Marcel Tabuteau [Oboe] First-Hand

MT era oboe

Books

The following books/eBooks contain information about Marcel Tabuteau and/or are related to aspects of his teaching. The original publication dates are noted, but some have been republished. When available, page numbers are indicated where Tabuteau is referenced. Some books’ texts have been excerpted showing only Tabuteau related material. If there are other books that deserve to be added to the list below, please click Submissions.

Ardoin, John. The Philadelphia Orchestra: A Century of Music. Philadelphia (PA): Temple University Press, 1999. ISBN-10: 156639712X; ISBN-13: 978-1566397124.

Bendiner, Alfred. Music to My Eyes. Philadelphia (PA): National Publishing Company, 1952.

Brusilow, Anshel, and Robin Underdahl. Shoot the Conductor: Too Close to Monteux, Szell, and Ormandy. Denton, Texas: University of North Texas Press, 2015. ISBN-10: 1574416464; ISBN-13: 978-1574416466. Tabuteau referenced on pp. 25-26.

Burgess, Geoffrey, and Bruce Haynes. The Oboe. New Haven (CT): Yale University Press, 2004. ISBN: 0300093179; 9780300093179. Reprinted in 2010: ISBN-10: 0300100531; ISBN-13: 978-0300100532. Tabuteau referenced on pp. 195, 198-202, 206-207, 248, 256, 264, 281, 384.

Ferrillo, John. Orchestral Excerpts for Oboe. King of Prussia, PA. Theodore Presser Company, 2006. Tabuteau referenced on pp. 10-12.

Frederiksen, Brian. Arnold Jacobs: Song and Wind. Gurnee (IL): Windsong Press Ltd, 1996. ISBN-10: 0965248909; ISBN-13: 978-0965248907.

Gast, Beverly Shaffer. Angel in Black: A Musical Life in Letters, 1925-1973 (Elaine Shaffer). Trafford Publishing, 2011. ISBN-10: 9781426974854; ISBN-13: 978-1426974854. Tabuteau referenced on pp. 12, 15.

Goldovsky, Boris. My Road to Opera. Boston: Houghton Mifflin, 1979. ISBN-10: ‎0395277604; ISBN-13: 978-0395277607. Tabuteau referenced on p. 143.

Hall, David, and Abner Levin. The Disc Book. New York (NY): Long Player Publications, Inc., 1955. Tabuteau referenced on pp. 253, 254, 259, 263.

Hartenberger, Russell. Performance Practice in the Music of Steve Reich. Cambridge: Cambridge University Press, 2016. ISBN-10: 9781107151505; ISBN-13: 978-1107151505.

Hephaestus Books Staff. American Classical Oboists. 2011. Hephaestus Books. ISBN-10: 1-242-57910-9 / 1242579109; ISBN-13: 978-1-242-57910-3 / 9781242579103

Kaplan, Richard. The Philadelphia Orchestra: An Annotated Discography. New York (NY): Rowman & Littlefield, 2015. ISBN 978-1-4422-3915-9; ISBN 978-1-4422-3916-6 (eBook). Tabuteau referenced on pp. viii, 37, 94, 284, 372, 476.

Keller, Hermann. Phrasing and Articulation. New York (NY): W.W. Norton & Company, Inc., 1965. ASIN: B0012L8NE6. Republished in 1973: ISBN-10: 0393006816; ISBN-13: 978-0393006810.

Kraus, Marsha Hansen. George Szell’s Reign: Behind the Scenes with the Cleveland Orchestra. Champagne-Urbana: University of Illinois Press, 2017. ISBN-10: 0252041313; ISBN-13: 978-0252041310.

Krell, John. Kincaidiana. Culver City (CA): Trio Associates, 1973. Tabuteau referenced on pp. ix, 30, 35, 36, 41, (concepts discussed throughout). 2nd Edition: National Flute Association Inc., 1997. ISBN-10: 0965790401; ISBN-13: 978-0965790406.

Kupferberg, Herbert. Those Fabulous Philadelphians: The Life and Times of a Great Orchestra. New York (NY): Charles Scribner’s Sons, 1969.  ISBN-10: 0491003943; ISBN-13: 978-0491003940. Tabuteau referenced on pp. 39, 80, 81, 159, 210, (also three photos with his image).

