1
Yeeun Jeon Matrikelnummer:61806275
A study on the feature of oboe in 19th by comparing Triébert and Sellner system
Masterarbeit KMA Wissenschaftliche Arbeit zur Erlangung des akademischen Grades
Master of Arts
des Studiums ______Oboe______
Studienkennzahl: RA 066 724
an der
Anton Bruckner Privatuniversität
Betreut durch: Laubhold Lars-Edvard
Zweitleser: Peter Tavernaro
Linz,15.04.2021
ANTON BRUCKNER PRIVATUNIVERSITÄT für Musik, Schauspiel und Tanz
Hagenstraße 57 I 4040 Linz, Österreich I W www.bruckneruni.at 2 3
Abstract
The purpose of this study is to clarify the differences between French instrument makers and German/Austrian instrument makers based on the history of oboe development. The period revolves around the 19th century when the development of the oboe was rapidly made, and to reveal why French style was popularly recognized and continues until now, Oboe's development history is described in the order of Baroque, Classical, and Romantic. Subsequently, the development of oboe in earnest from the 19th century was described in detail, and the French system Triebert System and the German/Austrian System focused on the Sellner System to reveal similarities and differences between the two systems. 4
Table of contents
I. Introduction
II. Development of Oboe Types and Systems
1. A1 and A2 type in Baroque Period 1) Limitations of the range 2) impractical fingering (Lack of a possibly chromatic scales)
2. D1 and D2 type in classical period 1) Difference between of D1 and D2 2) Add C# Keys
III. Triébert and Sellner system in the nineteenth century
1. Triébert system 1) From system 3 to 6 2) Implication of Boehm system
2. Sellner System 1) Mechanical and structural difference 2) Other instrument makers using the Sellner system 3) Wiener Oboe
3. Comparing Triébert and Sellner 1) Position of Bb key 2) F# ring 3) Trill Key IV. Conclusion Bibliography Appendix 5
I. Introduction
The oboe history dates back hundreds of years prior to many of its modern orchestral counterparts. With the flute as pioneer amongst the wood-wind instruments, the addition of chromatic keys to the oboe followed in due course, but rather than irregularly, during the first quarter of the 19th century. 1 The development and improvement of the instrument will be completely different from the previous one, starting at 1820’s. The most famous oboe of the time is French style and German, Austrian styles. At that time, these two styles had differences in instrument’s structures, dimensions, heights, and tones. The French style had a thin sound suitable for the solo playing, on the other hand the German style had warm and dark tones suitable for the orchestra. The study was started in the second quarter of the 19th century to reveal similarities and differences between the two most representative styles and revealing why French styles are so far dominant. In addition, the system of various musical instrument makers that existed in the 19th century is limited to France and Germany, revealing similarities and differences between them and studying how these characteristics make a difference. To this end, the study focuses on the history of oboe development, from the Baroque period through the classical to the early days of romance, around instrument makers, models, he structure of each instrument, and presents detailed information on the development and change of each style, mainly Triebert and Sellner, the two main styles of the second quarter of the 19th century. Firstly, the Tribert system describes the differences between each system (3 to 6) and presents significant changes from the Boehm application in the 1840’s and associations with other French instrument makers.
1 Adam Carse, Musical Wind Instrument, (Dover Publications, 2002) p.134 “Two prominent German makers, Grundmann and Grenser, both of Dresden, began to make these additions in the last few years of the 18th century, yet on the whole the oboe started the new century with its mechanical equipment very much in the state that it had been throughout the previous century.” 6
Then, it reveals the technical structural features of the Sellner system and explains the features and structures in the oboes of other German-Austrian instrument makers who used the Sellner system. Finally, the comparison of fingering charts of Triebert and Sellner systems' representative oboe models explains the distinct differences between the two styles from the perspective of position of B♭ key, F# Ring, and trill key.
The main Literature based on this study is data centered on historical context and structural changes. In the first, Bruce Haynes' “The Oboe” describes the history of oboe development from medieval instruments to modern systems, rather than simply listing the development process, it also adds understanding by featuring players and characters who have developed instruments. Also, his book presents a number of tables summarizing the entire context, which gives students studying oboe history a holistic outline. Verdegem Stefaan's "Sellner-Type Oboes in Vienna and Mainz in the Second Quarter of the Nineteenth Century" describes the Sellner system, which was mainly used in Vienna and Mainz in the mid-1820’s. Bruce Haynes's book briefly the Sellner-Type Oboe, which has been covered very details, with structural explanations and examples. Robert Howe`s “Nineteenth—Century French Oboe Making Revealed: a Translation and Analysis of the Triebert et Cie '1855' "Nouveau Prix-Courant” and “The Boehm System Oboe and Its Role in the Development of the Modern Oboe” These two documents provide a very detailed description of the 19th century Tribert oboe. Bruce Haynce's The Oboe is character-centered, and Robert Howe is structure-focused, so I could get information deficient in The Oboe. This paper examines has a lot of content as well as attachments, which help to understand faster information collection and information acquisition. 7
II. Development of Oboe Types and Systems
1. A1 and A2 type in Baroque Period
By 1730, Oboe has a single design, with very small changes but similar structures. Various changes have occurred since the 30’s. The Oboe presents a total of nine types that are largely subdivided into four types (A, B, C, D) and A and D into three, respectively.2 A2 is the most typical baroque oboe, and D2 represents the classic oboe.3
Figure 1) development of Oboe4
Baroque oboe (type A2) has few keys compared to modernoboe. It is an extension of Shawm and recorder that blocks Key Halls with fingers. The baroque oboe has a narrow range of notes and is not easy to play on the half scale compared to modern instruments.
2 Bruce Haynes, & Geoffrey Burgess, The Oboe (Yale Musical Instrument Ser, 2010), 78.
3 IBid., 78
4 IBid.,45 8
1) Limitations of the range
In the early 17th century, oboe had “six to ten” holes and there were no keys in the instrument. The oboe’s range was from C4 to D6, and the notes with the temporary mark were played by F＃ and G＃. However, without octave key made the pitch unstable. It is because the high note had to be played by adjusting the force of the lips. Vivaldi Concerto's highest note is mainly D6, which represents the range of oboe at the time. In order to play the D6 with oboe at that time, 10 sound holes must be blocked from D5 and the sound must be made on an octave higher with the force of the lips. That's why the tone is unstable and the tone is also sharp, thin, and not rich (unnatural). It caused a big strain on the lips and the physical limitations reach quickly. Thus, high notes should be short or must be approached through the sequence.
That difficulty of playing is evident when people compared to the rather easily played B4.
Therefore, the simplicity and difference of the performance that comes from the musical instrument structure has a great influence on the composer's melodic choice. 9
2) Impractical fingering (Lack of a possibly chromatic scales)
Baroque oboe upper joint `s third holes divided in two. To make a chromatic scale with six holes, when both holes are blocked, it is G, and when only one hole is blocked, it is G＃. 5 It has a similar structure to a recorder. From the Figure 2's fingering chart, the performance of the chromatic scale was probably inaccurate due to the two-divided holes.
