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Master of Arts 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. <Score-1 >Antonio Vivaldi, Concerto for oboe, strings & continuo in D major, RV 453 That difficulty of playing is evident when people compared to the rather easily played B4. <Score- 2> forms a melodic contour that goes up from G to B, and at the same time uses wide leaps and chromatic notes. <Score- 2> Antonio Vivaldi, Oboe Concerto in C major, RV 447 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.
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