The oboe, including its earlier forms the shawm and the hautboy, is an instrument with a long and rich history. In this book two distinguished oboist-musicologists trace that history from its beginnings to the present time, discussing how and why the oboe evolved, what music was written for it, and which players were prominent. Geoffrey Burgess and Bruce Haynes begin by describing the oboe’s prehistory and subsequent development out of the shawm in the mid-seventeenth century. They then examine later stages of the instrument, from the classical hautboy to the transition to a keyed oboe and eventually the Conservatoire-system oboe. The authors consider the instrument’s place in Romantic and Modernist music and analyze traditional and avant-garde developments after World War II. Noting the oboe’s appearance in paintings and other iconography, as well as in distinctive musical contexts, they examine what this reveals about the instrument’s social function in different eras. Throughout the book they discuss the great performers, from the pioneers of the seventeenth century to the traveling virtuosi of the eighteenth, the masters of the romantic period and the legends of the twentieth century such as Gillet, Goossens, Tabuteau, and Holliger. With its extensive illustrations, useful technical appendices, and discography, this is a comprehensive and authoritative volume that will be the essential companion for every woodwind student and performer.

Historians of instruments and instrumental music have long recognised that there was a period of profound change in the seventeenth century, when the consorts or families of instruments developed during the Renaissance were replaced by the new models of the Baroque period. Yet the process is still poorly understood, in part because each instrument has traditionally been considered in isolation, and changes in design have rarely been related to changes in the way instruments were used, or what they played. The essays in this book are by distinguished international authors that include specialists in particular instruments together with those interested in such topics as the early history of the orchestra, iconography, pitch and continuo practice. The book will appeal to instrument makers and academics who have an interest in achieving a better understanding of the process of change in the seventeenth century, but the book also raises questions that any historically aware performer ought to be asking about the performance of Baroque music. What sorts of instruments should be used? At what pitch? In which temperament? In what numbers and/or combinations? For this reason, the book will be invaluable to performers, academics, instrument makers and anyone interested in the fascinating period of change from the 'Renaissance' to the 'Baroque'.

This is the first in-depth survey of the oboe during its Golden Age, tracing the history of the instrument from its invention through its many mutations as it adapted to the changing demands of composers. The author describes in detail the instruments, players, makers, and composers, as well as how and where it was played, and who listened to it.

Mr. Bates covers the known history of the oboe since its emergence in the late seventeenth century and its development from the shawm. He also makes comparisons with previously known double-reed instruments and varying types of oboes. The accoustical properties of the oboe are discussed, from the viewpoint of classical acoustics and in the light of work done since 1960, which has modified many hitherto held concepts. The relevant section has therefore been largely rewritten. There are chapters on traditional and modern methods of manufacture and materials; biographies of famous players; and an extended bibliography.

This book combines the talent and experience of the legendary virtuoso, Leon Goossens, and the contemporary composer/oboist Edwin Roxburgh. In it the oboe becomes a veritable Pied Piper of history, leading us through the mystic rites of the ancient world, Greece, Rome and the Crusades, up to the present day. There are illuminating chapters on baroque, classical, romantic and twentieth century music. The mark of Goossens' long experience as an international soloist is woven into every page, whether in his observations about great soloists of the past or in pertinent views on modern recording methods. This is a broadly-based book which shows the close relationship between history, the technique of playing and the music of the oboe. Edwin Roxburgh contributes a detailed explanation of extemporization and ornamentation in eighteenth-century music as well as an optimistic review of new developments in oboe playing and modern music. For the student there is a whole section on reed-making and performing techniques together with detailed advice for teachers. There are useful appendices which include a discography, a repertoire section with helpful comments, and a list of manufacturers. Many fascinating illustrations and photographs punctuate the text throughout.