2. D1 and D2 type in classical period
Classical composers presented new demands to oboe performers and producers.6 The classical oboe is a lighter instrument than the baroque and has a more sophisticated and fine expression the key holes are wider, narrower tubes, and the tone is more gentle and flexible.7 It is extremely sensitive to intonation corrections and requires a more refined use of fingering technique.8
1) Difference between of D1 and D2
Type D1 was used before 1760’s and D2 was used until 1770-1828 and was a typical classic oboe.9 D1 was made before 1760’s, making it difficult to find a big difference, but the difference from Baroque oboe is a wider range. Baroque oboe was able to reach D6, but 1760’s oboe was able to reach F6. The reason is that Type D1 has generally narrow minimum bores. The shorter bore has the higher frequency and the higher pitch. In Type D2 the narrow range and lack of chromatic scale, which were Baroque oboe's limitations are largely improved. One of the main features is that the shape of the top
5 See Appendix Figure 2. 6 Bruce Haynes, Mozart and the oboe(Early Music, Volume XX, Issue 1, 1992) p.43
7 Bruce Haynes, & Geoffrey Burgess, The Oboe (Yale Musical Instrument Ser, 2010) p.86
8 Haynes, Mozart and the oboe,p.43
9 Haynes,The Oboe,p.86 10
balluster was rounded to the shape of an onion, and the beads protruded further. The Bore becomes thinner and the tone holes are not all the same shape and are easily adjusted to block with the fingers due to some differences.10 And the shape of the bell has changed a little, divided into four parts in the bell of Baroque oboe, but the bell of the classical oboe is divided into three parts. As the Waist part disappears, it becomes more comfortable to make sound because it is not subjected to air resistance.11
2) Add C# Keys
The most noticeable feature of D2 is the addition of keys. By 1825, F♯, C-trill, E♭, and C♯ key were added and the low-pitched C4 and B3 were possible. The typical key added to the classic oboe is C#. The addition of the C# key allows for the performance of this leading ton in D major, This changing is deeply related to the high proportion of orchestral works by classical composers in the 18th century in D major.12 The oboe needed improvements of composers’ claim. With the addition of C# ,to the keyless F# and G# , in the 18th century, Oboe was able to play in D and A major. This means that both the first and second themes of Sonata will be able to be played. It can be seen that the addition of the tonality to the improvement of the instrument is deeply related to the composition of the works at that time.: The upper section of the oboe had three note-holes, and the lower of these was composed of two very small holes, close together so that either one or two of them could be closed by the third left finger. When only one of them was covered, the note would G#, in contrast to the G which was sounded when both were covered. On the lower section there were three finger holes, in addition to two extra keys to be controlled by the little finger. The characteristic two tuning holes were products of the late eighteenth century also. They generally were located three and a half to four inches from the bottom of the bell. From these holes we get the low C on the oboe, but we must realize that these can not be closed or we will get the low b to sound through the bell. This can be demonstrated with our modern instrument.13
10 See Appendix Figure 3.
11 See Appendix Figure 4.
12 John Rice, Antonio Salieri & Viennese Opera (University of Chicago Press, Chicago,1997), p.124.
13 Janet A. DeGroote, The technical development of the oboe as shown through the literature of the instrument from of the instrument from the eighteenth century to the present, (Department of Music College 11
The oboe, which was used in the classical era, was able to perform faster and various chromatic scale compared to the Baroque oboe. In the Baroque era, if the pitch length of the high notes was normally short or approached by steps, it became possible to leap easily and to play high notes long in the classical era.
High pitch long sound pedal sound
Leap and Fast high and low
of the Pacific, 1947) p.12 12
III. Triébert and Sellner system in the nineteenth century It was in the 19th century that mechanical manufacturing systems began to be introduced in oboe. With the development of mechanical technology through the Industrial Revolution in the 19th century, instruments also began to be improved precisely through machines. This mechanization of oboe was developed in France, and by 1825 it had expanded to 15 tone holes, nine of which could be adjusted by keys. The addition of these chromatic scale keys made the fingering more convenient than before. 14 Differences in tone color between various tonalities and as music of the nineteenth century gradually moved into extreme tonalities, homogeneity of sound became desirable. New keys also improved tuning between notes and made certain notes more stable.15
In the 19th century, each country's own oboe system appeared in various ways and each had a slightly different musical instrument structure, tone and key-work. The most influential thing at that time was the French style and the French oboe played a bigger role as a solo instrument. For that reason, the French oboe had a thin and distinct tone that could be heard among other instruments. The German style was ahead of the French in terms of technology and satisfied performers who preferred fuller and darker sounds compared to the French style.16Introduced in 1825, the Sellner's oboe method enjoyed great success throughout Europe during the 19th century. However, France system does not feel the need to apply the German system and continues its own model.
On the other side, England was slower in developing oboe production technology than other Europe. This is deeply related to the lack of discretion of British oboe performers and teachers.17Until the 1860’s, the Sellner-Koch model was very popular in northern Italy and Austria and the Vienna Philharmonic still uses the Vienna style of oboe.
14 Robert Howe Wilbraham, Massachusetts, Historical Oboes 2: Development of the French Simple System Oboe 1800-1840, (THE DOUBLE REED, 2001) p,67.
15 Haynes, Mozart and the oboe,p.49-50
16 Howerton, Jaclyn . THE OBOE AND ITS PLACE IN MUSIC HISTORY, (California State University. Master of Music, California,2012) p.22
17 Haynes,The Oboe,p.145 13
1. Triébert system
Triebert family was a French instrument-making family from 1790 to 1854, with Guillaume Triebert(1770–1847) and his two sons Frédéric Triebert(1813–1878) Charles Louis Triebert (1813–1878). The Triebert family led to a revolutionary improvement of the oboe based on the "Boehm system" in 1850. This is also known as 'Triebert`s system' or A6 type. This Triebert`s system was succeeded by Lucien Lorée (1867-1945) after the death of Frédéric Triebertin 1878. In 1882, Georges Gillet(1854-1920) introduced the "Triebert A6" oboe to the Conservatoire de Paris, which resulted in the introduction of the "Conservatory oboe" of the French Conservatory.18 The system has now become the standard that most oboe makers in the world base their production on.
Triebert's system improves sound quality, pitch, and keyworks. First of all, based on the principles of acoustics the tone holes were accurately sized, shaped and bore diameter were accurately adjusted and the width or shape of the bell was modified to improve the sound quality. Previously manual-dependent instrument manufacturing is converted into mechanization, which shows improvement in sound quality through precise and identical musical instruments. Secondly, the octave key was improved unlike in previous times when the high notes were played with the power of the lips and the pitch was corrected by changing the opened key in the F♯ in the middle of the fourth and fifth holes into a blocked key. In the third, the keyworks became simple. The key made out of metal thinner than before. The half-hole keywork began to be used by attaching a key cover to the first hole of the left hand, resulting in the creation of C♯,D,E♭half-hole keywork. The development of G♯-F♯, A-B♭,C-D,trill key and a third octave key and long key connected to the bell were used to extend the range to B.
