Adam Shapiro and Howarth Oboes
Friday April 11 2008
Two weeks ago I went and visited Adam Shapiro, a man who ordered reeds from me at one point and began a discussion about Howarth XLs. He said if I was ever in the neighborhood I could drop by and try them, so I took him up.
I was going up to Seattle to visit another friend and to take some English Horns to Peter Hurd and decided to drop by Adam. It turns out Adam is quite an accomplished oboist, 12 years in the Houston Opera and some in the symphony, and now subs in the Seattle Symphony a bit while working a day job at Microsoft. (Some people just have all of the talent, don’t they!?!?!?)
I’d never tried a Howarth before. I knew Woodhams has recently been playing one in Philadelphia, and Professor Schuring is on their posters. When I asked him about them he said, “They’re like a Royal, with all of the problems fixed.”
After trying the XLs, all I can say is WOW…. Adam had 3 XLs, a Cocobola model, a plastic top joint/grenadilla bottom joint one, and a new all Grenadilla model. I loved his all Grenadilla, followed by the Plastic top joint one. I felt like the Cocobola was a bit blown out in the top joint, to which Adam said that’s just the way Cocobola instruments feel, and that many people overblow the Cocobola instrument while trying to get more sound out of it. Now, Howarth is making Cocobola instruments with plastic liners only to prevent cracking, as well as give a bit more projection, which intrigued me. But I would definitely buy an XL in a heartbeat, and hope to buy Adam’s plastic top joint oboe when he’s ready to sell it which he says is the next one in line to be transferred out.
Adam also had a Howarth S6, a new prototype which has the bore of an XL but a thinner wall. I didn’t like this one as much, because the sound seemed so resonant that it felt difficult for me to control; perhaps if I had more time to make thicker reeds I’d appreciate it more. He loved it, and said for playing in the Seattle Symphony he needs a much bigger sound to cut through and thought the S6 would do just fine. I being a grad student, have never had a difficult time “cutting through” and therefore could only imagine.
We also compared the Howarth oboes to two brand new Marigaux’s which were on trial to him from RDG…. The Marigauxs were for his student “who really really wanted a Marigaux”, so we threw them into the mess. The difference was so stunning; the XLs had so much more life, response to the wind and color, and so much more flexibility, while the Marigauxs just kind of played there— like— well— Marigauxs. They had a beautiful sound, but there wasn’t near the possibilities with them.
I can’t wait to buy my next oboe. XL all the way!
Last note: Adam invited me back to his home to play duets or play for him any time, and was a very gracious host. Certainly one of the nicest fellows I’ve ever met, and I’m very grateful for his insight, experience, and hospitality!
racheloboes
Apr 11, 2008
Yes, another Howarth convert! After having my oboe, I’ve never been happy with any Loree oboe that I’ve tried.
Also, Patty- I’ve found that Howarth EHs are much less distinctive than their oboes, in feel and in sound. But then, I’m a fan of Loree EHs and Howarth oboes.
john towle
Apr 11, 2008
Cooper,
I bought an Howarth XL at the double reed conference in Muncie a couple of years ago. It’s great. A tad heavier (only a couple of ounces more than my conservatory Loree FH vintage (1980)) The Howarth has beautiful resonant sound & lows speak so well. John Mack complained to the Loree rep, I think when the IDRS had their conference in Madison, & I guess they have changed for the better. He played Loree & Howarth back & forth, and all the vendors (including my present teacher, Bob Hubbard) there agreed that Howarth was the winner. That was probably 8 or 10 years ago. BTW I play on a college owned Buffet-Crampon EH. Not a bad instrument. Your comments on EH interesting. Tom Stacy several years ago at his Carmel Valley (Hidden Valley summer master class) told folks there that the Howarth was a good solid entry lever EH. I think I might be torn between the Loree EH & the Howarth EH if I were to buy one. Suspect that when I do get ready to buy, I might go to Peter Hurd. You’ve said good things about him.
Good luck in your studies.
Best,
john
bautbois
Apr 12, 2008
when i bought my AK loree recently, i also trialed a couple of Royals and an XL. I found the AK to have more flexibility than the others (couldn’t imagine playing light baroque stuff on the heavy oboes)and more resonance. I was really impressed by the key action and low note responsiveness of the Royals and on the solid tone quality of the forked F (almost as good as reg F), but didn’t like the added resistance on notes like mid C#, both of the latter i think reflecting the greater depth of the toneholes. The XL was the most visually stunning - beautiful wood and silver. But all in all it reminded me of one of those really solid british dress shoes, beautiful to look at but not as comfortable or flexible as french shoes! Admittedly, my sample size of 1 means I really can’t draw any certain conclusions. I have never tried a greenline Buffet, but based on what Albrecht Mayer can do with one I’m very tempted to try one, especially since they don’t crack. But I’m very pleased with my AK on the whole (no instrument being perfect in all respects).
Apr 11, 2008
Awww ... I play Marigaux oboes! I really like them. They “fit” me, I guess. I’ve had several people try them and they love ‘em. But of course we are all different. I suspect they are perfect for opera, but perhaps not as good for principal in a symphony.
A colleague just purchased a Loree Royal and it’s incredible. Seems as if some things that were problems on the instrument before have been fixed.
I’ve only played Howard EHs, and both were “okay” but not as good as my Rigotaut, but both were older instruments. I’ll have to try new ones sometime!
And what’s happening with your recital?
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