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Ohrie Hasegawa Mr. Meckley Senior Project March 15, 2020 The Ohrie Hasegawa Mr. Meckley Senior Project March 15, 2020 The Influence of the Oboe’s History on its Modern Significance From examining the history of the oboe in length, one can immediately recognize one characteristic that remains consistent throughout the years: the immense versatility of the instrument both in terms of context and timbre. This trait is one of the few that withstood the ​many anatomical, repertoirical, and contextual changes the instrument experienced over time. The unique history of the oboe and the many cultural roles it played is something that has established it as one of the most important instruments in the orchestra today. Since its start in ancient civilizations, the oboe has been used as a uniquely universal instrument with the ability to fit a variety of different moods and situations. The oboe’s natural tonal pliability - something without which the instrument would most likely have gone extinct - is largely thanks to the unique ability of an oboe player to control the tone through the double reed as well as the instrument’s broad soprano range. Rudimentary versions of these two crucial aspects were found even in the earliest ​oboe-like instrument which dates back to around 2800 BCE in Ur, Mesopotamia (Kallen, 32.) The depiction of the instrument consisted of two silver pipes with finger holes, alongside an image of two vibrating reeds. 1 Historians believe the instrument spread from this region throughout the Middle East and Africa in the following centuries. Archaeologists have discovered numerous records to support this 1 Goss, Clint (2012). ​"Flutes of Gilgamesh and Ancient Mesopotamia"​. ​Flutopedia​. Retrieved 2012-01-08 theory, including an ancient Egyptian mural of women accompanying a royal funeral on primitive oboes dating back to 1400 BCE (Kallen, 32.) The ancient Greeks also used their version of the oboe, the aulos, for funerals among many other ceremonial events. Similar to the structure of the ancient Mesopotamian oboe, the aulos was usually composed of two pipes that interlocked at the mouthpiece end of the instrument and used a double reed. While the Greeks most likely borrowed their version of the instrument from the Middle East, they were one of the first to fully recognize the extensive potential of the oboe: the instrument was used to accompany almost any occasion including festivals, processions of both births and deaths, athletic games, banquets, and in battle. Of the latter, Greek general and historian Thucydides (~400 BC) writes, “...the Spartans moved slowly to the music of many aulos-players… [the aulos] was a standing institution in their army, that has nothing to do with religion. Rather, it is intended to make them advance evenly, and in time, without breaking their order, as large armies customarily do at the moment of engagement.”2 Furthermore, the Greek aulos players are often credited with the invention of metal keys, known as ​pronomos​, that open and close the finger holes in the instrument3. These keys were very similar in function to those of woodwind instruments today including the modern oboe, bassoon, and clarinet. The Romans called their version of the aulos the tibia. Like its Greek counterpart, the instrument was often fashioned out of boxwood and accompanied many ceremonies including funerals, banquets, and gladiator games. For many years, historians considered the tibia to be a closer ancestor of the flute than of the oboe, but careful examination of both the instrument’s anatomy and 2 Cartledge, Paul. ​The Spartans: the World of the Warrior-Heroes of Ancient Greece, from Utopia to Crisis and Collapse​. ​ 3 ​Cartwright, Mark. “Aulos.” ​Ancient History Encyclopedia​, Ancient History Encyclopedia, 11 Mar. 2020, www.ancient.eu/Aulos/. its historical descriptions - “​penetrating, insisting ​and exciting” 4 - led​ them to ultimately conclude that it is in fact more closely related to the modern oboe than to the flute. ​In both ancient Greece and Rome, double-reed instruments were the most highly regarded of all instruments.5 Oboe-like instruments were also crucial parts of life around Central Asia and Asia Minor. The zurna (or zurnah) was an instrument with a cylindrical bore and bell opening and was a key symbol of ruler power. Like the ancestral oboes from Greece and Rome, the zurna was used in battle for military marching. The instrument still plays a key role in Turkish culture today, playing essential roles in a variety of ceremonial events ranging from dances and weddings to harvest celebrations. As the Christian Era dawned, the Zurna quickly spread across the world thanks to the activity of Arab traders as well as the Crusaders. It was here that the Zurna developed into what historians consider the first predecessor of the modern oboe: the shawm.6 A wooden instrument with a conical bore and flared bell, the shawm was quickly popularized as European traveling minstrels adopted it. These minstrels used the Shawm, along with a variety other small instruments including guitars