The Oboe (Yale Musical Instrument Series)

The book is divided into almost two sections. The first 124 pages deal with the pre-history of the instrument's roots up until the modern era beginning in 1828. After a fascinating discussion of just where the oboe started, the authors surmise that since many wind instruments all claim the aulos and tibia are archetypes, thus doubtful that this was truly ancestor. However, in the Arabic cultures the early shawnlike "zurna" are definitely related, then giving way to the popular hautboys, which gave way to their widespread use in baroque music.

This especially takes off in the era of the seventeenth century with various types and names and styles, regionally located according to materials and composers and performers and craftsmen and trade of ideas/commerce. Then in 1680 outbreaks the French hautboy, which begins to dominate and leads in turn to the now standardized Conservatooire oboe during the Industrial Age.

There is much to be gained from this history tracing, including the match between hautboy maker/composer/musician. Standing out especially and his ties to the modern oboe is Treibert and his Systeme 6 which then was disseminated throughout the world by Gillet's students, especially here in North America. When former Treibert foreman Francois Loree started his own oboe shop enhanced by Gillet's endorsement, this standardized oboe started to dominate, evolving to the now commonplace material of grenadilla.

Along the way the compositions and musicians are featured. Then beginning in chapter 8 which for me is the highlight of the book, the technical capabilities are stretched since WWII. Here is highlighted the giants of the oboe compositions and their performers. Also so poignant is their technical discussion of embouchure, air stream problems, reeds, and "vibrato or not."

The last chapter closes with the two topic discussion of avant-garde techniques and compositions highlighting such as multiphonics, microtonoality, pitch slides, etc., and secondly, return to period instruments of the baroque era especially.

Included are fine detailed notes, a significant bibliography, a compiled discography which is meant to be only representative of the book's discussion, and an adequate index.

This is a fine scholarly work which will certainly disappoint if any reader seeks a beginning intro to the instrument, i.e. should I play oboe, how to start, etc. This is more academic as to the instrument's history, current status, etc. All oboe enthusiasts will continually turn to this fine, thorough and well researched and written resource.


How and why the oboe evolved   April 4, 2004
Midwest Book Review (Oregon, WI USA)
7 out of 7 found this review helpful

The collaborative work of Geoffrey Burgess and Bruce Haynes, The Oboe adds yet another fine title to Yale's outstanding 'Musical Instrument' series. Following the history of the oboe and providing an in-depth discussion of how and why the oboe evolved, the music written for it, and prominent players, The Oboe is admittedly is a specialty title, but any academic or classical music collection or library reference collection strong in classical history will find this an essential buy, packed from cover to cover with rare insights and information. The Oboe is most especially recommended to students of woodwind instruments in general, and this particular, core component of both orchestral and jazz music in particular.


THE BETTER HISTORICAL OBOE BOOK   July 31, 2010
Nizaor
The Oboe by Burgess and Haynes is the better historical book about oboe that I read. Have a concise discography and biography of great oboists in the History of Music.
The illusttration are beautiful and clear.
For all oboists very interest in History of own instrumet, is a good recommendation.
I'm a begginer in oboe, but I very interest in History. The Oboe by Burgess&Haynes will be the good companion.

Best Regards

Nizaor Ennes,
Telecommunications Technician
Great fan of Oboe & Bassoon Music and History
Santa Catarina - Brasil