Mozart and the Oboe - Woodwinds I Resource File

Mozart and the Oboe
Author(s): Bruce Haynes
Source: Early Music, Vol. 20, No. 1, Performing Mozart's Music II (Feb., 1992), pp. 4350+53+55-57+59-63
Published by: Oxford University Press
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Bruce Haynes
Mozart
and
the
oboe
::x
Anon, Portraitof Sante Aguilar(1757).Oil painting.
(Bologna,LiceoMusicale,SalaBossi)
1
Although the Classicaloboe looks at first sight like a
Baroqueoboe, its smallerbore and tone-holes represent
a sharp break with the past. Like the harpsichord,the
Baroqueoboe representsthe end of an era,the culmination of many yearsof development.The Classicaloboe,
on the other hand, is innovativeand experimentallike
the fortepiano;few periods in the oboe's history have
seen changeas radicalin such a short spaceof time. And
it is from the Classicalinstrument,not the Baroqueone,
that the model of oboe currentlyplayed in symphony
orchestras (the A6 'Conservatoire'Lor e) ultimately
derives.Tobe sure,the 'Lor e oboe"is a differentinstrument from its Classicalancestor.But the differencesare
the sum total of small changesratherthan a revisionof
basicprinciple.The Lor e is the outcome of more than a
century of incremental additions of keys and small
adjustments to the narrow Classical bore and
tone-holes.
For the player,the difference in feel and response
between the oboes of Bachand Mozartis much greater
than that between the two most common Baroque
types-the oboe and the oboe d'amorea 3rdbelow it. In
character,the Classicaloboe hasbeen 'tamed'-gone are
the wild excesses and the effort to avoid saying 'too
much'thataretypicalof the Baroqueinstrument.Partof
this meekness is a question of dynamics:the Classical
oboe is softer,especiallyin the upperregister.The tone is
also narrowerand more focused.It is an instrumentthat
cannot be masteredby the casualplayer.It is extremely
sensitiveto intonation correctionsand requiresa more
refineduse of fingeringtechnique.While it flourishedin
a period in which the upper range was significantly
extendedand upwardslursbecame more general,it did
not yet possess that characteristicfeature of the 20thcenturyoboe, octave speakerkeys.
The earliestdefinitiveformof the oboe (dependingon
how you define what an oboe is) had existed for only
about 70 yearswhen Mozartwas born.2By contrast,the
modern Loreeoboe is already115yearsold. (Again,this
parallelsthe historyof the developmentof the piano.)3
The pace of changewas clearlymuch quickerin the 18th
century.Surelyone reason instrumentsare more stable
now is thattheirrepertoryis canonized:we playthe same
pieces over and over again (even the same 18th-century
pieces, like the BrandenburgConcertos and the 'Four
Seasons'),whereas music then was always'contemporary'and had the same obligation to be forever innovative that popular music has today.
No wonder,then, that JosefHaydnwrotein 1766 to his
employer, Prince Esterhizy, that his oboes needed
replacementand no longer possessedthe proper pitch.
He requesteda pair of new 'durablehautboi with an
extrajoint for each one (in order that all the necessary
pitches can be played)', and mentioned a maker in
ViennanamedRockoBauer,who in his opinion was 'the
'S14
most skilful in such things.
Classicalmusic presentednew demandsto oboe players and makers.Comparedto the earlierpartof the century,the tonalitiesused in oboe solos changedverylittle,5
but the tessiturawent higher and the upper range was
EARLY
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EARLY MUSIC
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LouisCarrogisde Carmontelle(1717-1806), Quatuor:Prover, Duport, Vachonet Rodolphe. Oil painting. (Chantilly,
2
Mus6eCond6)
extended; Mozart'sOboe Quartet, for instance, has a
mean rangealmost six semitones-a 4th-higher than
Bach'saveragefor oboe obbligatos.6
Illus.i is a portraitmade in 1767of the leading oboe
player in Bologna at the time, Sante Aguilar
(c.1734-18o8), for whom Mozart probably wrote a min-
uet threeyearslater,in 1770 (K122). The stampon Aguilar's oboe is illegible, but the instrument strongly
resemblescontemporaryoboes by the Dresden maker
Jacob Grundmann (1729-18oo00), one of the best known
makers of his day. (The additionalkeys that were frequently later added to his instrumentsshow that they
were also popular for at least a generation after his
death.)7Oboes similar to those of Grundmann were
made in Italyand France(notablyby the makersChrisDelusse
and Carlo Palanca
(fl.1781-9)
and
the
modern
Viennese
oboe resembles
(c.1700-83)),'
tophe
them in profile.Grundmannbeganthe unusualpractice
of regularlydating his oboes. Forty of his dated oboes
1992
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.
........
?
•
•I!
:_ •i,•:
ri
:?!i:•ia
•
••MEMBER&•
•ii
desFurstenKrafftErnstzu Oettingen(c.1791).
Silhouetteon gilt.ThecomposerAntonRosettiis playing
3 Anon.,Tafelmusik
bass.(Maihingen,
Bibliothek)
Firstlich-Oettingen-Wallersteinschen
have survived,spanninga period from 1768to 18oo.9 By
studyingthem it is possible to tracethe developmentof
good, standardoboes during Mozart'slifetime practicallyby the year.Grundmann'sstyleshows a clearmutation during his career (especiallyin the bell flare and
centresocketshape),and his practiceof datinghis oboes
means that instrumentscan be accuratelymatched to
specific pieces, since an oboe built in the late 1760s or
early1770s,for instance,may not be appropriatefor the
Mozart Oboe Quartetwritten in 1781, although it will
probablyworkwell for the Oboe Concerto.'0Illus.4and
5 show two representativeinstruments,dated respect-
known were Johann Christian Fischer (1733-18oo), Gioseffo Secchi (fl.1755-84),'4 and the family friends Giuseppe Ferlendis (1755-181o)'" and Joseph Fiala
(1749/5o-1816).'6 But the only player who was able to
inspirea number of oboe solos from Mozart'spen was
Friedrich Ramm (?c.1744-1813).