Ledet, David A. Oboe Reed Styles: Theory and Practice. Bloomington: Indiana University Press, 2000. ASIN: 0253213924; ISBN-10: 9780253213921; ISBN-13: 9780253213921. Tabuteau referenced on pp. 158-160.

McCutchan, Ann. Marcel Moyse: Voice of the Flute. Amadeus Press, 2003. ISBN-10 : 0931340683; ISBN-13 : 978-0931340680.

McGill, David. Sound in Motion: A Performer’s Guide to Greater Musical Expression.  Bloomington: Indiana University Press, 2007. ISBN-10: 0253219264; ISBN-13: 9780253219268. Tabuteau’s concepts highlighted throughout.

O’Connell, Charles. The Victor Book of the Symphony. New York (NY): Simon and Schuster, 1935. Tabuteau’s photo appears, only in the First Edition, following page 10.

O’Connell, Charles. The Other Side of the Record. New York (NY): Alfred A. Knopf, 1947. Tabuteau referenced on p. 125.

Philip, Robert. Performing Music in the Age of Recording. New Haven (CT): Yale University Press, 2004. Tabuteau referenced on pp. 95, 200. ISBN-10: 0300215266; ISBN-13: 978-0300215267.

Robinson, Joseph. Long Winded. Chicago: Joshua Tree Publishing, 2018. ISBN-10: 1941049540; ISBN-13: 978-1941049549. Tabuteau referenced on pp. 46, 78, 81, 97, 109, 110, 140-148, 151, 154-177, 191-192, 200, 202, 213, 246-247, 248, 252-253, 259, 265, 275, 284, 307, 312, 314-315, 334, 348, 351.

Salter, Graham. Understanding the Oboe Reed. Glasgow (Scotland): Bearsden Music, 2018. ISBN: 978-0-9571555-3-4. Tabuteau referenced on pp. 24, 48, 89, 140-142, 194, 195, 366, 409, 411, 412, 413, 492, 507.

Siegel, Adrian. Concerto For Camera. Philadelphia (PA): Philadelphia Orchestra Association, 1972. (See ‘Adrian Siegel: Concerto for Camera’ in the Photo Gallery.) Tabuteau referenced on p. 18, (Tabuteau photos on pp. 21, 26, 43, 110, 198, 203).

Schuring, Martin. Oboe: Art & Method. New York (NY): Oxford University Press, 2009. ISBN-10: 0195374576; ISBN-13: 978-0195374575.

Storch, Laila. Marcel Tabuteau: How Do You Expect to Play the Oboe If You Can’t Peel a Mushroom? Bloomington: Indiana University Press, 2008. ISBN-10: 0253349494; ISBN-13: 9780253349491. 3rd printing (2017) is in paperback*: ISBN: 978-0-253-03267-6. *CD audio accessible online. Tabuteau highlighted throughout.

Sundet, Dana, & Stephanie Cohn, editors. John Mack Teaches Barret’s 12 Articulation Studies. John Mack Oboe Camp, 2017. ASIN : B072JWWNZC‬.

Swiney, Alvin, & Shelly Sublett. The Oboe Adjustment and Tuning Guide of W. Hans Moennig. Virginia Beach: Affordable Music Company, 1972.

Thurmond, James Morgan. Note Grouping: A Method for Achieving Expression and Style in Musical Performance. Camp Hill (PA): JMT Publications, 1982. ASIN: B000NGT52K. Reprinted: Meredith Music Publications, 2000. ISBN-10: 0942782003; ISBN-13: 978-0942782004. Tabuteau referenced on pp. 10, 14, 117-119, (concepts discussed throughout).

Toff, Nancy. The Flute Book: A Complete Guide for Students and Performers. New York (NY): Oxford University Press, 1985, 1996, 2012. ISBN-10: 0195373081; ISBN-13: 978-0195373080.

Weber, David, and Ferald Capps. The Reed Maker’s Manual. Phoenix, (AZ): David B. Weber and Ferald B. Capps, 1990. ISBN 0-9627910-0-8. Tabuteau referenced on pp. vi, 124-129.

Welsh, Mary Sue. One Woman in a Hundred: Edna Phillips and the Philadelphia Orchestra. Champagne-Urbana (IL): University of Illinois Press, 2013. ISBN-10: 0252037367; ISBN-13: 978-0252037368. Tabuteau referenced on pp. XV, 51, 72, 75, 85, 99, 103, 107, 117, 123, 130, 140:14 (photo), 144, 146, 147, 151, 152, 156-157, 204, 233, 240.

