oboists performing outside of Germany. One possible reason is that either the violin soloist or conductor was German or lived in Germany for a significant period. For example, Charles Munch, conductor of the Concertebow orchestra on their 1948 recording with Ossy Renardy, was born in the Alsatian region of France which borders Germany and lived and worked in Germany for a significant period before the Second World War. The International New-School German Style: 1992 – 2009 The new-school German approach to the Adagio solo is a distinct departure from the old-school. This approach can first be heard on two recordings by the Berlin Philharmonic in 1992 and 2000—both under Claudio Abbado.142 On the 1992 recording oboist Hansjorg Schellenberger takes a moderate tempo, averaging 59 bpm. This tempo is faster than the typical old-school German tempos and enables him to use small-group, motivic phrasing without losing sense of the longer line or becoming heavy. The result is a lighter performance with lots of motion and lilting rhythmic gestures. Schellenberger stylizes the portato motive each time it appears by adding a lift after the first eighth note. This motive is shown below in Figure 2.2. 142 Viktoria Mullova, Claudio Abbado, and Berlin Philharmonic, Viktoria Mullova: Brahms Violin Concerto in D Major, Op. 77, Youtube video, 1992, https://www.youtube.com/watch?v=6hej7zpulR8. Gilles Shaham, Claudio Abbado, and Berlin Philharmonic, “Violin Concerto in D Major, Op. 77,” on Brahms, J.: Violin Concerto, Op. 77/Double Concerto for Violin and Cello, Op. 102 (Shaham, Jian Wang, Berlin Philharmonic, Abbado), Compact Disc, Deutsche Grammophon, 2000, Cat. No. 00028946952924, Naxos Music Library, http://temple.naxosmusiclibrary.com.libproxy.temple.edu/catalogue/item.asp?ci d=00028946952924. 58 .