Ramm was one of the elite playersof the illustrious
orchestraat Mannheim.Mozartmet him there in 1777,
and was immediatelyimpressed.'7Ramm, for his part,
enthusiasticallyadopted Mozart's recently composed
Oboe Concerto in C, K271k,originallywritten for Ferlendis.'8In the ensuing four yearsMozartwrote several
and
with
both
added
solos for Ramm,'9of which the best known is Kv370/
1784,
ively 1774
keys."
Mozartwrote six solos and four chamberworkswith 368b,the 'Oboe Quartet'(the fashionablenew solo form
prominent parts for the oboe, and there are also a few which, by the 1770shad virtually replaced the sonata
beautiful obbligatos with voice, and solos in wind with continuo).2' The singularityof this sparkling,ethensembles.His firstoboe solo was writtenwhen he was erealquartet(writtenin 1781,when Mozartwas just 25)
12, in 1768,1"the last in 1791, the year of his death.'3Of the lies in its exceptionaluse of high notes;he wrote nothing
numerous oboists with whom he worked, the best else that resembledit in this respect,before or after.
EARLY MUSIC
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45
4 Oboe by Jacob FriedrichGrundmann, 5 Oboe by Jacob FriedrichGrundmann,
dated 1774 (Berlin, Musikinstrumenten- dated1784(Vermillion,SD, Shrineto Music
museum des StaatlichenInstituts fir Mus- Museum, no.3996)
ikforschung, Preussischer Kulturbesitz,
no.100oo5)
46
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Two years earlier,in 1779,Mozart had taken Ramm's
solo part to the remarkableopera scena 'Popoli di Tessaglia',K316, no higher than d"', though the virtuoso
voice part flies up to high g"'.* This piece may have
inspiredRamm to extend his high register,and Mozart
consequentlyto exploit e"'",e"' and f" in the Quartet.
The use of these notes obviously restrictedthe number
of playerswho could have attemptedthe piece, and may
have made it Ramm'sexclusivepropertyfor a considerable time. (It was not published until 20 years after its
composition, in 18oi.) That these notes were written
especiallyfor Rammis indicatedby the fact that Mozart
neverwent higherthan e"'"(and rarelyabove d"')in his
subsequentworks for oboe."
The range Mozart gave for the oboe in Thomas Attwood's notes of 1785-6(p.156)was c'-c"'. High f'" first
appearsin oboe fingeringchartsin 1792.23 One of Fiala's
oboe concertos24uses f", as does a concerto by Anton
Rosetti." By about 18oo there are reports of the use of
The oboist W. T. Parke, in his Musical Memoirs
g,.26
(1830)writesof one of his performancesin the 1790s,'in
which I introduced some of my newly discoveredhigh
notes, (up to G in alto,) particularlya shakeon the upper
D, whichwas greatlyapplauded'(i, p.215). As we shallsee
below, all these examples appear to be for oboes with
only two keys.
Mozarthad met and heard JohannChristianFischer
(perhapsthe most celebratedoboist of his day) as a boy
of nine years, in the Hague. Some years later he wrote
some popular keyboard variations27to the Rondo of
Fischer'sbest-known oboe concerto. But it seems that
Fischer'slatervisit to Vienna in 1787did not inspire any
oboe solos from Mozart.The two men met at that time
(together with Ramm), and Mozart even went to hear
Fischerplay some of his concertos,but this time he was
not impressed,as he wrote at length to his father.28
In Vienna in the 1780s Mozart developed a special
affinity for the clarinet, starting with the 'Kegelstatt'
Trio,K498 (1786), writtenfor Anton Stadler.29
By the end
of Mozart'slife (in contrast to the situation in Bach's
day) the clarinetwas on at leastan equalfooting with the
oboe. Its rapid rise, in the amazinglyshort space of a
generation,is testimonyto the experimentalspiritof the
age. It is also the single most importantdevelopmentin
the history of Classicalwoodwinds.
The clarinetwas originallya doubling instrumentfor
oboists, and in the late 18th and early 19th centuries it
gradually supplanted many of the oboe's traditional
functions.30 The Attwood notes contain Mozart'scomment that: 'The clarinett is very useful instead of the
oboes',implyingits role as an alternativepossibility.The
clarinet functioned well in flat keys and sometimes
replacedthe oboe for this reason.31The quartetof 1781
was the crest of his oboe writing; his important solos
(K314, K316 and K370) were all written in mid-career,
before his definitive move to Vienna. Had Stadlernot
been the exquisitemusician he apparentlywas (or had
he played the oboe more than the clarinet)perhapswe
would have had a laterMozartoboe quintet, or another
concerto.
The questionof pitch in Mozart'sdayhas not yet been
explored systematically.Haydn tells us in his letter that
he had to deal with more than one pitch.32It seems that
'Viennesepitch' was a recognized standardand that it
was consideredrelativelyhigh.33The date of Haydn'sletter suggeststhat pitch rose in Viennain the late 1750sor
early 1760s. That he mentioned the need for 'durable
hautboi' furtherimplies that, whateverthe pitches,they
were expectedto remain relativelystable for some time
thereafter.One thing is clear:therewas no such thing as
'Classicalpitch';differentstandardsexisted at different
places.