18 Georges Gillet worked with Lore to convert the opened key into a blocked key, creating a "Gillet`s oboe". The instrument made fingering more convenient and received favorable reviews from many performers. 14
1) System 3 to 619
System 3 is the first French oboe designed as a speaker key 20 and the first mechanized oboe. The speaker key was one of the early keys added to the German oboe but was added relatively late to the French oboe. The first instrument with this key was made by Brod between 1835 and 1839 and the first French oboe style referring to the Speaker Key was created in 1843.21 In 1840’s, Triebertsolved technical problems through interactive keywork. simplest such mechanism is the ring (or Brille), patented in 1808 by the Revd Frederick Nolan.22 Triebertfirst added rings to holes 5 and 6 on his système 3 (c.1840) to facilitate the fingering for F♯1.23 The rings are connected by means of a rotating rod to a key over the F♯hole.24 Unlike the f♯ holes on earlier oboes, here the key stands open and is closed only when either or both of holes 5 and 6 are closed.
System 4 is presented as the 'conservatory' model. Triebertintroduced the system 4 with the addition of a second speaker key. The butterfly key25 for E♭ is integral to the modern oboe, simplifying players and makers tasks. The previous oboe`s the long lever arm of the left E♭ key prevented a perfectly supple technique in keys with four sharps or flats. Using an axel rather than a lever for the left hand fingering solves this. Using the
19 See Appendix Figure 7. 20 As on all woodwind instruments it is primarily the keys which are used to produce the various pitches. The oboe overblows to the octave. The speaker keys make overblowing largely redundant. Six of the tone holes are closed directly by the fingers, all the others by keys. B♭3 – B4: normal attack (from the fundamental) / C5 – G#5:1st speaker key is used / A5 - C6: 2nd speaker key used / C#6, D6 and D#6: overblowing to the 3rd partial (no speaker key) / E6 and above: 3rd speaker key used. See Appendix Fiugre 7-1.
21 Haynes,The Oboe,p.137
22 Ibid.,138
23 Robert Howe, The Boehm System Oboe and its Role in the Development of the Modern Oboe, (The Galpin Society Journal, Vol. 56, 2003) p.29 24 Haynes,The Oboe,p.138
25 It makes low B and B♭ possible. See Appendix Figure 7-2 15
same axel for B solves B-C1, the first of Berlioz's difficult trills.26 System 5 was the first model to be introduced after Guillaume Triebert's death, and gained attention throughout Europe during the 19th century with the system 4. The most important development on this oboe was the simplification of the fingerings for B♭1 and c2.27 This is a touch for the left thumb, which closes B on the Boehm oboe. In Triebert's version, depressing this touch closed two tiny holes on the upper joint. One of these vented the note C2, and the other, B♭1. Thus, covering hole 1 and depressing the thumb gave B1; 1 with the thumb up gave C2. Similarly, covering holes 1 and 2 while depressing the left thumb gave A1, and lifting the thumb, B♭1. This action was duplicated by a long key for the right palm.28 Nextly, on System 5, the c2 and B♭1 keys are closed by a light spring that can be closed with a heavier spring on touches for the left thumb or right index finger. This mechanism, patented by Triebertin 1849, was one of the first to take advantage of the new invention of opposing springs. In addition, it adds a second key for trilling B-C# in both octaves, improving the pitch of the upper notes of the trill. Most importantly, this instrument permitted the oboist to create B♭ and C with either of two methods, both easier than the two side keys of the system 4.
System 6 was patented in 1875 and applied important features of Barret's design 10 years ago. 29 All holes had rings instead of long harmonic fingers previously used in
26 Hector Berlioz gives us insight into this matter. Both editions of his Orchestration Treatise (1844, 1855) described the technical limitations of the oboe in 1844, listing ten trills as difficult and five as impossible. Although he wrote for these trills, the Trieberts solved the problems. The first trill listed, b-c1, suffered because the touch for b was a long lever working across the bell joint. Its 'whiplash' made closing of the pad sluggish; this was an issue for the model 1 oboe. The ring on 5 and 6, however, made the trills from e1-f#1 and e2-f#2 possible (Berlioz only lists the upper octave as being difficult, showing that he had the simple-system oboe in mind). This ring allowed the hole for 5 to be voiced lower than on an oboe with an F# corrector, tuning the difficult' trill on e♭2-f. The side Bb key tuned the trill G#-A# in both octaves and from b♭-c. This model solves five of Berlioz's fifteen problem trills.
27 Haynes,The Oboe,p.137
28 Robert Howe, The Boehm System Oboe and Its Role in the Development of the Modern Oboe, (The Galpin Society Journal, vol. 56, 2003) p. 48 16
B♭2 - C3, short fingerings were standardized on this model, and the range extended to low B♭. The addition of low B♭ was intended to improve the tone of the d3-f3 range, at least as much as to extend the playable range below the additional semitone. It had two semi-automatic keys, and the b♭ I and c2 keys were opened by a ring on the fourth hole. System 6's B♭1 - C2 mechanism was designed for performers who are uncomfortable with key manipulation with their left thumb in system 530 and Barrett's models.31 The Barret oboe seemed to be the answer to the Boehm in every respect. It was new and therefore, in the logic of the day, it was good. It looked rather like a Boehm oboe, with its neat row of ring on holes 2 to 6. It used a similar bore and tone holes as Triebert's earlier system, thus preserving the tone of the oboe. The use of fingers 4 to 6 to produce B♭1 and C2 had a pleasantly covering effect on the tone of these two notes. The several articulations and added trill keys palpably improved the oboe's technique. But players distrusted the linkage between the two little vent holes, the left thumb touch, and the right hand, which depended on the relative strengths of mutually opposed springs. This mechanism was probably more prone to mechanical failure than a system 5 or Boehm oboes. Also, having the ring on 5 and 6 act across the joint meant that players had to remove their hands entirely from the lower joint for any A1 or B1, no matter how brief, to avoid sounding B♭1 or C2. Frédéric Triebertaltered the Barret right hand mechanism so that only key 4 would open the B♭1 and c2 vents, removed the thumb plate mechanism and introduced semi-automatic Octave keys. This simplified Barret oboe was introduced as the System 6 in 1875. Adopted by Georges Gillet of the Paris Conservatoire in 1882, it became known as the Conservatory system.32 An early Triebert oboe of about 1840 still retains the incurved interior at the extreme end of the bell, however, the bulges and undulations on the outside of the tube have been smoothed away. The keys are all mounted on pillars and needle-springs regulated which are attached to rod- axles. The R. little-finger keys works each on a separate lever. The finger-holes for the R. second and third fingers are provided with ring-keys attached to the same rod-axle as the small F sharp
29 See page,18. “3) Lorre and Barret Style”
30 See page, 27. “3. Comparing Triebert and Sellner”
31 Haynes,The Oboe,p.141
32 Robert Howe, The Boehm System Oboe,p.49 17
key. The cross F natural key and the note-hole for the R. first finger remain unaltered. The L. little-finger-keys for low B and D sharp (duplicate) work on separate levers. The finger plate of the upper C key overlaps the lever of the B flat key, so that both holes are opened, when the C is played. A perforated key for the L. first finger, a shake-key and the octave-key complete the outfit. With the above simple system as a basis, a further series of improvements follows; the period is roughly from 1840 to 1880. The incurve at the end of the bell disappears.33
2) Implication of Boehm system
