Tabuteau’s Reeds/Oboes

Tabuteau’s Secrets

Cane Selection

Tabuteau’s Gouging Machines, Shapers, and Process

The ‘American-Style’ Reed

Tabuteau’s Lorée Oboes

Introduction by Charles Lehrer

To get a sense of what it was like playing oboe in Marcel Tabuteau’s time, it is important to hear what Tabuteau, his students, and his musical colleagues had to say. It certainly is eye-opening to learn from them what the Great Musician had to contend with when he went to work each day as principal oboist of the Philadelphia Orchestra.

Thanks to Tabuteau and his disciples working with the many artisans (instrument makers, tool makers, and the one supreme repairman) who catered to their needs, those studying oboe nowadays have it so much easier from the ‘get-go.’ Today’s students are unburdened from many of the problems oboists like Tabuteau had to endure, and now have the freedom to better use their time learning an extraordinarily wide range of repertoire, working on florid ornamentation, and committing to memory multiple works, as is today’s norm.

So let us return to those days long past when knowledge about the oboe was held in the hands of a very select few…at a time when Marcel Tabuteau was the most sought-after oboe teacher in the United States. Insofar as instruments and reed-making are concerned, the individuals listed below fill us in on a good part of the story. Their contributions were derived from interviews and articles presented elsewhere on this website.

AG: Adrian Gnam

DB: Donald Baker

DH: Donald Hefner

DW: David Weber

JD: John de Lancie

JM: John Minsker

JMk: John Mack

JR: Joseph Robinson

LS: Laila Storch

LVB: Laurie Van Brunt

MS: Melissa Stevens

MT: Marcel Tabuteau

RA: Rhadames Angelucci

RF: Rowland Floyd

WR: Wayne Rapier