One of the reasonswhy a' = 43o is popularnowadays
as a Classicalpitch is that original clarinets are rarely
lower. But the clarinetis associatedwith Vienna, a city
apparentlyknown at the time for its high pitch. A relatively high standardalso prevailedat the ConcertSpirituel in Parisat the end of the century.But we know that,
at the same time in other parts of Europe (like Berlin,
and Italy in general), pitch stabilized near a' = 415.34
Therearecertainlyinstrumentsof the periodthat sound
and function better,and have a more consistentinternal
intonation, at about this pitch. It is an over-simplification, then, to applya' = 430 as a defactostandard,and to
assume that all Classicalinstrumentsare meant to play
that high. This is what happens when players are
required to produce music on historical instruments
without sufficientinformationto backthem up. It is not
the only example;another myth is that the addition of
new keys to woodwind instruments represented
progress.
Certainly, keys are associated with the Industrial
Revolution. But the technology necessary for large
numbers of keys was alreadyin place by the early 18th
century. Musettes like the one illustrated in Jacques
Hotteterre'sMcthodepour la musetteof 1737had 13keys
as standardequipment (illus.6). (Keyswere requiredon
the musette, since, because of its 'closed' finger technique, cross-fingeringwas ineffective.)Despitethis, keys
were rarelyused on woodwinds until the end of the 18th
EARLY
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48
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6 Illustrationof musettechanters,Jacques-Martin
Hotteterre, Methodepour la musette(Paris,1737)
century, and then only when they were absolutely
necessary.The Classicaloboe, for instance,usuallyhad
only two keys, while the Baroqueoboe had three. (The
duplicate e' on the Baroqueoboe for either right- or
left-handplayingwereeliminatedon the Classicaloboe,
thus indicatingthat the hand position that is common
nowadays,left over right, had become standard.)
The primarypurpose of additional keys was not to
advancepuretechnique,but to adaptinstrumentsto the
new demandsof early19th-centurymusic. On the oboe,
additionalkeysaccomplishedtwo things:they increased
range (mostly upward,by the use of speakeror octave
keys),3" and they obscured (though they have never
entirely eliminated) the differences in tone colour
between various tonalities. The 18th-centurytraverso,
oboe and bassoonnormallyhad only one chromatickey;
any other keys servedmerelyas extensionsto the reach
of the fingers.Chromaticnotes that were not partof the
natural seven-hole scale were obtained by so-called
'forked-fingerings'(also called 'cross-fingerings')and
'half-holing'.Thesefingerings,being more complicated,
were more difficultto play and produceda covered or
veiled timbre. The result was the characteristically
1992
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Tf
TI
- -----
7 Thomas Gainsborough,Portraitof JohannChristianFischer(between1774and 1788).Oil painting. (London,
Collectionof Her Majestythe Queen).A recentinvestigationof this picturehas revealedthat beneathit lies Gainsborough'slong-lost attempt at a portrait of William Shakespeare,begun but never completed.
EARLY
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49
uneven scales of 18th-centurywoodwinds, which give
the effect of singing a scale using differentvowels for
each note. The placement of these forked and halffingeringsalong the scalegaveeach tonalityits own particularsound, techniqueand intonation.By eliminating
these cross-fingerings,the new keys deprivednotes like
F,G? and Bb of their distinctivecharacter.As the music
of the 19thcenturygraduallymoved into extremetonalities, of course, homogeneityof sound became desirable. The new keys thus acted secondarily to make
extreme tonalities more accessibletechnically.
Obviously, when keys were eventually added, they
were meant to ease the player'stask. But it is unlikely
that they would have contributedto virtuosity.On the
contrary-in some cases, the less hardware,the more
freedom there is to use alternativefingerings (which
offer technical solutions and greater control of tone,
intonation and dynamics).Keyscan also act as a brake
on technique in simple tonalitieslike C major.36
Thereare many indicationsthat oboes generallycontinued to use only two keys even well into the 19thcentury.Illustrationsof oboes with more than two keys are
unknown until Vogt'sMethodepour hautbois (c.1813;
illus.8). Rossini'sclose friend BaldessareCentroni, the
oboist for whom he wrote all his famoussolos, is shown
Anon, Portraitof BaldassareCentroni (c.1815) (Bologna,
Liceo Musicale)
9
8 Illustrationof oboewithfourkeys,A.-G.Vogt,Methode
(Paris,Bibliotheque
Nationale)
pourhautbois(Ms.,c.1813)
in a portraitof c.1815with a two-keyedoboe (illus.9).37
Other pictures of two-keyed oboes from well beyond
Mozart's period (illus.io, 11, 13) suggest that he is
unlikelyto have encounteredanythingelse.
AfterVogt,the firstfingeringchartto describean oboe
with more than two keys was Joseph Sellner's Oboe
Schule(Vienna,c.1825),which showedten keys.38Butall
the 17known oboe chartspublishedin variouscountries
in the 50 yearsthat precededSellner'sbook still show an
oboe with only two keys.39
Of the survivingoboes made by JacobGrundmann,
TheClarionet
Kauffmann,
Player.
