![]() ![]() The Soliste, however, takes all that awesomeness and magnifies it by about a trillion. (This is the Tchaik 4 solo on my Tiery: ) I’d put it up against anybody’s Loree (or Laubin) any day. I’ve played a Tiery on several cast albums, in countless pit orchestras, and even a few symphony gigs. The E30 is a doubler’s dream…very flexible and reed-friendly, sounds great, and won’t break the bank. It is totally a pro instrument in every way, and it’s amazing to me that it’s marketed as an intermediate model, but hallelu, because it’s also priced accordingly. It’s very affordable, and has the full conservatory keywork, including the 3rd octave key. Their E30 “Tiery” model is also an extraordinary piece of oboe meat. ![]() I currently play a Soliste model with mother-of-pearl inlays in the keys, and a matching Soliste English horn (minus the pearl), and they are the sweet baby Jesuses of the oboe world. They have a model out now, the MB, which is so good it will make you SLAP SOMEBODY. These instruments are glorious, and they get better and better every year. Fossati has, by and large, been my oboe of choice for YEARS (except for that short period of time where I didn’t play a Fossati, and we’ll talk about that later). I find this particularly maddening because…well, because *I* play a Fossati. (Here's Diana creating magic on her Marigaux: )įor some godforsaken insane reason, almost no other oboe player I know in this country has even HEARD of Fossati, let alone entertained the idea of playing one. Very interesting looking instrument and it has caught on in the oboe world like a house afire! If someone were to hand me $10,000 right now and say “YOU MUST BUY AN OBOE WITH THIS”, the odds are rather good that it’d be a Marigaux. The middle joint, then, is therefore much longer, and the bell remains the same. The M2 sonically is very similar to the 2001, but has a remarkably innovative construction wherein the top joint of the oboe is extremely short, terminating just above the C#/D trill keys, and you are provided with top joints in wood and phenol resin for crack resistance. The 2000 series is also available in a crystal clear material called “Altuglass”, with gold plated keys, and is one of the most visually arresting instruments ever made. (Incidentally, the 2001 also has the most stable C5 and C6 I have ever experienced in my LIFE). The 2001 has a very soloistic sort of bravura color to the sound, though maintaining that trademark Marigaux warmth. The 901 is an extraordinarily forgiving instrument, and one that will work for just about anybody. They are a marvelous choice for 2nd oboists because of their excellent response down low and the ease with which you can match tone colors with the principal. ![]() The 901 is their basic workhorse professional model, and you will find a 901 somewhere in nearly every major symphonic oboe section on the planet (outside of the United States, that is). The pinky keys on both hands have been completely redesigned on these instruments, and they are comfortable indeed. Their oboes are simply stunning…whether you pick the 901, the 2001, or the M2, you are getting a rich, fat, creamy tone extreme reed-friendliness, and in the case of the 2001 and M2, some serious ergonomics. They are both fantastic oboes, but if I were to pick one, it would be Marigaux. My experience with both of the brands is somewhat comprehensive, as I have played several examples of each of their current models (with the exception of the new Rigoutat “J”, of which I have only played one.) The legendary soloist Heinz Holliger plays Rigoutat, and has done quite a bit to popularize the brand. Many of the world’s finest oboists play one of these two, including one of my favorite oboe players in the entire galaxy, Diana Doherty (principal of the Sydney Symphony, who is giving it to the kids daily with her fierce Marigaux M2). (And, if the oboists I personally know are any indication, a lot of you are PLAYING them now.) The popularity of these two makers has increased exponentially in recent years, though they are still considerably more popular globally than they are in America. Now, I’d wager that nearly all professional oboists in America have not only heard of them, but have probably at some point tried them. I’ll begin with Those OTHER French Oboe Guys: Marigaux and Rigoutat. ![]()
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