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Marcel Tabuteau [Oboe] First-Hand
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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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9 Responses
I do not know who to thank for this superb new website, but to all concerned, you have done a magnificent thing here. I am enjoying this immensely. Eric Barr
Wow! This is a spectacular website. Thank you to everyone who’s energy has made it come to life! I have hours of reading to do!
Jennifer Weeks
A wonderful job of assembling so much of the legendary material associated with the Master. Thank you!
After re-checking the dates, it appears that my father bought la Coustiero from Mr Tabuteau in 1959.
Around 1963, my father. Jacques Sassy purchased La Coustiero from Mr Tabuteau. The house, rather a mansion, was very big and typical of the south of France style, with green shades and orange painted walls. It had a direct access to a little creek, some 80 steps below, where you could swim in the beautiful mediterranean sea. It had a square tower and about 10 bedrooms. The land around was all pine trees, very quiet because totally remote from the closest village which is called Le Brusc. From the front of the house which is situated at the very end of Cap Sicié, you could see the immensity of the sea. Mr and Mrs Tabuteau had left two dogs, german shepperds, Boss and Derring, which were taken care of by the Jean Baglione who was the guardian of the property. Jean stayed with us for a long time, and became part of the familly. There was a big piece of furniture in one of the living rooms. It had many drawers. In one of them, as I was about eight years old and wandering around our new home, I found a baton that must have belonged to Mr Tabuteau. I was instantly convinced that music was going to be my future, and that is exactly what happened. Today, While randomly searching the internet, I found some pictures of Mr Tabuteau taken at La Coustiero and just wanted to share these very touching memories, and thank Marcel Tabuteau for inspiring me to live a life of music.
Many (many!) years ago I found the 2 LP recording of Mr. Tabuteau’s lessons and excerpts at Patelson’s. I must have played it 20 or 30 times. I can’t say that I mastered the system, but I aspired to be a better player because of what I heard. This site is a welcome addition to those and other, resources. Thanks for making it available!
If by chance you read this I would like to thank you for posting the interview of my father – John Mack. He is missed terribly and just know the Tabuteau stories live on at his Oboe Camp.
This is the most amazing website and a wonderful discovery! It is packed with all kinds of interesting material for musicians and aspiring musicians. Huge thanks to all the contributors.
I have included a link to this website in my mother’s (Joan Browne Shallin, now Joan Champie) Caringbridge page as she is now newly entered into hospice care. Joan studied with Tabuteau from 1952 to 1954. Incidentally, she also did a great imitation of him asking her in a French accent why she wanted to play the oboe, why not ballet where they were hiring women. I heard all the stories growing up. But her respect for Tabuteau was enormous and in the dark moments at the beginning of her illness in June, it was Tabuteau that we talked about to get her mind off her condition.