Levin/Hugo
1O Katherine
who workeduntil18oo,fourseem definitelyto havebeen Etching,afteran oil paintingby KarlMuller(1813-72). (Monmadewith an extrakeyeach. (Threeof thesewereoctave treal,BruceHaynes)
50
EARLY
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FEBRUARY
1992
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11 Scale drawing of a Delusse oboe, F. J. Garnier, Mgthode raisonde pour le hautbois (Paris, c.1798-18oo)
EARLY MUSIC
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53
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12 Fingeringchart, A. Vanderhagen,Methodenouvelle(c.179o)
keys, the other a c' .)4o All the other 50 Grundmanns
were originallymade without additionalkeys,41including many of his last oboes. Of the 13 survivingoboes by
Grundmann'sequallyfamous competitorAugustGrenser (fromwhom LeopoldMozartorderedtwo oboes and
two Englishhorns for the Salzburgcourt in 1776),42 only
one, made in 1791,has originaladdedkeys (again,for c'#
and the octave).43
Only one key, the octave,44would have had any profound effecton the playingtechniqueof the instrument
and how its reedswere made (by changingthe wayovertones were produced).But with two known exceptions,
octave keys date from the late 1780sand beyond.45 It is
hardto avoidthe conclusion that the innovationsto the
oboe of Mozart'sday,while substantial,did not involve
the addition of keys, much less key systems-that
belonged to the next generation.And even then, they
occasioned much controversy.46
But many modern playersof the so-called 'Classical'
oboe use instrumentswith as many as ten keys. This is
clearlyanachronistic,but in fairnessto these playersit
should be noted that they are asked to play literature
spanning a period from Lullyto Mendelssohn,during
which the oboe evolvedfar more than it has done since.
Whereasoboists of any given period in the past were
usually requiredto play music in only one particular
style, so-called 'specialists'on the early oboe today are
anythingbut. Theyareexpectedto playFrench,German
and Italian music, in pitches ranging from a' =
392
to
430. Modern players, unlike the oboists of the past,
whose repertorywas much more restrictedin both time
and style, are obviouslynot in a position to develop the
same close contact with their instruments and the
necessaryreedsetups.The presentprofessionalplayerof
the earlyoboe is expectedto be ableto playthree instruments at a' = 415 (the treble oboe, oboe d'amore and
oboe da caccia), at least one lateroboe (usuallyat a' =
425 or 430) and perhaps another oboe at a' = 392. For
EARLY MUSIC
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55
each of these instruments a different type of reed is
required, and each will have its own idiosyncrasies,
specialfingerings,tone colour,responseand intonation.
No wonder players look for general-purposeinstruments that can servefor music of more than one generation or area.
There is also a link between the addition of keys to
woodwindsand the movementawayfrom mean-tone (a
tuning that suits non-keyed woodwinds well). Some of
the first new keys, like the f', were meant primarilyto
help play in equal temperament,by dividing the function of a singletuning hole.f andf' , for instance,both
previously controlled by hole 5, became controlled by
two separate holes. In a provocative article entitled
'Mozart'sTeachingof Intonation',47John Hind Chesnut
wrote
(p.271):
Modernintonationpractice.. . is not appropriate
if ourgoal
is to playMozart'smusicas he himselfwantedit played.The
or 'functional'intonationof
quasi-Pythagorean
'expressive'
nineteenth-andtwentieth-century
instruments
non-keyboard
is particularly
foreignto thetraditionin whichMozartstood.
Briefly,the differencebetween the 18th-centurytuning
of non-keyboardinstrumentsand present practicelies
in the use of majorand minor semitones (in which, for
instance,a D# differsfrom an Eb).48This implies something like mean-tone, though, as Telemann49pointed
out (describingthe system as late as 1767),it is not a
tuning 'basedon any keyboardtemperament;rather,it
displaysthe sounds found on unrestrictedinstruments
likethe cello,violin, etc., that can playpurelyin tune..
Tuning is and was different on keyboardinstruments
and other kinds of instruments, because keyboards
normallyhave only 12 notes availableper octave.5"
The need for flexibilityin tuning on an oboe of the
periodinfluencedits proportionsand design.The size of
the tone-holes determines the amount of resistance
against which one plays. Of the three oboe types discussed here, the Loree has the biggest tone-holes and
thereforeoffersthe leastplayingresistance.As a result,it
requiresa relativelystiff,thickreedto balancethe lackof
resistance(a relationshipnot unlike that of the shawm,
to which it is in that sense a throwback).Thatstiffnessin
turn causes the reed to be relativelyinflexiblein intonation and dynamics.Inflexibilityis turnedto advantage
on the 20th-centuryoboe by making it exceptionally
stableand loud, two qualitiesof greatimportancein the
modern orchestra.But everygain has a price:dynamics
on most modern woodwinds,includingthe Lor&eoboe,
are comparatively 'muscle-bound'; change must be
gradual.The usualtreatmentof dynamicsthatis familiar
56
EARLY
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FEBRUARY
to any modern player is to superimposea crescendodecrescendo over a series of many notes, known as a
'phrase'.(This automaticallyimplies long phrases, in
which one note is perceivedas the 'climax'.)Thispractice
would have greatly astonished Quantz, whose famous
exampleof dynamicsin an Adagio (in his Essaiof 1752)
show changeson the order of four to the bar.
A reedas hardas that used on the Loreewill not function on a Baroqueoboe, because of its relativelysmall
tone-holeswith theirgreaterresistance.And becausethe
softerreed that does work demandsless physicalinvestment, both in breathpressureand embouchurestrain,
the quick nuances of dynamics and intonation
demandedby 18th-centurymusic aremuch easieron the
earlierinstrument.But the tone-holes on the Classical
oboe are even smallerthan on the Baroqueoboe. At the
same time, the bore is much narrower,not unlike the
Loree. The necessaryresult is a reed that is soft like a
Baroqueone, but (to match its small bore) narrowlike
the Loree's.(An ideaof these differencesmaybe inferred
from the relative widths of reeds: the Lor&eoboe's is
about 7 mm, the Classicalabout 8 mm and the Baroque
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Ilk
13 Anon, Portraitof an oboist (?late 18th century,English) (London, Tony Bingham)
EARLY
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FEBRUARY
1992
5;7
higher and moving your fingersup and down as if you
around lo mm.)
