Grover Schiltz

Grover Schiltz was one of the Chicago Symphony Orchestra’s longest-serving members, from 1959 until his retirement in 2005. He played assistant principal oboe until 1964 and served as principal English horn from 1964 to 2005. In this interview, he discussed warming up, technique, breathing, breath control, and vibrato. He provided advice on reeds, auditions, how to prepare for a performance, and tone production. He talked about the differences in performance between oboe and English horn. He offered advice how to teach musicianship, the nature of talent, and Baroque ornamentation. He shared which artists inspired him, reminiscences about his greatest concerts, and his observations on how the American style changed during his career.

Nathan Hughes

Nathan Hughes is principal oboe of the Metropolitan Opera and serves on the faculties of the Juilliard School and Rutgers University. In this chapter, he discusses his early life and career, the influence that opera has had on his performance, and the use of mental practice in performance preparation. He also shares ideas on interpretation, reeds, breathing, support, fundamentals and vibrato. He also offers advice to those who are auditioning.

John Ferrillo

John Ferrillo joined the Boston Symphony Orchestra as principal oboe in 2001. From 1986 to 2001, he was principal oboe of the Metropolitan Opera Orchestra. In this chapter, he discusses his early career, auditions, breathing for wind playing, and the relationship of teaching and playing. He also reminisces about his experiences at the Curtis Institute of Music with John de Lancie and about his most memorable performances.

Neil Black

Neil Black was an internationally known oboist and a professor at London’s Guildhall School of Music and Drama. Black attended Oxford University and earned a degree in history. Three years after finishing at Oxford, he became principal oboist for the London Philharmonic Orchestra. Later in his career, he became the principal oboist for the Academy of St. Martin in the Fields and the English Chamber Orchestra. In this chapter he discussed his beginnings in music, ideas on tone production, reeds, and technique. He further shared his thoughts on flexibility in musical settings, solo playing, and pedagogy. He also reminisced about his role models and his memorable concerts.

Randall Wolfgang

Randall Wolfgang studied with John de Lancie at the Curtis Institute of Music. In the chapter, he discusses his early career, motivation, phrase shaping, and teaching philosophy. He shares his ideas on the skill set needed for performing in a variety of ensembles.

Richard Killmer

Professor of oboe at the Eastman School of Music, Richard Killmer was principal oboist of the St. Paul Chamber Orchestra for eleven years. In this interview, he talks about his early career and observations on the evolution of the oboe world. He discusses his teaching philosophy and shares specifics on breathing, intervallic placement, long tones, and articulation. He shares tips for technical practice and his ideas on vibrato and reeds. Killmer shares stories of his experience in helping to design the Ross gouge, and he talks about his inspirations.

Diana Doherty

Diana Doherty is principal oboe of the Sydney Symphony Orchestra (Australia). She won first prize at the Prague Spring International Music Competition in 1991 and was a joint winner of the 1995 Young Concert Artist auditions in New York. In this chapter, she discusses her early life, the international aspects of her career, and reeds. She also talks about how she warms up on the instrument and offers advice on developing finger technique and articulation. She shares her inspirations and memorable concerts

David Walter

After obtaining first prize in oboe and chamber music at the Conservatoire National Supérieur de Musique de Paris, David Walter won international prizes in Ancona, Prague, Munich, Belgrade, and Geneva. He is a founding member (1980) of the Quintette Moragues. At twenty-nine years old, he was appointed the youngest-ever oboe and chamber music professor at the Paris Conservatoire. In this interview, he examines the relationship between being a conductor and being a performer. He talks about ensemble playing skills and those specific to chamber music. Walter discusses competitions, teaching, “schools” of oboe playing, and finding your own voice. He shares artists who inspire him, reminiscences on his career, and his activities outside of music.

Allan Vogel

Allan Vogel received a doctorate in music performance from Yale University. In 2016, he retired as principal oboist of the Los Angeles Chamber Orchestra, a position he held from 1974, having joined the ensemble in 1972. He is on the faculty of University of Southern California and California Institute of the Arts. In this chapter, Vogel talks about his early career, the relationship between vocal and instrumental performance, and the three national schools (American, French, and German) in which he studied. He discusses his ideas on practicing, support, current trends in music, and the application of meditation in music. He shares his two-page guide to warming up. Finally, he reminisces about his career.

Alex Klein

Brazilian oboist Alex Klein won a 2002 Grammy Award for Best Instrumental Soloist with Orchestra and first prize at the International Competition in Geneva, the New York International Oboe Competition, and the Fernand Gillet International Competition. From 1995 to 2004, Klein was principal oboist of the Chicago Symphony Orchestra, a position he left after struggles with focal dystonia. He is currently artistic director of the Santa Catarina Music Festival (“FEMUSC”) in Brazil, principal oboe of the Calgary Philharmonic Orchestra in Canada, and oboe instructor at DePaul University. In this interview, Klein talks about his start in music, his teaching, and the combination of solo and orchestral performing in his career. He describes his brand of “musical activism” and his mindset while playing. He offers ideas for developing technique and shares his difficulties with focal dystonia. Klein offers advice on the use of air and vibrato and shares memorable experiences.