Wayne Rapier interview 4/12/1977 and 5/3/1977
From 1951-54 while in the Marine Band WR studied with Tabuteau – private lessons and in woodwind ensemble.
Tabuteau’s sense of humor and standards.
Tabuteau’s most important idea in one word: flexibility.
Up and down impulses.
Intensity or motion in the sound composed of 3 different things: vibrato, speed of the wind, and pitch.
Tabuteau in France.
Embouchure and reed placement.
Articulation: tonguing and slurs.
Scaling of articulation.
The end of the slur
Tabuteau recommended not filling up completely with air.
Support; weight on toes.
Tabuteau spent hours on 1 phrase.
The numbers were for lesser days.
Ups and downs: Brahms Symphony #1 – first solo in movement 1.
Relationship of ups and downs and dynamics: Brahms Violin Concerto slow movement opening oboe solo.
The bar line in the oboe solo of the slow movement of Brahms Violin Concerto, and in general.
The “down” is where you’re going and then you relax.
Syncopations and dotted notes.
Beethoven’s Eroica slow movement, first oboe solo, first three notes.
Beethoven’s 7th Symphony.
Comments on: “ it is important to remember to place one’s notes on the bow or the wind and not bow or wind the notes.”
Rubato – what Robert Bloom called “fancy robbery.”
Set the standard of oboe playing.
Many prominent woodwind players call Tabuteau their teacher.
Influence on the Philadelphia Orchestra.
Combination of Stokowski and Tabuteau.
Envious of string players; modeled some concepts after string playing.
Character of phrases.
Vibrato’s relationship to the numbers.
Groupings; joint-finger-wrist-arm analogy.
Bar lines ignored.
Getting rid of excess air through the nose.
Special breathing techniques: less air and more support.