Thesumtotalof thesedesignfactorson the Classical were playinga glissandoon the piano without any articoboe (smallertone-holes,bore and reed) combineto ulation at all, this happens among some brass players
makethe high notes respondmoreeasilythanon the and among some woodwind players. But in Mozart's
Baroqueoboe;theyarealsoeasierto hold,evenatpiano time did you not articulate every note one way or
andpianissimo.
music,of course,demandsnot another?
(Classical
onlyhighernotes,butmanymoreof them.)Wherethe
oboe differin thisrespectis BRUCE HAYNES You certainly slurred some notes, but
Classicaland20th-century
in their reeds:the small tone-holesof the Classical becauseof that softerreedit'spossibleto articulatewithinstrumentdemanda softerandmoreflexiblereed.
out disturbingthe embouchureso drastically.No oboist
TheClassicaloboe thushas as much (or as little)in likes to tongue, but dependingon how hard the reed is
common with the small-bored,high-pitched,note- you have the possibilityof tonguing more or less. There
specificLoreeoboeasit haswiththe Baroqueoboe.But are a lot of articulationmarksin Classicalmusic, and I
it sharescharacteristics
of each,in a combinationthat guess that therewas a similaramount in Baroquemusic
makesit unique.In my own experience,I havefound but it was not marked. Modern flute playing is more
thatthesingularplayingcharacteristics
andsoundof the legato than Classicalplayingwas.
Classicaloboe are not obtainableon other kinds of
oboes.No otheroboetypehasitsdistinctiveempfindsam DON SMITHERS I don't like using the term 'legato'
of tone;the becausein the Classicalperiod such a passagewould still
gentlenessof characterand transparency
natureof the instrumentanswersthe demandsof the be articulated.
Classicalrepertoryin unexpectedways,and leadsthe
discoveries.
Andif onehastaken JANE BOWERS No, you would slur some notes without
playerto serendipitous
the technicalrisksinvolvedin playingsuchan instru- articulatingthem, even a whole downwardsscale, for
ment,one is inspiredalsoto takemusicalrisksas well. instance.
(That, after all, is the real reason for playing original
instruments:they may be steeped in history, but that
baggage is light compared to the 'schools' or 'great
masters'that are attachedto modern instruments.)
Seen from a historical perspective, all forms of the
oboe, including the modern Loree, can be considered
'transitional',since the instrumenthas alwaysbeen in a
state of mutation: sometimes faster,sometimes slower,
reflectingthe changingdemandsof the music it has had
to playand, ultimately,the spiritof the respectiveerasin
which it has flourished. The revival of Mozart'soboe
bringswith it the chanceto rethinkhow his music can be
played. It can open doors and reveal new insights to
those who are interested.
ROBERTLEVIN One of the pieces Mozart wrote for Wen-
dling was the aria 'Se il padre' from Idomeneo,which
uses the same four instrumentsas the wind concertante
and three of the same players, Wengling, Ritter and
Ramm, and so it is a very useful piece to look at their
abilities. If you look at the way Mozart writes for the
instrumentshere, and look at contemporarypieces, for
instancethe six bassoon quartetsby Ritter,publishedin
Parisat the time that Mozartmet him, those quartetsgo
very high, to a' and b'V,as does the bassoon in Idomeneo, but they do not use the bottom 4th, not below low
E6.Wesee overand overagainthatMozartin his writing
for wind instrumentshas not a vague but an uncannily
precise idea of what all the playerscan do.
BruceHaynesbeganplayingand makingearlyoboesin the
in theHague, DANIEL HEARTZ YOu mentioned the Attwood lessons:
1960s,and taughtat theRoyalConservatory
He
now
lives
in
and
Montreal,
1972-83.
plays in various actuallythe one you mention is a lesson in orchestration,
in
North
America
and
groups Europe,
Japan.He hasjust not instrumentation.Youstopped your quote about the
an
edition
his
book Music for clarinet being useful instead of the oboe just when it got
completed expanded
of
Oboe, and has begun a doctoral thesis on the pitch levels of
17th- and i8th-century music.
Discussion
DONSMITHERS
On the question of articulation, the 20thidea
of
century
breathing and blowing harder as you go
interesting! Mozart says the clarinet is useful instead of
the oboe where the key has too many sharps or flats, and
then the lesson goes on that the clarinet plays only in one
sharp or one flat. Now you might think that's a contradiction, but then Mozart goes on to tell Attwood that
there are four kinds of clarinet instead of the modernEARLY
MUSIC
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FEBRUARY
1992
59
daythree.Mozartalso tells him that the highestnote for
the oboe in the orchestrais d"', so the high f'" in the
Oboe Quartetis an exception. Does he ever go higher
than d"' in the orchestra?
Thereis an e'". at the end of the AdaMARIUSFLOTHUIS
gio in the big Serenadefor Stadlerand in the symphony
K319,and in the 'Paris'Symphonythere is an e"', but
combined with the flutes.
'Theterm 'Lor'e oboe' will be familiarto modernplayersanywhere
in the world. The definitive'modern'oboe type was developedby the
firm ofA. L. Lorde(successorsto Triebert)togetherwith GeorgesGillet; the firm continues to produce many of the oboes used in presentday orchestras.
