The English and Italian term oboe , the German terms Oboe and Hoboe , and other words in other languages have the French word as their origins. Because early oboes were simple instruments with only two or three keys, it was not easy to play all semitones. However, instruments with greater numbers of keys started being manufactured at the end of the 18th century, allowing players to produce all semitones consistently. The oboe first appeared in France in the 17th century.
Subsequently, more advanced, German-style oboes spread throughout Europe. At the end of the 19th century, however, oboes with a revolutionary new mechanism were created in France, changing the situation considerably.
The new system developed in France was known as the conservatoire style, and it is this style of oboe that is now mainstream. In the late 19th century, the oboe world was split roughly equally between the German style and the French style. According to one explanation, it was a famous German composer and conductor who completely changed this situation. As the story goes, in the early 20th century, Richard Strauss announced that he preferred the French style, which immediately caused that form's influence to grow.
After that, the German style came to be preferred only in the areas surrounding Vienna and eventually became known as the Wiener oboe.
The photograph is of a Wiener oboe used by Austria's Vienna Philharmonic. Musical Instrument Guide. Did it all start with the reed flute? An oboe reed. One person credited with the development of the oboe was Jean Hotteterre who narrowed the bore of the instrument and reduced the width of the reed. The instrument was also split into the 3 sections and keys were added to increase the chromatic abilities of the instrument.
Compared to the oboe you see pictured above this text, oboes of the 16th century often featured just two or three keys and it was not until relatively late in its development that oboe manufacturers turned to African black woods such as grenadilla to make the instruments.
Oboe were often made of boxwood prior to this. The classical period so further development of the instrument. More keys were added during this time and the bore of the wood was narrowed again. It was in the late 19th century, however, that a significant step was taken towards what we now recognise as the modern oboe. The Parisian family of Triebert are credited by most sources as driving innovations in oboe building forward. They adopted the Bohm key system as found in Flute making and made more adjustments to the size of the bore once more.
Different types of aulos were played on different occasions — as was the Roman tibia — for example on the battlefield, during the preparations for a banquet, at festivities and in the theater, where it accompanied the chorus. It can no longer be ascertained for certain whether modern oboes are direct descendants of the Greek and Roman double-reed instruments or whether they were lost during the migration of peoples in Europe and returned there later by way of Byzantium and Asia.
In the Europe of the early middle ages, however, an instrument was in use that consisted of a single tube and was known as the calamus calamus is the Latin word for reed. It is from this word that the English name shawm was derived as was the German Schalmei and the French chalemie and chalumeau.
The term shawm was not restricted to any one single instrument but described an instrument type which was played with a single or double reed. The Renaissance shawm family included not only crumhorns , dolcians and bagpipes but also the bombarde or pommer groups , which are regarded as the direct precursors of modern double-reed instruments.
In keeping with Renaissance custom, the bombarde family consisted of instruments of every pitch, from the treble shawm third octave above middle C to the great bass shawm contraoctave. The treble shawm was the oldest member of the bombarde family, and, like all bombardes, had a wind-cap which was taken into the mouth for blowing.
The double-reed was inside this wind-cap and was not touched by the musician who consequently had no possibility of influencing the sound, which was relatively static. Renaissance shawms were played mainly by itinerant minstrels, who did not specialize in any one instrument but could play several different ones. During the 17th century the treble shawm evolved into the hoboy or hautboy known in France as the hautbois , which was tuned to C.
The tube, which was made of boxwood and on the shawm had been a single piece, now consisted of three parts, the upper and lower joints and the bell.
In addition, three keys were added although these were reduced to two a short time later. The bell was bordered by a contraction rim. These innovations originated in France and were probably due in no small measure to the instrument-making families of Hotteterre the name had been a byword for innovative instrument-making since the 16th century and Philidor. In the late 17th century the hautboy was accepted into the orchestra.
Robert Cambert included the instrument in his opera Pomone in From that point on the hautboy flourished, its heyday lasting until the end of the 18th century.
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