Table of Contents de Lancie

John de Lancie interview 12/30/1977

Page 1

De Lancie’s association with Tabuteau.

As a student.

Deepening relationship during and after WWII.

As Assistant First Oboe to Tabuteau in the Philadelphia Orchestra.


Tabuteau’s influence on the wind section of the Philadelphia Orchestra.

Tabuteau – a favorite of Stokowski.

Diplomacy not Tabuteau’s strong suit.

Talking to a receptive audience.

Tabuteau was always interested in just improving the musical situation.

Impact of Tabuteau’s influence over an extended period of time.


Tabuteau’s relationship with Kincaid.


Atmosphere of oboe lessons.

Little or no help on reeds from Tabuteau.


Reeds almost insurmountable problem for de Lancie at Curtis.


Each of Tabuteau’s students arrived at an accommodation on reeds that suited his/her needs.


Georges Gillet was a dictatorial, aggressive teacher; probably a model for Tabuteau’s teaching.

Musical influence of Gillet on Tabuteau. Tabuteau thought Gillet influenced him a great deal, but de Lancie went on to say that people usually go on to develop their own ideas.

Stokowski and Tabuteau parted company on bad terms.

De Lancie’s impression was that Tabuteau and Stokowski nurtured each other, that neither would have become the men they became without the other.


Wind playing in America revolutionized by Tabuteau.


Chamber music classes: inspirational, terrifying, unforgettable.

Tabuteau emphasized everything in wind classes.

Development of the cult of sound in Philadelphia.


Number system had three meanings: 1) with the grammatical structure of the music in explaining the groupings of notes; 2) dynamics; 3) intensity.


Vibrato: a personal thing, not taught.

Vibrato never referred to as a part of your equipment; it was left to being an individual thing.

No difference in the way Tabuteau talked in chamber music classes, orchestra classes, and private lessons.

Tabuteau could take someone with little natural talent and make them sound very good.


Tabuteau’s enormous range and facility on the oboe.

Up and down impulses associated with the harmony and the meter.


Tabuteau had early training on the violin. Visually he explained up and down as if he was bowing the violin.

Tabuteau could explain music in such a way that would totally defy the idea that music when explained was a heartless, bloodless situation. He had an incredible ability to explain music.


Tabuteau’s idea about articulation was that it was to be a [part of a cohesive] line. Tabuteau’s articulation: “astonishingly elegant.”

De Lancie on using different kinds of articulation.


In general the last note under a slur was long.


Tabuteau was a Kreisler-type player.


Transposition of etudes served several purposes.


As a rule of thumb, not to breathe on the bar line is a good one.

You make a line with your wind, and you put your notes on that line; you don’t make a line with the notes.


Tabuteau didn’t talk about how to support.

De Lancie on the Tabuteau recording, The Art of the Oboe: the orchestral excepts side was put together poorly by the recording engineer.

De Lancie on his position in the Tabuteau Tradition.