2SeeB. Haynes,'Lullyand the Riseof the Oboe as Seen in Worksof
Art',EM,xvi (1988),pp.324-38.
3The'syst me 6',developedby FrederickTriebertin the 1870s,is the
directmodel from which the A6 'Conservatoire'Loreedeveloped.See
P. Bate, 'Oboe',New Grove,xiii, p.469-70.
41brigens melden mir die zwey hautboisten (gleichwie ich auch
selbsten eingestehenmus) das ihre 2 hautboi alters halber zu grund
gehen, und den rechtmaissigenTonum nicht mehr geben, wesswegen
EuerDurchl:den schuldigstenVortragmache, das ein MeisterRockobauerin Wienn sich befinde, welchermeines erachtensdissfahlsder
kaindigsteist. weillen nun dieserMeistermit derleyarbeithzwarstitts
beschafftigetist, dermahlenabersich besonderezeit nehmete,ein Paar
gute daurhafftehautboi mit einen extra stuckh auf satz (womit alle
erforderlicheToni genohmen werden kdnten) zu verfertigen,dauor
aber der nichste Prey8 in 8 Ducaten bestehet. als habe EuerDurchl.
hohen Consenszu erwarthen,ob besagte2 h6chst nothige hautboium
erstgemeltenPreyBeingeschaffetwerden dtirfften. . .' (My thanksto
Paul Hailperinfor help in translatingthis ratherdifficultpassage.)
An oboe stamped'ROCKO-BAURWIEN was examinedsome yearsago
by PaulHailperinin a privatecollectionin Kremsminster.It has three
original brass keys and two others added later. The instrument is
turnedin a simplified'Baroque'fashion.Hailperinconsidersits overall
length very short for the period, suggestinga higherpitch than usual.
According to P. T. Young, 45oo00Historical WoodwindInstruments
(forthcoming),three other two-keyedoboes, an oboe d'amore,three
'tenor oboes',six Englishhorns and severalother woodwinds by this
makersurvive.
JosephHaydn:GesammelteBriefeund Aufzeichungen,ed. D. Bartha
(Kassel,1965),p.56 states (1) that no evidence has been found in the
EsterMhzyarchives that the new instruments requested were ever
orderedor received;(2) that the name 'MathiasRockobauer'appears
often in the financesof the EsterMhzy
archives,usuallyin connection
with orders(by the dozen) of 'Mundstiicke'(i.e. reeds) for oboes and
Englishhorns. (If the oboes werepurchased,it is likelythey would have
been used by Haydn for a considerabletime afterwards.)
'If numbersaresubstitutedfor keys (so that one flat= -1, threeflats
= -3, two sharps = +2, etc.) and the total keys are divided by the
number of pieces, the averagefor all oboe solos (sonatas, concertos
and obbligatoswith voice) for the period 1690-1810 was -0.56. (These
figuresare based on solos whose tonalities were listed in B. Haynes,
Musicfor Oboe, 165o-18oo;A Bibliography(Berkeley,1985).) This is
midwaybetweenno flatsand one flat,leaningslightlytowardthe latter.
Oboe solos in the period 1720-50 averaged -0.62; in the period
1780-1810 the figurewas -0.60. By themselves,oboe quartets(a solo
form exclusiveto the Classicalperiod) averaged-0.37.
6Toarriveat this figure,I had to count over 8,000 individualnotes.
Tessituracan be quantitativelyanalysedby assigningnumbersto each
note in an instrument'srange,multiplyingby the length of time each
one is used, and averagingthe result.The averageof ten representative
60
EARLY
MUSIC
FEBRUARY
oboe solos in Bach'scantatasis 14.59,between c"#and d".The figures
for the three movements of the MozartOboe Quartetare 19.82,19.45
and 19.o; the mean for the three movements is 19.32,or somewhat
abovef'#.
7SeeP.Young, TheLookof Music(Seattle,1980), p.146.
8SeeA. Bernardini,'CarloPalancae la costruzionedi strumentia
fiato a Torinonel Settecento',I flauto dolce,xiii (1985),pp.22-6.
9Allyearsarerepresentedexcept1769-73,1775,1778,1785,1786,1790,
1795-6 and 1798. This information is from Young, 45oo00Historical
WoodwindInstruments.
0Of course, instruments were also less standardizedthan today.
Illustrationsfrom the period show three distinct types of oboe with
differentprofiles:(1)highlypronouncedturning,as in the instruments
of Grundmann(illus.i and 2); (2) reducedturning and slimmer outlines (illus.3);(3) models known as 'straight-tops'(for illustrationsof
these, see Haynes, 'Lullyand the Rise of the Oboe',pp.367,371,373,
380).
"I am gratefulto Cecil Adkins for supplyingme with these photographs.An excellentpaintingof the upperpartof a Classicaloboe, with
reed, is Johann Joseph Zoffany's The Oboe Player,at Northampton
Mass., Smith College Museum of Art (shown on the cover of EM,
August 1988).
~2'Sentil'eco ove t'agiri'in Lafinta semplice,K51/46a
'3Thetwo exquisitequintets with glass armonica,K617and K616a
14Mozart
probablywrote the oboe solos in Lafintagiardiniera,K196
(aria3 and the Cavatina,no.22) for Secchi,who was principaloboist
and Kammervirtuos
at Munich in January1775.CharlesBurney,in The
PresentState of Music in Germany,the Netherlands,and the United
Provinces... (London,1773),i, p-172,had commentedthat Secchiwas
'. . . a verygood hautboy,who, if I had not latelyheardFischer,would
have charmedme.'Secchiwas mentionedby many writersof the time,
and is survivedby an oboe concerto. See B. Haynes,Musicfor Oboe,
1650-18oo: A Bibliography
(Berkeley,24991). Most of the oboists cited
here have left compositions for their instrument.
