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In Reply to: RE: Well, not exactly... posted by Brian Cheney on March 14, 2011 at 10:53:53
but that's really secondary to his unique approach to phrasing and music-making in general, which he taught to oboists and non-oboists alike in his famous ensemble class at Curtis. Tabuteau, in turns out, influenced a whole generation of American musicians.Laila Storch's book gives an excellent outline of this phenomenon. The list of quotes from former members of the Philadelphia Orchestra and noted soloists reads like a Who's-Who of American music.
Most of them speak in glowing terms of how "Tabuteau changed my life", or "Without Tabuteau, I wouldn't be the musician I am today".
BTW, it's worth noting that Tabuteau devised his new way of making reeds after he had been in the U.S. for several years--probably in response to the sound he was hearing (and competing against) in Philly.
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"You weren't afraid of being born--why would you be afraid of dying?" Alan Watts
Edits: 03/14/11Follow Ups:
"Tabuteau, in turns out, influenced a whole generation of American musicians."
He may have been an extraordinary teacher....... But his playing from recording never really did much for me, and I cannot pinpoint why. Kind of like Bud Herseth with the trumpet. Or Maurice Sharp with the flute..........
since there are very few recordings of him around. Unless you listen to early Philadelphia recordings (78s), you won't hear much of Tabuteau. Even on the early LPs--by the early 50s, Tabuteau was frequently absent from the orchestra due to health problems, and so de Lancie had to sub for him.The best chance to hear Tabuteau, ironically, is on amateur tape made during lessons by one of his students, the Danish oboist Waldemar Wolsing. A CD of it is included with the Laila Storch biography. Listen to it if you get a chance--Tabuteau's sound, and especially his phrasing, are magical. I would take that sound over ANYTHING one hears today.
All of the big-name oboists I've ever talked to over the years, such as Mack, de Lancie, even Still, were quick to point out how mesmerizing, how truly unique Tabuteau's playing was in person (the 78s don't do him justice). There will probably never be another oboist of his caliber, at least in the orchestral field.
"You weren't afraid of being born--why would you be afraid of dying?" Alan Watts
Edits: 03/16/11
Based on your time perspective, the oboe I've heard on a lot of Phila. Orch. recordings was after the Tabuteau era...... Maybe that explains it.
Knowing that, there were probably not a lot of good recordings of him performing, at least by modern standards.
Au contraire, I found several CD's featuring Tabuteau's playing at amazon.com.
His performances of Mozart K370 and Bach BWV1093 from the Prades Festival are available from Music and Arts as single albums and an 8 CD set.
Boston 6A6H is a compilation of excerpts from his Philadelphia recordings, acoustic and electrical, from 1920 to 1940.
I forgot about the Prades Festival recordings--those are actually pretty decent.
The Philadelphia Orchestra excerpts, on the other hand, are rather dim sounding, not a good indication of Tabuteau's sound. Every one of his orchestral colleagues interviewed in Laila Storch's book said that the recordings made during the 78 era didn't do him justice.
"You weren't afraid of being born--why would you be afraid of dying?" Alan Watts
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