Wolf, Thomas. The Nightingale’s Sonata: The Musical Odyssey of Lea Luboshutz. Pegasus Books, 2019. ISBN: 978-1-64313-067-5.

The books below do not reference Marcel Tabuteau but contain information closely aligned with his concepts. All three are available online.

Capet, Lucien. Technique de l’Archet. in German as Die Höhere Bogentechnik. Leipzig: Otto Junne GMBH, 1927. https://imslp.org/wiki/La_technique_sup%C3%A9rieure_de_l%27archet_(Capet%2C_Lucien)

Lussy, Mathis. Musical Expression. Trans. by M.E. von Glehn. 4th ed. London: Novello Ewer and Co., 1892. https://archive.org/details/musicalexpressio00lussuoft

Riemann, Hugo Katechismus der Phrasierung, Leipzig, 1890, 2nd edition Vademecum der Phrasierung. Leipzig: Max Hesse’s Verlag, 1900. https://babel.hathitrust.org/cgi/ptid=umn.31951p01042039a&view=1up&seq=15

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Marc Mostovoy Replies to the Facebook Posts Attacking Marcel Tabuteau

An audio interview with Joan Browne (Champie), a private Tabuteau student in the early 1950s.

A photograph of the music stand that was in Tabuteau’s private studio in Philadelphia.

An autographed photo of Marcel Tabuteau inscribed to Joan Browne Champie.

An autographed photo of Marcel Tabuteau inscribed to Vladimir Sokoloff.

Marc Mostovoy Replies to the Facebook Posts
Attacking Marcel Tabuteau

When she learned of Joan Champie’s death, and read the obituaries, Katherine Needleman, principal oboe of the Baltimore Symphony Orchestra and one of two oboe professors at the Curtis Institute of Music, posted on her Facebook page and again via video a message of outrage. Needleman’s central paragraph, in which she addresses herself directly to Marcel Tabuteau, is as follows:

“I don’t care if it was 1952 or 1954. I don’t care what you did for oboe reeds, as if anyone cares that you sometimes scraped them longer with your knife than your predecessors—what an innovation! I don’t care what you did for phrasing, and I don’t care how many (mostly men) students you inspired with your abusive teaching, which lived on for generations because they were unable to self-assess and grow past it. I don’t care about your number system. If you did not admit Joan to Curtis because she was a woman, and if you “let” her sweep your floor as a reward, this is how I remember you. *** you, Marcel Tabuteau. You know what would’ve been a real innovation that would have provided us all some benefit? Being a Very Big Fancy Man who supported women in music.

Needleman’s outrage is the result of the mention, in Joan Champie’s obituary, that Tabuteau hesitated to accept women at the Curtis Institute because 1) the likelihood of their being able to pursue a successful career was limited; and 2) because, after a successful lesson, Tabuteau “allowed her to sweep the floor.” 

Point 1 is, very obviously, one of the sad facts of orchestral life in the United States in the 1940s and 1950s, and, alas, even beyond. Conductors at that time rarely hired women oboists. The increasing presence of women in symphony orchestras in the United States, and around the world, is one of the signs of the remarkable gains made by women since the mid-twentieth century, gains akin to those that have been made in this country by other groups long dismissed or long oppressed.

Point 2, apparently troubling–although possibly the result of Tabuteau’s well-known mischievous sense of humor, needs to be understood in context. Those of us who knew Tabuteau or who knew others who knew him well, acknowledge that he could be a difficult taskmaster and act cold in lessons—not only to his rare female students, but to all of those who came to his studio. And yet most of his students remained faithful and dedicated to him because of his demonstrative artistry and the richness of his teaching. As Joan Champie herself said, after explaining to me in an interview how trying it could be to withstand Tabuteau’s sometimes severe remarks, “each lesson was a gift.” Champie was a courageous young woman whose desire to learn from an artist obviously quieted the discomfort that she felt.