15SeeA. Bernardini,'The Oboe in the VenetianRepublic,1692-1797',
EM,xvi (1988),p.381.
16Fialawas a cellist, gambist and prolific composer who worked at
Salzburgfrom 1778,moving to Vienna in 1785.See J. Piersol, The OetHofkapelleand its WindMusic (Ph.D. diss., U. of
tingen-Wallerstein
Iowa, 1972).
17Mozartthought Ramm was about 35 in 1777 (see letter of 3
December). He had written from Mannheim,where he had first met
Ramm,that he had 'einenhibschen feinen ton' and 'sehrsch6n blast'.
18Mozart,in a letterto his fatherin February1778:'fOrden Ferlendi.'
See Leopold Mozart'sletter of 15 October 1777,and Wolfgang'sof 4
is an arrangement
November.Mozart'sFluteConcertoin D, K314/285d,
of this piece. The Oboe Concertoquicklybecamemore associatedwith
Rammthan Ferlendis(see Mozart'sletterof 15February1783).Beingat
Mannheim, Ramm probablyhad a number of oboe concertos at his
disposal. Mozart called it Ramm's'Chevalde bataille' See B. Paumgartner,'Zu Mozarts Oboen-Concert C-Dur K.V.314(285d)',Mozart
Jahrbuch(1950),p.25.
19InParisin April 1778Mozartwrote a piece for three wind soloists
from Mannheim (J. B. Wendling,Ramm and G. W. Ritter,plus Giovanni Punto) in that particularParisianfashion, the symphonieconcertante,for flute, oboe, bassoon and horn. (The piece is lost, but has
been reconstructedby RobertLevin.It survivesin an alteredform as
KAnh.I,9/297b/Anh.C14.ol. See R. D. Levin, Who Wrotethe Mozart
Four-windConcertante?
(New York,1988).TwoyearslaterMozarthad
occasion to writethe aria'Se il padreperdei'in Idomeneofor the same
Mannheimplayers,now at Munich. Mozartalso began another concerto for Ramm (K293/416f) in the autumn of 1778 (see Levin,
pp.2-3), but it survives only as a fragment. Cf. also 'Popoli di Tessaglia'below.
2oSeeB. Haynes,'TheOboe Solo before18oo:A Survey',Journalof the
InternationalDouble Reed Society (1989), pp.7-14. The quartet was
1992
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a'9 'At
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Mozart'smarriagecontract,3 August 1782(BritishLibrary,Zweig69)
EARLY MUSIC
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FEBRUARY
1992
61
writtenimmediatelyafterthe firstperformancesof Idomeneo,in which
Ramm was the solo oboist.
2"Popolidi Tessaglia'was written for AloysiaWeber,who was then
18,and primadonna at the Munichcourt opera.Thatthe workwas for
Rammis presumed,since it was finishedat Munich,wherehe was the
solo oboist. There is a possibilitythat it could have been written for
LudwigAugustLebrun(1752-91), who was also in the Elector'sorchestra at Mannheimwhen Mozartvisited (though Mozartdoes not mention him in letters), and at Munich from 1778.Lebrunwas a better
known soloist than Ramm.But he was often touringwith his wife, the
famous soprano FranciscaDanzi.
2 See U.
Toeplitz,Die Holzblaserin derMusikMozartsund ihr Verhailtniszu Tonartwahl(Baden-Baden,1978),p.88and Levin,WhoWrote
the MozartFour-windConcertante?,
pp.176-7.
23SeeB. Haynes,'OboeFingeringCharts,1695-1816'GSJ,xxxi (1978),
p.88
2In Bb, possiblywritten in 1775;at D-HR and D-Rtt
25InF, at A-SEIand H-Bb, Ms c.1800oo
26[? Johann Christian Fischer], The Hoboy Preceptor(London,
c.1800) includesnotes up to g'" in the fingeringchart (p.5). Franqoisfirstoboist at the ParisOperafrom 1786to c.18o9,also a
JosephGamrnier,
member of the RoyalChapelfrom 1784,goes to f'" in the chartin his
Mfthoderaisonnee(c.1800),p.16.ChristianFriedrichDaniel Schubart,
in Ideenzu einerAsthetikder Tonkunst(1806, though mostlywrittenin
the 1780s),p.319,saysthe oboe went only to c'",but adds 'Die neuesten
Meisterhaben noch das drey gestricheneD, E, und F hinzugethan.'
27K179/189a
28Letterof 4 April 1787
29SeeN. Shackleton,'Clarinet',New Grove,iv, p.440.
30One well known example is Mozart'sreplacementof oboes with
clarinetsin parts of the later version of the Symphony in G minor,
K550.
31'Levin,Who Wrotethe MozartFour-windConcertante?,
p.53,citing
an observation by Marius Flothius. Toeplitz, Die Holzblaser,p.182
points out that the two instruments appeared together only
occasionallyin Mozart'sworks.
32Therangeof pitcheson survivingoboes with multipletop joints is
generallyvery small. See P. T.Young, Universityof VictoriaLoanExhibition of Historic Double Reed Instruments(1988), no.28. The two
pitches in question may have been those of the two sections of the
Eisenstadtmusical establishment:one (the Schlosschor)
playedwith a
Baroque organ, the other (the 'Cammer Musique',mostly at Eszterhaiza)probably played at Viennese pitch. See H. C. Robbins
Landon,Haydn:Chronicleand Works(1976),ii, p.82.