In 1850 Triebert attempted a new improvement to the oboe based on the Boehm system. At the same time, other woodwind instrument makers also apply the Boehm's key structure principle to create a complete key structure system. The Boehm system is a flute system created in 1840 by German flute player and instrument producer Theobald Boehm(1794-1881), which correctly positioned the tone hole based on sound principles, and accurately structured the size, shape, and bore. In addition, the double action's opened key is applied to the oboe and the octave key is improved. 34 In 1842, some instrument manufacturers referred to the 'Boehm system' and changed the F# opened key attached to the oboe to a blocked key for greater convenience.35 In 1844, Louis Auguste Buffet (1792-1860) created a type of 'Boehm system' oboe, referring to the key structure of Boehm's flute, and was patented.36 These reforms have made it possible for performers to perform more comfortably. Triebertreplaced the wooden key mount and metal saddle key support used by Brod with an axle and post derived from Bohem. In addition, decorative elements and supports were minimized except for the rim of the bell. It was in the 1840s that Triebert removed the boundary of the last rim of the bell. This resulted in a gradual, uninterrupted extension of the bore and less resistance to airstream.37 He also redesigned the reed well. In place of a counter bore merging into the choke and bore of the instrument found on earlier oboes, Triébert's new reed well
33 Adam Carse, Musical Wind Instrument, (Dover Publications, 2002)p.139
34 Robert Howe, The Boehm System Oboe,p.30
35 Ibid.,30
36 Ibid.,30
37 Ibid.,29 18
had parallel walls with a step at its base.38 This narrower than the bottom of the staple and provides some resistance to the airstream.39 Ivory plates were also replaced with metal to protect the ends of the joints.40 Needle spring replaces the previously used flat spring.41 The simplified appearance of oboe has practical and acoustic meanings as well as aesthetic perspectives. The needle spring gave the instrument a margin for the key, which could vibrate more freely and play more regular length.42
The key mechanisms of the French oboe were often incredibly delicate. It was designed to maximize the resonance of the instrument and the hole was flattened to the key to ensure that the key was closed. The technique was first used on the clarinet by Iwan Müler from 1811 and instead of meeting the curved or potentially uneven surface of the instrument, the pad made contact with the edge of the hole and closed securely. 43 However, while structurally still complex oboe still needed a lot of labor, the mechanization of core work made mass production much easier than before, but still at a higher price.
3) Lorre and Barret Style
François Lorée (1835-1902)
Frédéric Triebert's last foreman Lorée formed his own atelier in 1881, carrying on Frédéric Triebert's work with Gillet's support. Acquiring the contract for supplying oboes to the Paris Conservatoire before making any under his own name, Lorée made
38 Haynes,The Oboe,p.138
39 Ibid.,138
40 Bruce Haynes, & Geoffrey Burgess, The Oboe (Yale Musical Instrument Series, 2010) p.137
41 See Appendix Figure 8.
42 Ibid.,137
43 Ibid.,138 19
only oboes and English horns.44 Robert Howe(2011) explained the features of Lorée’s Oboe. Early Lorée oboes mimicked Triebert's finials: Lorée only established their 'button-top' in the 1920s, a design which is widely copied by modern makers, who typically impart their own characteristic forms. Simplification of the body design was more marked in France than in Eastern Europe, implying an underlying cultural or esthetic principle... In examining hundreds of oboes over thirty years I have encountered only two bulb- topped oboes which cracked through the baluster (both made of boxwood), while top joint cracks are very common in modern French oboes, including those constructed from grenadilla.45
In 1906 Lorée's son, Adolphe Lucien Lorée, and Gillet modified the system 6 oboe to the 6bis (plateau) oboe that is used today worldwide, continuing the Triebert tradition.46
Apollon Marie-Rose Barret, (1804-1879)
Barret was a student of Gustave Vogt(1781-1870) and a professor at the Paris Conservatory of Music, later created ‘Barret's oboe’ through a revamp based on the "Triebert's system". From 1850 until now, the "Triebert A6" and "Barret's oboe" were the basis for instrument manufacturing companies to produce oboe. Grove`s Dictionary of Music and Musicians lists the following contributions of Barret.
Introduction of a plate for the left hand thumb, somewhat similar to that on modern flutes by which this member, formerly idle, is called into action. The double automatic octave keys. A vast number of double, triple, and even quadruple alternative fingerings for certain notes, which materially reduce the mechanical difficulty of inconvenient passages.47
44 An 1881 sales letter from Francois Loree listed 'hautbois, cors anglais & bassons' on the letterhead, but no Loree bassoons are known. Laila Storch, '100 Years F. Loree: 1881-1981', (Journal of the International Double Reed Society 9, 1981), p.30
45 Robert Howe, Nineteenth—Century French Oboe Making Revealed: a Translation and Analysis of the Triebert et Cie '1855' "Nouveau Prix-Courant", (The Galpin Society Journal, Vol. 64, 2011) p.89-90
46 Ibid.,79
47 George Grove, Grove's Dictionary of Music and Musicians, Ⅲ,(London Macmillan; New York, St. Martin's Press, 1954)p.149 20
The Barret began with the B♭ thumb mechanism of the System 5. The most important aspect of the Barret system was that it included an alternative to the use of the left thumb for creating B♭ and C, without moving the right hand up to touch the long key for the palm. The ring for 4, 5 or 6 when depressed moved a lever that acted across the upper joint to open the little keys otherwise activated by the left thumb. This was the mechanism used by Buffet on the Boehm oboe but modified so that it opened the Band C holes, rather than closing the B♭ hole. With this system the player could move from d2 to c2 merely by closing the half-hole and lifting 2 and 3. Neither a movement of the thumb nor a shift of the right hand was necessary. The long B♭/C key for the right palm, now redundant, was suppressed, as the player had the choice to activate B♭ and C with the thumb, 4, 5 or 6.48
Barret made several other changes. He made the choice of octave keys automatic. He kept the critical ring on 2, 5 and 6, suppressed the double hole for 3 and placed a ring on 4 which created an articulation between the joints to allow a true F#-G# trill. He introduced left hand F to Western Europe, kept the butterfly key for low B and E♭, articulated to D# and extended the oboe's lower range a semitone to B♭.49
48Robert Howe, Nineteenth—Century French Oboe Making Revealed: a Translation and Analysis of the Triebert et Cie '1855' "Nouveau Prix-Courant", (The Galpin Society Journal, Vol. 64, 2011) p.97
49 Robert Howe, The Boehm System Oboe,p.49 21
2. Sellner System
Joseph Sellner remarked that “in a word, a beautiful oboe tone should resemble a well-modulated soprano voice which is plaintive, round and sonorous in the expression of sorrow, piquant and bright in joy and gaiety.” 50 Although it cannot communicate through words, the oboe’s inability to convey linguistic meaning is what allows it to transcend words and communicate more directly through emotion. In order to help with this new system of oboe education,51 OBOE Schule52 was published in 1825 and is still recognized internationally today by various languages and reprints in various countries such as French and Italian. In 1820s, Stephan Koch53 (1772-1828) developed the 'Koch-Sellner oboe' with the then Oboe master Joseph Sellner (1787-1843).54
1) Mechanical and structural difference
Koch-Sellner oboe has 14 keys. Stefaan Verdegem (2008) in his thesis "Sellner-Type Oboes in Vienna and Mainz in the Second Quarter of the Nineteenh Century", mentions the structure completed in the modern German style of 1825.