and harps, to accompany events such as weddings, banquets, journeys, funerals, battle preparation, and even baths (Kallen, 33.) However, the sharp, narrow tone of the instrument was generally considered crass and unenchanting by most of the public. As a result, the Shawm soon fell out of fashion, “​...declined somewhat in dignity, and became limited to use to less refined grades of musical service” (Bate, 34)7. In the latter years of the Elizabethan age (1558 - 1603,) there was even a point when the Shawm was ejected from all medieval court ensembles8 and were replaced by what were considered 4 Sachs, Curt. ​The History of Musical Instruments: Curt Sachs​. J.M. Dent & Sons, 1942. ​ 5 ​“Oboe - History.” ​History - Vienna Symphonic Library​, www.vsl.co.at/en/Oboe/History. 6 ​“Oboe.” ​Bloomingdale School of Music​, www.bsmny.org/instrument-discovery/oboe/. 7 Bate, Phillip. The Oboe, An outline of its History Development and Construction. London/Ernest Benn Limited. Toronto,1975. 8 DannyCruzOboe. “History of the Oboe " Danny Cruz.” Danny Cruz, 22 Dec. 2019, ​ www.oboefiles.com/history-of-the-oboe/. more refined instruments such as brass trumpet, baroque violins, guitars, and recorders (Kallen, 35.) The shawm was so loud and crass that it is sometimes thought to have been used as a form of psychological warfare.9 The double-reed instrument made a comeback in the 17th century largely thanks to a group of higher-class French royal court associates, most notably Jean Hottetere (1677 - 1720,) who took the Shawm and developed it to allow for a wider range as well as as more control over the pitches.10 This new and improved version of the Shawm became known as the Baroque oboe, more commonly known as the hautboy. The hautboy is the closest related ancestor to the modern oboe. Even the name ​oboe​ is derived from this Baroque ancestor, as the correct pronunciation of the term ​hautboy​ - ​ob-we​ - is what many believe to have inspired the modern term. The traditional hautboy consisted of three detachable sections - the head, middle, and bell - connected by tenon-and-socket joints. The conical bore increased in width from the reed end to the bell and the instrument had 11 finger holes, eight of which were open and three of which were operated by keys. The hautboy’s bore was re-proportioned from that of the shawm, finger holes repositioned, and the pirouette - a wooden mouthpiece commonly found in archaic European double reed instruments - was entirely removed.11 These developments allowed for a more flexible dynamic range and improved the upper register, both increasingly important traits as woodwinds became more prevalent in ensembles. Furthermore, Hottetere and his 9 Holloway, Pamela. “Instrument Profile: The Oboe.” ​Playbill​, PLAYBILL INC., 27 Apr. 2009, ​ www.playbill.com/article/instrument-profile-the-oboe. 10 Baroque Oboe · Grinnell College Musical Instrument Collection · Grinnell College Libraries​, omeka-s.grinnell.edu/s/MusicalInstruments/item/1510. 11 ​Baroque Oboe · Grinnell College Musical Instrument Collection · Grinnell College Libraries​, omeka-s.grinnell.edu/s/MusicalInstruments/item/1510. partners added two new keys, widening the range of the instrument to become a whole step lower.12 The hautboy’s anatomy remained chiefly consistent throughout the years until around 1820. The hautboy quickly became an important part of baroque music culture. Since its invention in France, the instrument spread through England and Europe, becoming a symbol of wealth most often associated with aristocrats, royals, and higher class households. Furthermore, it was a popular form of court entertainment and inspired an entire generation of new compositions (For example, Johann Sebastian Bach composed twice as many solos for the oboe than for any other instrument (Burgess and Haynes, 72.)) Historians also believe that Bach helped develop other Baroque oboes such as the oboe d’amore (alto oboe, also known as oboe of love) and oboe da caccia (hunting oboe.)13 These new inclusions to the hautboy family, as well as the bass (or baritone) oboe and cor anglais (English horn, or tenor oboe,) further popularized the instrument: for example, King Louis XIV of France was known to use an ensemble of different oboe voices accompanied by side drums as military music (Kallen, 35.) The hautboy was also one of the first woodwind instruments to be accepted into the orchestra when King Louis XI’s court composer Jean Baptiste Lully included in his ballet L’amour Malade in 1657.14 From here, the hautboy quickly became an important part of Baroque ensembles - at one point, there could be even up to 30 hautboy players in a French court orchestra.15 This popularity was again as a result of the variability of the instrument: the hautboy could double with the violins where the soprano voice required more emphasis, and was also capable of bringing its bright and distinct tone to play the solos in ​obbligatos​.16 Players also demonstrated an adaptability mirroring 12 “Oboe - History.” History - Vienna Symphonic Library, www.vsl.co.at/en/Oboe/History.
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