What is most distressing in Needleman’s tirade is the dismissal of Tabuteau’s reed-making, which was part of his effort to achieve a kind of sound that combined the best of the French and Viennese schools of oboe-playing (a kind of sonority that Katherine Needleman herself well produces) and the dismissal of Tabuteau’s concern with phrasing, which, as it gradually infiltrated the players who sat around him, became one of the elements that caused critics such as The New Yorker’s Winthrop Sargeant to call Eugene Ormandy’s band the “Rolls Royce” of American orchestras.

Needleman’s reference to Tabuteau’s “abusive teaching” goes too far. That teaching has lived on for generations not because Tabuteau’s students “were unable to self-assess and grow past it,” but because it incorporated logical and inspiring methods of making music come alive.

I take no pleasure in refuting Katherine Needleman’s profane tirade. Nor does anyone on our board think of the bad old days of male chauvinism as the good old days. The Marcel Tabuteau First-Hand website continues to remain dedicated to promoting the musical ideas of a man who in our view had a highly positive impact on the development of musical performance in the United States during his lifetime, and during the period since his death. I ask those reading this response and my initial reply below to forward it to others who might be aware of Needleman’s Facebook attacks, so that the facts may be known.

Marc Mostovoy
Website administrator

To Katherine Needleman: A Belated Reply to
Your August 15th, 2024, Facebook Post:
“𝐎𝐃𝐄 𝐓𝐎 𝐉𝐎𝐀𝐍 𝐂𝐇𝐀𝐌𝐏𝐈𝐄.”

Katherine—your post on Joan Champie was just recently brought to my attention: https://www.facebook.com/profile/100058038401756/search/?q=joan%20champie. Having interviewed Joan last year, I thought it would be appropriate to respond. Kindly post this letter on your Facebook page and website. Thank you.

First I want to say that I wish you did have the opportunity to get to know Joan. She was a wonderful person and so inspiring. I felt privileged to have interacted with her even though it was only for a short period of time near the end of her life. Having gained insight into her relationship with Marcel Tabuteau through our conversations (including the live interview), I wanted to pass on to you what I learned from her.

As Joan pointed out to me, it’s important to understand that things were very different in her time. Viewed through the lens of today, Tabuteau’s treatment of her seems unjust. But she was a trooper and willing to accept the indignities because of the invaluable things he taught her. She felt it was well worth it as did all the other students who studied with him.

The reason Tabuteau did not like taking women students was because conductors of the major orchestras at that time wouldn’t think of hiring a woman oboist—even a Tabuteau student. Tabuteau felt putting all his time and effort into training a woman was futile because there was no career path for them, and he tried to dissuade women from taking up the instrument for their own sakes. But there were some women who wouldn’t take no for an answer, and he reluctantly taught them. They included Joan, Laila Storch, Thelma Neft, Marguerite Smith, Martha Scherer, and Marjorie Jackson. And may I point out that everyone cherished the time they spent with Tabuteau despite the rough time he gave them. He also dished out the same tough treatment to their male counterparts as you know.

Now you might ask why Tabuteau treated all his students as he did. It certainly would not be acceptable today. But that’s the way it was then. Gillet (his teacher) and many teachers of that generation practiced that method. Tabuteau continued it because that is what he knew and grew up with. The students who couldn’t take it dropped out, but those who persevered were grateful for what Tabuteau taught them. As a footnote, many of Tabuteau’s students said it was great training to go through because it prepared them for playing under the difficult conductors they encountered afterward such as Toscanini, Stokowski, Reiner, and Szell—all dictators in their own right. 

Laila Storch’s biography contains numerous tributes by his students: woodwind, string and brass players; pianists, vocalists – all attesting how important he was to their musical lives. Tabuteau gave them something special that their own teachers couldn’t. Those who learned from him can’t all be wrong in their praise. He was a giant to them.

Throughout your post, you chastise Tabuteau for his behavior, measuring it by today’s values. I ask you to please take a step back and try to see things as they were then. Also try to appreciate what Tabuteau did to advance oboe playing and for the musicianship he instilled in so many. Today (July 2nd) being his birthday, let’s grant him the credit he deserves. 

Finally, most oboists of the Tabuteau school wouldn’t agree with you in dismissing his importance in regard to reeds, phrasing, and so forth. Indeed, Tabuteau paved the way for you too, Katherine, whether or not you wish to acknowledge it. Surely, he was far from perfect, but does he really deserve the full treatment you give him? I think not. 

Marc Mostovoy

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