A cylinder open on one end (clarinet) only supports odd harmonics, which is why a clarinet sounds "rounded" and overblows into a twelfth, rather than an octave (as on former two).
Oboe's sound is pliable, thanks to the double reed, player's embouchure, and the richer spectrum of the conical bore. On the other hand, clarinet's sound is more robust, but somewhat limited by the straight cylindrical bore. Marrying these two resulted in a robust yet richer sound. Let alone using brass for the body no need to worry so much about cracks and temperature swings. Perfect for outdoor performances!
Wish I've known these similarities back in the day ..., would've saved us lots of effort trying to blend in oboe sound into a 'cool' band - sax was all it needed! Oh, well, experimentation was fun still ...
https://www.youtube.com/watch?v=_b-zbqcRick
There are differences of course, but I'd bet the majority of people couldn't tell most of the time.
For a lark I once played organ pipes of an organ that was being decommissioned. It is absolutely incredible how much air that requires, a 8' pipe I could just about get to resonate, and once they resonate it becomes a lot easier because you have some backpressure but that initial rush to get the reed to move at all is quite literally breathtaking.
And it isn't just a Martin Fröst thing. I played recently with Christoffer Sundqvist, Emil jonasson and Harri Mäki (as well as with Fröst on several occasions) and they all did crazy big-jump-gymnastics that put every other instrument to shame.
My theory is that the sparse overtones makes it _easier_ once you have the kind of control these people have.
It just takes literal years to learn how to do something on a clarinet that is just pushing a button on most other instruments