| Series |
Oxford early music series
Early music series (London, England : 1976) ^A86514
|
| Contents |
1640-1670: the transition from shawm to hautboy in France. The Renaissance shawm and the protomorphic hautboy ; Related instruments ; Hautboy players at the French court and the Grande Ecurie ; The development of the new hautboy, 1664-1670 ; Music played in the formative period -- The physical characteristics of the hautboy. Surviving original hautboys ; The hautboy's external form ; Bores and tone-holes ; Hautboy pitch ; 'L'anche, qui donne la vie': reeds -- 1670-1700: the spread of the "French hoboye". France ; Italy ; Germany ; England and 'Babtist's vein' ; Other areas ; The hautboy band ; Questions of instrumentation ; The shawm after 1670 -- Playing the hautboy. Training, tutors, and methods ; Holding the instrument and body carriage ; Breathing ; Embouchure ; The sound of the hautboy ; Range ; Fingerings ; Choice of key ; The speaking phrase compared with the Romantic 'long-line' ; Paired tonguing ; Vibrato ; Hautboy intonation and keyboard temperaments ; Technical limitations -- 1700-1730: the international hautboy. Court musicians and Stadtpfeifer ; France ; Italy ; Germany ; England ; Other areas -- Bach and the hautboy. Weimar, Cothen ; Leipzig and Gleditsch ; Larger sizes of hautboy ; Special problems involving pitch ; The lost hautboy repertoire -- 1730-1760: Italian ascendancy and the rise of the narrow-bore hautboy. Italy ; France ; Germany ; England ; Other areas -- Appendices. Hautboy players 1600-1760, indexed chronologically by place of work ; Acoustic profiles ; Pitch information for sixteen representative hautboy makers ; Plate 2.7: Anonymous oil portrait of an hautboist (Berlin: Staatliches Institut fur Musikforschung) ; Partial list of hautboy music requiring mutes ; Collation of fingering charts ; Examples of independent C [sharp] IS ; Collation of trill fingerings ; Pieces possibly for Hautecontre de hautbois ; Music for Oboe Grande. |
| Abstract |
This book is a history of the hautboy, the oboe of the Baroque period. It reflects recent interest in this instrument, which was the first of the woodwinds to join with strings in creating the new orchestra, and had by the end of the twentieth century again become a regular presence on the concert scene. Between 1640 and 1760, this type of oboe underwent dramatic changes in both function and physical form, and the majority of its solo and chamber repertoire appeared. Haynes examines in detail the hautboy's structure, its players, makers, and composers, issues of performing style and period techniques, how and where the instrument was played, and who listened to it. |
| Bibliography note | Includes bibliographical references (pages 491-518) and index. |
| LCCN | 00050419 |
| ISBN | 019816646X |
