tag:blogger.com,1999:blog-2121905122650141172.post7470036394787247627..comments2024-01-15T21:29:33.424-05:00Comments on Born Again Oboe!: Sound Vocabulary + Synthetic / IDRS 2013 art. 3 / Vocabulaire sonore + synthétiqueRobinDesHautboishttp://www.blogger.com/profile/06982605859554912966noreply@blogger.comBlogger4125tag:blogger.com,1999:blog-2121905122650141172.post-32855010256057102482013-11-20T20:35:34.570-05:002013-11-20T20:35:34.570-05:00Hello Don,
Your question is excellent and at the v...Hello Don,<br />Your question is excellent and at the very heart of the whole series of blog posts on the instruments I've been trying. As explained in this other post (http://robindeshautbois.blogspot.ca/2013/07/oboists-trinity-idrs-2013-art-2-trinite.html), there is a 3-way partnership between the musician (physical characteristics and aesthetic goals), the reed and the instrument. It is not a matter of 75% one one aspect, but all have to be friendly to each other.<br /><br />It's not quite true that Albrecht Mayer would sound like himself on my Lorée... this is the very reason he works so closely with Ludwig Frank: to produce an instrument with a behaviour to help him attain his own goals, for human physical qualities and reed+breathing techniques that suit him.<br /><br />You are quite right that in the big-name oboe makers, it is difficult to say one is better than any other: this is why I am unable to choose without more testing (IDRS 2014). All I can say is that I am VERY intimate with Lorées, having played mine and maybe 2 dozen others for nearly 30 years! But when a couple of brands of instruments make you bash your brains to get a reed that will play in tune AND produce the dynamic expression you seek AND make playing comfortable instead of getting dizzy spells.... well, I used to gladly accept criticism about my reeds or embouchure or what ever UNTIL I tried Marigaux, Dupin, Bulgheroni, Rigoutat, Howarth, Mönnig and Fossati, NONE of which give me any of those troubles on EXACTLY the same reed on the same afternoon in the very same room!<br /><br />Don't get me wrong, I am not trashing Lorée by any means: it is really well suited to some big-time names I really admire.... but it is not the instrument for me. Similarly, if another instrument causes another person grief, I say try others until the right one is found. There is lots of hogwash said about oboe and reeds concluding that it is an impossible instrument to play and that it hurts to do so. My experience and that of hundreds of people says that is just not true: the oboe is indeed a joy to play (making it sound pleasantly).<br /><br />So an instrument is only as good as the player.... this is as true as saying a Ferrari won't make you a better driver: the best drivers will still do better in a Bentley than in a Lada!RobinDesHautboishttps://www.blogger.com/profile/06982605859554912966noreply@blogger.comtag:blogger.com,1999:blog-2121905122650141172.post-44758476223994051802013-11-20T20:07:27.222-05:002013-11-20T20:07:27.222-05:00I have a general question: Given the high quality ...I have a general question: Given the high quality of most professional oboes, how would you quantify the "difference" made possible by playing one brand of oboe or another?<br />I believe if we talk about the final "product" oboists spend their lives perfecting--the MUSIC played by an oboist, the player accounts for 75%, the reed 15% and the instrument 10%. "Player" includes: phrasing, style, articulation, vibrato, support, intonation, color, intelligence, endurance.<br /> As you say, you don't sound like Albrecht Mayer on his oboe, but he will sound like Albrecht Mayer on yours; and I would say 90% so.<br />I welcome all comments on this. I am motivated to pose this question by some of the hype one reads about the superiority of certain instruments. <br />I have played, for extended periods, Guasti, Loree, Rigoutat (Symphony and Expression), Josef (Pegasus), Ludwig Frank and Moenig AM. <br />Summing up, an oboe is only as great as the player. Furthermore, it takes weeks or months or years to become intimate with an instrument, build different reeds, learn the special qualities of an instrument. <br />I welcome all any comments on this subject.<br />Don CohnUnknownhttps://www.blogger.com/profile/14410806320636939220noreply@blogger.comtag:blogger.com,1999:blog-2121905122650141172.post-91469947095861241982013-07-18T06:45:25.406-04:002013-07-18T06:45:25.406-04:00Bells by Weber & Capps are designed specifical...Bells by Weber & Capps are designed specifically to fix known Lorée problems. My bell was reworked by D.Teitelbaum (of Laubin ) who gave it a nice curve on the inside, not like Lorée AK. Marigaux also has a curve inside the bell, but different. I think the curve gives a more resonant (barockescant) sound. Pretty neat that A. Mayer insisted on different bell designs...RobinDesHautboishttps://www.blogger.com/profile/06982605859554912966noreply@blogger.comtag:blogger.com,1999:blog-2121905122650141172.post-45830972926502305802013-07-17T02:08:47.080-04:002013-07-17T02:08:47.080-04:00The different bells DO change everything!The different bells DO change everything!Howard Nghttps://www.blogger.com/profile/00318976487575480189noreply@blogger.com