I’ve rarely seen a first oboist undertake a terrorist act while performing- perhaps their ego precludes it, but they will sometimes do it during tuning. My favorite terror tuning technique is the oboist who intentionally gives different A’s to the woodwinds and strings because the wind keep going sharp. In their mind, the solution is to tune the strings sharper than the wind. This is like treating Grandma’s gout by putting her out of her misery. In many ways, the 2nd oboe chair offers untold opportunities for the committed terrorist- from this position you can undermine the tuning of the entire wind section, and probably disrupt the counting of the first oboist, who is often the busiest solo player in the band. All of this without ever being heard, or at least notice by the audience. If you want your 2nd oboe martyrdom to be celebrated, though, there is always the “duck with emphysema” sound that some 2nd oboists have mastered, a tone that can penetrate any texture and ruin any concert. This sound alone can inspire the most profound despair in audiences, players and conductors alike.
This is from a conductor’s blog, found here. I’ve not worked with him. Now I think I’d be rather fearful to, you know?