The standard arrangement of an up-to-date (German) instrument around 1825 comprised: on the upper joint, a slur-key (known as 'Schleifklappe' or ' hohe F-Klappe', or 'speaker' in English), a Bb, possibly also a C (on the right), and a G# on the middle joint: an F#, E♭, C# and low-C key, supplemented by a cross-F key, and possibly a sidewards low-B key. These last two are often absent on instruments of the time, suggesting that they were a rare 'luxury option'.55
50 Bruce Haynes, & Geoffrey Burgess, The Oboe (Yale Musical Instrument Ser, 2010)p.234 51 Stefaan Verdegem, “Sellner-Type Oboes in Vienna and Mainz in the Second Quarter of the Nineteenth Century,” (The Galpin Society Journal , Apr., 2008, Vol. 61, 2008) p. 205.
52 Joseph Sellner, Theoretisch praktische Oboe Schule. (Wien, Sauer & Leidesdorf, 1825)
53 Oboe of Vienna. https://www.oboesofvienna.com/koch (2020.02.17.)
54 Stefaan Verdegem, “Sellner-Type Oboes in Vienna and Mainz in the Second Quarter of the Nineteenth Century,” (The Galpin Society Journal , Apr., 2008, Vol. 61, 2008) p. 205. 22
Koch-Sellner oboe`s all the keys were still mounted on wooden blocks or on brass saddles. A specific innovation of the Koch Sellner-oboe was the doubling-up of a few keys, namely a B♭, for the left thumb, and an E♭, and F key for the left little finger.56 The twin-hole for the left third finger survived long after the G sharp key was added, and may be found on oboes made late in the 19th century.57
The "Sellner-system" or multi-keyed "simple system" was completed by Koch over several years. As a result, it was one of the most advanced oboe in Europe as a result of several improvements.58
Narrow bore and wide bell, It differs from its classic predecessors through a greater conicity and a bore-volume smaller in the top joint, and larger in the middle joint. A logical explanation for this narrowing of the bore is naturally to allow the instrument to play higher in order to be able to keep up with the rising general pitch. It would appear that Koch wanted to achieve a more equal intonation and more consistent sound quality by having a smaller bore-volume in the upper part of the instrument.59
Tuning slide by which they can be raised or lowered in pitch, which heretofore has been applied only to the flute and whereby the oboe, clarinet and bassoon have gained much. A long-shanked open key covering a hole in the bell-joint situated just where one of the tuning-holes had hitherto been bored. When this hole was closed the instrument sounded B natural through the bell and an extra semitone was added to the downward compass of the oboe.60 Indications of the use of tuning slides can be found as early as the beginning of the nineteenth century in a number of documents in the archive of the
55 Ibid.,206
56 Stefaan Verdegem, “Sellner-Type Oboes in Vienna and Mainz in the Second Quarter of the Nineteenth Century,” (The Galpin Society Journal , Apr., 2008, Vol. 61, 2008) p. 207.
57 Adam Carse, Musical Wind Instrument, (Dover Publications, 2002)p.135
58 But it hasn't been recognized for 20 years since then.
59 Stefaan Verdegem, Sellner-Type Oboes,p. 207.
60 Adam Carse, Musical Wind Instrument,p.135 23
Viennese Hoftheater and the Hofmusikkapelle dealing with the purchase of woodwind instruments.61 The tuning slide solution was as cheap and simple as it was practical, even though the possibility of varying the bore for each head joint was lost. Later, the tuning slide seems to have become standard and probably essential in Vienna during that period, due to the changeable tuning pitch. The tuning slide did not entirely solve the problem of tuning. No instrument can be lengthened or shortened within a given tuning margin and remain as perfectly in-tune in all lengths. Adjustment of the tuning slide inevitably results in different proportions within the instrument's bore, changing the intonation of the intervals.62 The 'solution' could refer to Koch's new concept of the tuning slide; he introduced a small cylindrical metal tube into the bore into which the tuning slide fits. The more primitive forms of tuning slides usually worked in the same way as the fittings of the other sections. When pulled out, a small void is created which could possibly disturb the acoustic properties. Koch avoided this problem by using telescoping metal cylinders.63
2) Other instrument makers using the Sellner system
S. Koch, Vienna
Stephan Koch was born in Veszprém in western Hungary and moved to Vienna with his family when he was still a child. In Vienna, he learned to make woodwind instruments and became a very popular maker of oboes, flutes, clarinets and bassoons, starting to sell instruments around 1805 and receiving his official license in 1815. His instruments were very popular after in Austria and southern Germany. His oboes with 13 and 14 keys carry a special historical importance for being the instruments that are depicted in Joseph Sellner’s “Theoretisch-Praktische Oboe-Schule”, which was published in Vienna
61 Stefaan Verdegem, Sellner-Type Oboes,p. 208.
62 Stefaan Verdegem, Sellner-Type Oboes,p. 208.
63 Ibid.,208 24
in 1825 and quickly spread all over Europe as copies and translated editions. The new oboe model described in Sellner’s method soon became standard in Vienna and was used by musicians and copied by other Viennese makers like Küss and Uhlmann up until the 1880s.64Boxwood with silver keys and four ivory ferrules at reed well, sockets and bell. There is a tuning-slide at the reed well. Socket of middle section is unlined, bell socket is lined. There is a silver plate on the bell as if for an inscription. There is one small vent-hole in the bell which is bushed with ivory. There is an onion shaped baluster at the top of the instrument. All keys are levers with the exception of the left indexfinger pierced-plate mechanism which is on an axle mounted above the upper joint first hole.
Backofen, Darmstadt65
Heinrich Backofen is a prominent musician and clarinet maker in Darmstadt, Germany. He is also a woodwind producer, performing composition, conducting, flute, harp, and brass as well as clarinet. He also made the oboe under the influence of the Sellner system. Boxwood with silver keys and ivory ferrules at the sockets, reed well and bell. Sockets and reed well are unlined. There is an onion shaped baluster at the top of the instrument. All the keys are levers with the exception of the B♭-alt. The octave key is hinged at the back of the instrument within the onion, the vent is at the front of the instrument and the pad is mounted at the end of a semicircular curved arm. The G♯ key and vent are both on the middle section.
