| contributions to technique and tradition | contributions to instrument design and manufacture | associated repertoire/texts | |
|---|---|---|---|
|
Hotteterre Philidor Chedeville |
Families of musicians in employ of Louis XIV, thought to have developed the earliest true jointed oboes. | ||
|
Besozzi Sammartini Loeillet |
Notable families of 18th-century oboists. | ||
| François Sallantin 1755-1830 France |
Important pedagogue. Known especially for teaching Vogt. | Responsible for adding keys to improve C and F#; explained in Vogt’s tutor. | Dedicatee of Vogt Concerto. |
| Gustave Vogt 1781-1870 France |
Important pedagogue. Leading oboe soloist of his day; also an orchestral musician. Student of Sallantin at Paris Cons. Later (1816-1853) taught there; students included Brod, Barret, Triebert, and Verroust. | ||
| Josef Sellner 1787-1843 Austria |
Important pedagogue. | Active in development of the Viennese 13-key oboe, which would have been used in Beethoven’s 9th symphony. | Important 1825 tutor. |
| Henri Brod 1799-1839 Paris |
Student of Vogt, and colleague in the Opera orchestra. | Probably first to add octave keys; extended range to low B; championed a straight English horn. | |
| Guillaume, Charles, and Frederic Triebert Early 1800’s France |
Father Guillaume, sons Charles and Frederic. Regarded as the finest oboe makers of their day; employed Francois Lorée as foreman. | ||
| Apollon Marie-Rose Barret c1803-1879 France |
Important pedagogue. | Consultant to Triebert on oboe design. | Best known for his Complete Method (1862). |
| Francois Lorée 1835-1902 France |
Oboe maker. Founded own workshop 1881 after working for Triebert as shop foreman. Made instruments favored by Gillet, who helped to develop the modern “conservatoire” oboe. | ||
| Georges Gillet 1854-1920 France |
Important pedagogue. Orchestral player. 1881 became youngest-ever professor at Paris Conservatory. Taught Bas, Bleuzet, Tabuteau, and his nephew Fernand. | Established Triebert A6 as Conservatory-approved oboe model. | Wrote etudes. |
| Fritz Flemming 1872-1947 Germany |
Noted for being the first to play a French oboe in a German orchestra; this instrument was preferred by conductor Richard Strauss. | ||
| Marcel Tabuteau 1887-1966 France, USA |
Studied with Gillet at Paris Conservatory. 1905 joined New York Symphony Orchestra; 1908-1914 Met Opera; 1915-1954 Philadelphia Orchestra. From 1924 taught at Curtis Institute; passed on distinctive tone quality and style which influenced a generation of major American oboists. |
||
| Leon Goossens 1897-1988 England |
Founder of the modern British school of oboe playing. Known for sweet tone and for pioneering vibrato as an essential part of modern oboe sound. A car accident damaged his teeth and lips; he painstakingly rebuilt his technique and continued his career. | Many works written for him, esp. by British composers: Vaughan Williams Concerto in A minor, Boughton Concerto No. 2, Britten Phantasy Quartet, Eugène Goossens Concerto, Cooke Sonata | |
| John Mack 1927-2006 USA |
Student of Gombert, Labate, and Tabuteau. 1925-2007 principal oboist of Cleveland Orchestra. Taught at Cleveland Institute of Music and Juilliard School. | Zwilich Oboe Concerto composed for his 25th anniversary with the Cleveland Orch. | |
| Heinz Holliger 1939- Switzerland |
Oboist, conductor and composer. Known for ability to move convincingly between style periods. | Dedicatee of Berio Sequenza VII (1969), Carter Concerto (1987), Henze Double Concerto (oboe/harp, 1966), Krenek Vier Stucke (1966), Lutosławski Concerto (oboe/harp, 1980), Martin Three Dances (oboe/harp, 1970), Penderecki Capriccio (1965), Pousseur Caractères madrigalesques (1966), Stockhausen Spiral (1968), Veress Passacaglia Concertante (1961), Yun, and more. | |
|
Yusef Lateef Bob Cooper Rahsaan Roland Kirk Paul McCandless |
Notable jazz oboists. | ||
|
Robert Bloom Joseph Marx Robert Sprenkle Harold Gomberg Ray Still John de Lancie Richard Woodhams Alex Klein Humbert Lucarelli Joseph Robinson |
Prominent 20th-century American oboists. |

