to the rule of "must maintain consistency" thus reject to use it, it would be a truly sad thing.
I always tell people that Heinz Holliger has a tremendously bad tone at times (the low long tone on the Schumann Adagio and Allegro was so bad!), but he was the one who got brave enough to shine out from the rest of the oboists with new techniques that enhanced the ability, range and limit of the oboe. It brought us to a whole new dimension of things and some of his recordings are absolutely beautiful and creative. One must also remember how Alex Klein used some of the keys on the oboe to execute a repetition of notes instead of using tonguing, and the effect was gorgeous.
Another good player to listen to to understand this whole concept ( which is truly quite simple if you don't try to make it an over-exagerrated thing) is Diana Doherty of the Sydney Symphony Orchestra. Her recording of the oboe concerto on Koehne's Inflight Entertainment CD on Naxos was stunning, she didn't worry about the bright G#'s, they were absolutely beautiful and in tune and she knew when to cover them up at times necessary.
Howard
Post Edited (2006-04-18 09:55)
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