Uhlmann Family, Vienna66
Johann Tobias Uhlmann was born in Bamberg, Germany in 1778 but he married in Vienna in 1802 and settled in Vienna when he began learning woodwind production from his teacher Franz Harrach. It was not him but his sons who made Koch-Sellner oboe. The first son, Jakob (I.) Uhlmann, received Joseph Sellner's death in 1823-1825 and began making the Sellner system oboe, completed by his second and third sons,
64 https://www.oboesofvienna.com/koch (17.02.2021)
65 https://www.tshaonline.org/handbook/entries/backofen-heinrich (17.02.2021)
66 http://www.biographien.ac.at/ Uhlmann (Ullmann), Johann Tobias, 2016 25
Joseph Uhlmann and Leopold (I.) Uhlmann, after Jacob's death in 1850. The structure of their instruments is Blackwood with silver keys, bell rim and ferrules at sockets and reed well. Sockets and reed well are all unlined. A varnish has been applied to the surface of the wood which has rubbed away in places. There is a small onion-shaped baluster at the top of the instrument. All the keys are levers pivoted on small axles. These are fixed with rods with no screw. The octave key cup is at the front of the instrument with the key circling the bore with a double hinge mechanism. The link of the low B key between the middle sections and the bell is by means of a deep fork connecting at right-angles. There is no inward flange at the base of the bell.
Schott Borthers67
When Joseph Sellner introduced the new oboe of Koch in his Oboe Schule of 1825, it seemed like that this was the instrument of the future, an expectation the Schott brothers in Mainz seem to have shared. They consequently chose, following Foreith's advice, to manufacture this 'Nouvelle Invention' in their own workshop. History proved them wrong, as within two decades the German oboe would adopt largely the improvements of Theobald Boehm, Auguste Buffet and Guillaume Triebert. Schott probably opted for this type of oboe because of Foreith's Viennese background and the multiple contacts that the Schotts had with Vienna, at that time the centre of European music. Moreover, this type of instrument was not (yet) being built in Germany, which would have been an additional selling point,remains unclear whether or not Kaspar Anton Alexander and Franz Ott built oboes for Schott and if so whether this was as contractors or not. Nevertheless we may assume that the Schott brothers found in these two - in respect of their Viennese training- suitable craftsmen to make or at least to collaborate in the manufacture of oboes for them. There are too few extant oboes by Schott, Alexander and Ott from 1825-1840 for us to draw in-depth conclusion. The surviving Schott instruments sometimes display marked differences, and there will naturally be variations between them due to their date of construction and evolution. All Schott’s oboe are based on Viennese models of Koch,
67 Stefaan Verdegem, Sellner-Type Oboes,p. 211-212 26
Küss and Ziegler. With the closure of the workshop in 1840, the Sellner oboe seems to disappear from Mainz. At that time it had already been superseded by various innovations, but remained in use in Vienna over the next few decades, until the 1887 introduction of the Viennese oboe of Baumgärtel and Hajek. Adam Carse(2002) summarized the addition of keys from 1840-1880.68
1) The right little finger keys are made to work on rod-axels, and are grouped as is now customary, with the wound fingerplate of the C＃ key in the middle.
2) A shake key for D (and later for D＃) works on a rod-axle.
3) The left little finger keys are made to work on one rod-axle.
4) the second octave key (used from a“) is added.
5) The upper B♭ and C natural holes are placed in line with the other note-holes along the top of the tube, and both keys work on a common rod-axle controlled by a single finger plate for right first finger. (The Barret action.)
6) A thumb plate for the left thumb is added; the plate duplicates the action of the right first finger, but in the reverse direction as it opens the upper B and C keys when the thumb plate is released.
7) The instrument is lengthened and an additional note hole is added lower down on the bell-joint; this hole is controlled by an open key, worked by the left little finger and sounds low B flat when this hole is closed. Thus another semi-tone is added to the downward compass of the oboe.
8) The Conservatoire Model. By means of a connecting rod-axle the first and second and third fingers of the right hand have control of the upper B and C keys. The action of the F natural and G＃keys are duplicated respectively by the left little finger and the right first finger. the second octave key works automatically.
68 Adam Carse, Musical Wind Instrument, (Dover Publications, 2002) p.139-140 27
3) Wiener Oboe
The participation of Richard Baumgärtel (1858-1941) created a new influence. He was an oboe player for Dresdner Hofkapelle, and won the audition in Vienna 1880 to become an oboist for "Wiener Hofoper".69 He brought the oboe of Karl Friedrich Goldes (1803-1873) of Dresden. He designed an instrument that went in the opposite direction, utilizing a wide bore design. The sound of this Oboe was highly appreciated, but it was higher than Vienna oboe at that time, so it was adapted to the Vienna situation with Hajek, who is a Vienna instrument maker.70 Hajek retained the baluster and finial, the steps in the bore between the joints and the internal lip in the bell, but elsewhere simplified the external turning.71 He used keys on rods supported by posts, and added rings on holes 3, 4 and 5, perforated plates for 1 and 2; B♭1 and c2 were operated by side keys and the instrument was equipped with two octave keys as well as a hohe-F Klappe. Hermann Zuleger (1885-1949), who copied Hajek's model, became the supplier of Wiener oboes in the twentieth century.72 The Wiener Oboe, the only distinctive oboe design to withstand the international monopoly of the Conservatoire oboe, was a hybrid of Austrian and German models and came about in response to the needs of a specific player. It has a wider internal bore, shorter and broader reed and a different fingering schema than the Conservatoire oboe.
The differences are most clearly marked in the middle register, which is reedier and more pungent, and the upper register, which is richer in harmonics on the Viennese oboe.73
The Viennese oboe retains more of the hautboy's characteristics Conservatoire oboe. Likewise, modern Viennese players preserve technique have been associated with the
69 https://iwk.mdw.ac.at/viennese-oboe/,Department of Music Acoustics- Wiener Klangstil.(27.04.2021) 70 http://www.wieneroboe.at/Die_Wiener_Oboe.html, Eine Initiative der Wiener Oboengesellschaft.(27.04.2021) 71 Bruce Haynes, & Geoffrey Burgess, The Oboe (Yale Musical Instrument Ser, 2010)p.176
72 Ibid., 176
73 Ibid.,212 28
hautboy. The notes from b♭2 to c2 are proud harmonic fingerings, Stützfinger technique is used extensively to stabilize intonation by closing holes low down the bore, and the F# hole stands closed, opened by the ring on hole 4, and closed again by a ring on hole 5. 74 Acoustic tests have shown that the harmonic fingerings are richer in overtones and thus more effective in projecting through the orchestra. Although these fingerings complicate certain passages, this is a sacrifice that Viennese players are willing to make.
74 Haynes,The Oboe, 177, See Appendix figure 13. 29
3. Comparing Triébert and Sellner
From 1855 Triebert succeeded with great care to rediscover the delicate tones of the French oboe, which were much preferred over German instruments, while maintaining the advantages of the new structure. The French style had a thin sound suitable for the solo, on the other hand the German style had a warm, dark tone suitable for the orchestra. This difference in tone is controlled by the size and thickness of the instrument, and the Triébert's system is narrow and thin bores make the tone thin. Triébert's counterbore measurement was 4.5 mm at the end of the 18th century and tended to be slightly larger in 19th century Germany, Austria and England oboe. The following table summarizes the previously presented misinformation systems. This explains the noticeable differences in structure between the two systems.