33J.F. Reichardt, Ueberdie Pflichtendes Ripien-Violinisten(Berlin
and Leipzig,1776),p.86;trans.in A. Mendel, 'On the Pitchesin Use in
Bach'sTime',MQ, xli (1955),P.471.
34Cf.the pitches of survivingflutes from the period made in Berlin.
Mendel, ibid, quotes Marpurgas giving a Berlin a' = 414 Hz in 1776.
JohannHeinrichLambertreporteda Berlina' = 415.25Hz in 1775,in
'Observationssur les Flittes',Nouveauxmemoiresde l'AcadimieRoyale
desScienceset Belles-Lettres
(Berlin,1777), pp.13-48,quoted in C. Karp,
The Pitchesof 18th CenturyStrungKeyboardInstruments,with ParticularReferenceto SwedishMaterial(Stockholm,1984),p.14.
notes were also addedto the bottom of the rangeby the use of
35Two
extension keys.
36Whatoriginallyled me to learn to play the earlyoboe was when I
(as a playerof the Loreeoboe) firsttried the oboe concertosof Haydn
and Mozarton a recorderand realizedhow much easierthey were to
play without keys.
37A.Bernardini,'Due chiaviper Rossini?Storiae sviluppodell'oboe
a Bologna prima del 1850', IIflauto dolce,xvii/xviii (1987),pp.18-32.
38Theprofile of this instrumentis similarto the Dresden design of
makerslike Grenser,Grundmannand Floth.
39SeeHaynes,'Oboe FingeringCharts'.
4oGrundmanns that mayhaveoriginalextrakeysarelistedin Young,
62
EARLY MUSIC
FEBRUARY
HistoricalWoodwindInstruments,Y numbers 14, 17, 22, 24, 28,
45oo00
46-8; six of these are dated, the earliestbeing 1781.
41Fourother instrumentsmay havehad additionaloriginalkeys,but
this is not certain.SeeYoung,45oo00
HistoricalWoodwindInstruments,Y
14, 17,22 and 24.
42Theinstrumentsarrivedin 1778(see his letter of 6 July1778).It is
interestingthat he complained about the intonation of the English
horns, because Giuseppe Ferlendis(known for his close association
with the instrument)was in Salzburgat that time, and was a friendof
the Mozarts.SinceLeopoldwas not himselfan oboist, in orderto evaluate the instruments,he must have consulted someone whose judgement he trusted.
43Thesetwo keyswere evidentlyconsideredthe most necessaryadditions. As a playerof the Baroqueoboe, I havemore than once thought
the instrumentwould be just about perfectwith the addition of these
two keysfor c'# and the octave.One addsa note otherwisemissing,the
other opens up new possibilitiesin the upper range.Auguste-Gustave
Vogt, the respectedoboe teacherat the ParisConservatoryfrom 1802
until 1853,describedan oboe in his manuscriptMethodepour hautbois
(c.1813) with four keys;the two additionswere for f' and low b.
44Calledthen a Schleifklappe,
and first introducedto make possible
upwardslurs of intervalslargerthan a 3rd.
45Thefirstsuch key we know about appearedon an oboe dated1749
by CharlesBizey (M. Piguetcollection). Grundmannaddedan octave
and c'# keys to an oboe dated 1781 (Young,45oo00
HistoricalWoodwind
Instruments,Y14;coincidentallythe yearthe MozartOboe Quartetwas
written).The next appearanceis 1788. Butthe majority(13) of his oboes
dated after1790 originallyhave only the two standardkeys.
46Haynes, 'Oboe FingeringCharts',p.8o
47JAMS, xxx (1977), pp.254-71
48SeeB. Haynes,'BeyondTemperament:Non-keyboardIntonation
in the 17thand 18thCenturies',EM,xix (1991). In bar 42 of 'Popoli di
mentioned above,the voice has a b6 and a# in the same bar;
Tessaglia',
both the oboe and violin have a' , though the piece is in C minor.The
distinctionbetweenthe two notes was obviouslysignificantto Mozart.
49G.P.Telemann,'NeuesmusicalischesSystem'(1742/3)publishedin
L. C. Mizler, MusikalischeBibliothek, iii (Leipzig, 1752'R1966),
pp.713-19(plustables),and 'LetzteBeschaftigungG. Ph. Telemannsim
86. Lebensjahre,bestehend aus einer musikalischeKlang-und Intervallen Tafel' in Unterhaltungen,iii (Hamburg, 1767); reprinted in
GeorgPhilipp Telemann:Singenist dasfundamentzur Musik in allen
Dingen,ed. W. Rackwitz(Leipzig,1985), pp.266-73.This is a continuation of Telemann's'System'of 1742/3.
50'Weshouldbe less surprisedby [sucha situation]when we remember that from the nineteenthcenturyto the presentday,keyboardand
been tuned accordnon-keyboardinstrumentshave characteristically
ing to differentsystemsof intonation,the keyboardinstrumentsbeing
in equal temperamentand the non-keyboardinstrumentsusually in
some form of quasi-Pythagoreantuning.'Chesnut,p.257.
1992
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I
I
fil
St Stephen'sCathedral,Vienna, from KarlSchiutzand JohannZiegler,Sammlungvon Aussichtender ResidenzstadtWien von
ihren Vorstiidtenundeinigen unliegendenOerten(Vienna, 1780-c.1790)
EARLY
MUSIC
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1992
63