Left Index Middle Ring Little Right Index Middle Ring Little Tumb finger finger finger finger Tumb finger finger finger finger Triébert Octave Touch Touch Touch G♯ Touch Ring Ring low C 1830 Touch low E♭- B♭ F C♯ dup C E♭
Triébert Octave Pierced Touch Touch G♯ Touch Ring Ring low C 1840 Plate Touch low E♭- B♭ F C♯ dup C E♭
Koch Octave Pierced Touch Touch G♯ Touch Touch Touch low C 1825 B♭-dup Plate E♭-dup B♭ F C♯ low B F-alt. C F♯ E♭
Backofen Octave Touch Touch Touch G♯ Touch Touch Touch low C 1830 B♭-alt Touch F-dup B♭ F C♯ E♭-dup C F♯ E♭
Uhlmann Octave Touch Touch Touch G♯ Touch Touch Touch low C B♭-dup C tr low B B♭ F C♯ 1860 G♯-alt E♭-dup D tr F♯ E♭ 30
1) Position of B♭ key
First of all, the biggest difference between Triébert and Sellner systems is the location of the B♭ key. Triébert's oboe is on left little finger and Koch-Sellner's oboe is on left thumb. German and Austria’s left thumb system.
Beginning in the early 19th century, manufacturers in Austria and Germany added B♭ key operated by the left thumb, but this solution did not apply to French oboe.75
Triebert`s system 6 presented improvements of System 5 that B♭1 and C2 needed to be played with fork fingerings or with side keys worked by the pointer of the correct hand. It was not practical in rapid passage work. Barret started with the B♭ thumb mechanism of System 5. Barret system was that it included an alternative to the use of the left thumb for creating B♭ and C, without moving the right hand up to touch the long key for the palm. The ring for 4, 5 or 6 when depressed moved a lever that acted across the upper joint to open the little keys otherwise activated by the left thumb. This was the system utilized by Buffet on the Boehm oboe yet changed, so it opened the Band C openings, instead of shutting the B♭ opening. Frédéric Triébert modified the Barret right-hand mechanism so that only key 4 would open the B♭1 and C2 vents.
The low B key was at first worked by the left thumb, as on the first Sellner-Koch oboes; this arrangement was no doubt found to be inconvenient and the control of the key was eventually transferred to the L. little finger.76 Koch had octave keys and duplexed B♭ keys, Backofen had octave and alternative B♭ keys, and Uhlmann had octave keys and dualized B♭ keys, plus alternative G♯ keys.
2) F& F# ring key
Another difference is in the right hand. The Triébert system introduces an independent ring of the French system on the right hand stop and ring finger. This made F＃1`s
75 Bruce Haynes, & Geoffrey Burgess, The Oboe (Yale Musical Instrument Ser, 2010) p.140 76 Adam Carse, Musical Wind Instrument, (Dover Publications, 2002)p.135 31
fingering more easier. The position of the old F# contact was exceptionally awkward and made incredible number of passages entries amazingly troublesome, if certainly feasible. The appropriation of our brille F# key has returned such entries to simple execution.77
The Koch-Sellner system made an additional key on the right little finger to get the F♯1 sound. Germany/Austria seem to have long considered playing F comfortably since the classical era. The F key was first described by H. C. Koch in 1802: ‘Many oboists have a so-called F key on this upper joint, controlled by the thumb, specifically intended to help the slurring of the octaves E1-E2, F1-F2 and G1-G2, and partly also to allow the notes E2 F2 F＃2 and G2 to be attacked smoothly and very softly when playing piano. 10 years later, in 1812, F key (F-Klappe) is described as follows:
Even the so-called F-Klappe for the higher notes is dispensable, since these notes can be played without it; although it certainly makes the upper register singularly easy, and also has the advantage that with it notes can be slurred together that are otherwise either impossible to slur, or else very difficult, such as [e1-e2, f1–f2, g1-g2]. This passage is quite easy to do by opening the high F-Klappe on the upper joint with the left thumb on [e2, f2, g2]. This same passage can be done less satisfactorily when these notes are played with the uppermost hole of the left hand half opened...The high F-Klappe on the upper joint is in no way dispensable, but on the contrary most useful, even necessary. It creates in the first place complete security on all the high notes that could not be produced before its invention, when one was dependent only on the reed.78
Sellner used the F-Klappe for the notes of the second octave as well but in a different way. He explained that it was 'virtually indispensable [fast unentbehrlich] for the notes E2 to A2, either for slurring up from lower notes or to help on long notes when the lips became tired. Sellner commented: 'If you touch (the F-Klappe) lightly each time on the second, higher note, you need have no fear that the note will drop to the lower octave, nor will it be necessary to blow much harder.' Interestingly, however, Sellner added that the F-Klappe should not be held open permanently for long notes, as it affected intonation and tone quality. This indicates that for these second-octave notes, the F-Klappe was not kept open constantly like the octave key on the Conservatoire oboe but rather used like the 'flick key' on the modern bassoon. According to the fingering chart,79 Sellner oboe has the inconvenience of pressing or removing keys for F and F♯.
77 Robert Howe, Nineteenth—Century French Oboe Making Revealed: a Translation and Analysis of the Triebert et Cie '1855' "Nouveau Prix-Courant", (The Galpin Society Journal, Vol. 64, 2011) p.87
78 Haynes, & Burgess, The Oboe p.114 32
However, they seem to have found this extremely convenient, but Sellner seems to have been aware of the shortcomings of the F-Klappe.
3) Trill Key
In the 1860 Uhlmann oboe, C trill was added to the left ring finger and D trill was added to the right index finger. In 1870, Triébert also added a D trill key to the left ring finger. The addition of these trill keys makes it much more effective and easier for trill techniques that have been somewhat convoluted and unclear before. Trills rarely appear in oboe works in the mid-19th century, including Schumann, Schubert, and Berlioz. It is possible to play without a trill key but it is not recognized as an effective and easy technique by composers. If players play a trill without a trill key, players will have a very unnatural and messy performance. Also, the difficulty becomes higher when players have to play fast phrases.
If players have to play without a trill key at that time, players can see which fingering to use. For example80, in 1825 Koch-sellner, without a trill key, had to trill C5 and D5 with only his left ring finger, with all fingers closed. This is also not an impossible technique but it is harder to play even tone, volume, and rhythm than using other fingers. Also, the higher the pitch, the harder the left index finger would be, the more difficult it would have been to cover only half the hole and trill it.
However, since the addition of the trill key after 1860, composers in Germany and Austria have been increasingly able to find the use of trill in their works.
79 See Appendix figure 6
80See Appendix figure 6 33
The French style was developed as a solo instrument with a strong and fat volume and the Austria style was a member of the orchestra and focused on the development of various tones. 34
IV. Conclusion
At the beginning of the 19th century, the world began as an era of mechanization.Music also benefited from the era of mechanization. New developments have begun allover the world. In France, instruments developed mechanically step by step.one key device followed another till and when a device was created, the appearance waschanged. When the process culminated in the Conservatoire Model, the exterior of theoboe was covered with mechanism just about to the extent of its capacity.Early Tribert oboe around 1840 maintained an incised interior at the end of the bell, butthe bulge outside the bore became smooth. All keys are mounted on the pillar and theneedle spring adjusts the key attached to the rod-axle. Not only did their System 5, known as the Thumbplate model, have excellent mechanisms, but the new French oboeshad a more refined tone than the Vienna players, and soon gained popularity among theplayers. In the 1870’s, Frédéric Tribert presented more modifications, which he calledSystem 6, which is now known as the “Convatoire model”. Thumb plate and convatoiremodels are most commonly used today.
Josef Sellner of Vienna created his 13 key oboe that formed the basis for a veryindividual Vienna system still in use in parts of Austria. Mid-nineteenth centuryexploited the ring-keys, the rod axles and all the new system which was thendiscovering its way on to all wood-wind instruments, and utilized them on the cruderand more robust tube of the Austria oboe. Combined with modern mechanisms, somequite old-fashioned features are found on German oboes made towards the end of lastcentury. The incurve at the bottom of the bell, and a tuning-hole in the bell, were notextinct when the French oboe was already well advanced and approaching culminating stage.
German duplicates of the French hautboy were being made in Amsterdam by 1685, in Nuremberg during the 1690’s and in London and Leipzig also. In contrast to the particular public styles of harpsichords and violins, the design of the hautboy remained to a great extent global up to the 1730’s. The instrument was small, cheap and compact which permitted players to move around and take the most recent models with them, 35
consequently sharing new methods and styles. The "French" way of playing was the most frequently taught and eventually adopted worldwide as the standard.
The biggest distinction among different schools of oboe playing which emerged during this era(1890-1930s) is the tone quality. German oboe playing still contained a traditional "bite" or harshness to it in the early twentieth century despite its progressive disappearance in the U.S., England and France. While this study focused on presenting musical instrument development and photographic examples, presenting music as musical notes at the time is not sufficient. Further studies are recommended to address changes in composers' styles based on the development of these instruments. As an oboist, the author hope that the research will relieve the curiosity about the musical instrument structure and the historical development process that the musicians are not familiar with. 36
Bibliography
Adam Carse, Musical Wind Instrument, (Dover Publications, 2002) Bruce Haynes, & Geoffrey Burgess, The Oboe (Yale Musical Instrument Ser, 2010) Bruce Haynes, Mozart and the oboe (Early Music, Volume XX, Issue 1, 1992) Bruce Haynes, Robin Spencer, The Eloquent Oboe: A History of the Hautboy 1640-1760, (Oxford early music series, 2001) George Grove, Grove's Dictionary of Music and Musicians, (London Macmillan; New York, St. Martin's Press, 1954) John Rice, Antonio Salieri & Viennese Opera (Chicago: University of Chicago Press, 1997)
Jaclyn Howerton, “THE OBOE AND ITS PLACE IN MUSIC HISTORY ” (California State University. Master of Music, California, 2012)
Janet A. DeGroote, The technical development of the oboe as shown through the literature of the instrument from of the instrument from the eighteenth century to the present, (Department of Music College of the Pacific, 1947)
Jan Bouterse, The oboes of Richters: about methods of research in woodwind instruments, (FoMRHI Comm, 2015) Karl Geiringer, Musical Instruments- Their History in Western Culture from the Stone Age to the Present,(New York : Oxford University Press, 1945) Laila Storch, '100 Years F. Loree: 1881-1981', (Journal of the International Double Reed Society 9, 1981) Leanna Booze,The Overlooked Repertory: Twentieth-Century French Oboe Etudes, (University of Cincinnati, 2003) Robert Howe, Massachusetts, Historical Oboes 2: Development of the French Simple System Oboe 1800-1840, (THE DOUBLE REED, 2001) Robert Howe, The Boehm System Oboe and its Role in the Development of the Modern Oboe, (The Galpin Society Journal, Vol. 56, 2003) Robert Howe, The Boehm System Oboe and Its Role in the Development of the Modern Oboe, (The Galpin Society Journal, vol. 56, 2003) 37
Robert Howe, Nineteenth—Century French Oboe Making Revealed: a Translation and Analysis of the Triebert et Cie '1855' "Nouveau Prix-Courant", (The Galpin Society Journal, Vol. 64, 2011) Seo Hye-Jung, A Study for History of Development Oboe, Dept. of Music Graduate School, (Dong-A University, Busan, Korea, 1991)
Verdegem, Stefaan. “Sellner-Type Oboes in Vienna and Mainz in the Second Quarter of the Nineteenth Century.” (The Galpin Society Journal Vol. 61, 2008) http://brusselsmimoboecollection.kcb.be/instrument-checklist/ http://www.euchmi.ed.ac.uk/ubl/uble1.html#uble1m Brief Lists of all the instrument in the Collection; List E1: Oboes, Edinburgh University Collection of Historic Musical Instrument, (10.7.2017.) https://ahipblog.wordpress.com/2018/09/26/oboe-fingering-charts-from-after-1770- classical-and-romantic-oboes/ OBOE FINGERING CHARTS FROM AFTER 1770 (CLASSICAL AND ROMANTIC OBOES), (26. September 2018.) https://www.oboesofvienna.com/koch Oboe of Vienna. (2020.02.17.) https://iwk.mdw.ac.at/viennese-oboe/,Department of Music Acoustics- Wiener Klangstil.(27.04.2021) http://www.wieneroboe.at/Die_Wiener_Oboe.html, Eine Initiative der Wiener Oboengesellschaft.(27.04.2021) 38
Appendix
Figure 2) Fingering Chart of Jacob Denner
Figure 3) Baroque oboe`s top balluster/ Classic oboe`s top balluster 39
Figure 4) Difference of Bell
Figure 5) Vanderhagen fingering chart in 1792 40
Figure 6) J.Sellner fingering chart in 1825 41
Figure 7) Triébert's oboe by system From the left, system 3, system 4, system 3+4, system 5,system 6 42
Figure 7-1) Triebert`s system 3 Speaker key
1st Speaker key 2nd Speaker key
Figure 7-2) Triebert`s system 4 Butterfly key 43
Figure 8) Needle spring/ Flat spring
Figure 9) Loree Oboe in 1883/ Barret Oboe in 1895 44
Figure 10) Comparison of French and German/Austrian counterbore
Figure 11) Koch-Sellner Oboe in 1825 45
Figure 12) Koch, Backofen, Uhlmann and Schott 46
Figure 13) Spassoff, Griff-Tabelle für Oboe 47
Figure 14) Modern Vienna Oboe, Model of the 19th century, Model of the classical Vienna Oboe, Model of a French Oboe. 48
„Hiermit erkläre ich eidesstattlich, dass ich die vorliegende Arbeit selbstständig und ohne fremde Hilfe verfasst habe. Alle Stellen oder Passagen der vorliegenden Arbeit, die anderen Quellen im Wortlaut oder dem Sinn nach entnommen wurden, sind durch Angaben der Herkunft kenntlich gemacht. Dies gilt auch für die Reproduktion von Noten, grafische Darstellungen und andere analoge oder digitale Materialien.
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