Changes

Other members of the family abound but are not normally included in the modern symphony orchestra. They include the “'''[[Heckelphone]]'''" (named after its inventor) with a pitch between the cor anglais and the bassoon but having a different type of sound; the “'''E flat Oboe'''” pitched the same as the clarinet and now rare; and the “'''Tenoroon'''”, a sort of mini-bassoon . The '''[[Oboe d'amore]]''', and the long defunct “'''Oboe da caccia'''” (literally, “''oboe of the chase''”), whilst not members of modern orchestras, are stalwarts of the “authentic instrument” orchestras – [[J. S. Bach]] made extensive use of these instruments, so much so that many of his [[cantata]]s are immediately recognisable by their wonderful and distinctive timbre.

Other members of the family abound but are not normally included in the modern symphony orchestra. They include the “'''[[Heckelphone]]'''" (named after its inventor) with a pitch between the cor anglais and the bassoon but having a different type of sound; the “'''E flat Oboe'''” pitched the same as the clarinet and now rare; and the “'''Tenoroon'''”, a sort of mini-bassoon . The '''[[Oboe d'amore]]''', and the long defunct “'''Oboe da caccia'''” (literally, “''oboe of the chase''”), whilst not members of modern orchestras, are stalwarts of the “authentic instrument” orchestras – [[J. S. Bach]] made extensive use of these instruments, so much so that many of his [[cantata]]s are immediately recognisable by their wonderful and distinctive timbre.

The family has a long and notable history. An instrument that may be a type of oboe is depicted in a 2nd century [[Roman]] wall in [[Scotland]]. By the 16th century there were enough common members of the family to form their own [[consort]]. Their names however bore no relationship to the modern instruments (“''Sharms''”, “''Schalmeys''”, "''Pommers''”, “''Bombards''” “''Curtalls''” and “''Double Curtalls''”; the last two corresponding to the bassoon and contra-bassoon.)

The family has a long and notable history. An instrument that may be a type of oboe is depicted in a 2nd-century [[Roman]] wall in [[Scotland]]. By the 16th century there were enough common members of the family to form their own [[consort]]. Their names however bore no relationship to the modern instruments (“''Sharms''”, “''Schalmeys''”, "''Pommers''”, “''Bombards''” “''Curtalls''” and “''Double Curtalls''”; the last two corresponding to the bassoon and contra-bassoon.)

Oboes and bassoons were frequent soloists in the 18th century. [[Handel]] wrote notable oboe concerti, as did [[Vivaldi]] and [[Tomaso Albinoni|Albinoni]]. [[Mozart]] wrote concertos for both oboe and bassoon and it is from this time that the modern instruments stem. The wind ensemble, be it the classical wind quintet or the village band, could not exist without members of the family. The use of the oboe as the featured instrument in both chamber works (e.g. [[sonata]]s) or [[concerto]]s into this century. Its unique expressiveness was used to full effect by [[Ralph Vaughan Williams]] in his “Ten Blake Songs” for tenor and oboe. Vaughan Williams also wrote a masterful oboe concerto, as did [[Richard Strauss]]. And even in orchestral works not written specifically as solo showcases, there are countless prominent oboe solos which are always highlights of the work; a venerable tradition experienced in [[Beethoven]]'s Fifth Symphony (first movement), [[Brahms]]'s violin concerto (second movement), and [[Samuel Barber]]'s violin concerto (also the second movement).

Oboes and bassoons were frequent soloists in the 18th century. [[Handel]] wrote notable oboe concerti, as did [[Vivaldi]] and [[Tomaso Albinoni|Albinoni]]. [[Mozart]] wrote concertos for both oboe and bassoon and it is from this time that the modern instruments stem. The wind ensemble, be it the classical wind quintet or the village band, could not exist without members of the family. The use of the oboe as the featured instrument in both chamber works (e.g. [[sonata]]s) or [[concerto]]s into this century. Its unique expressiveness was used to full effect by [[Ralph Vaughan Williams]] in his “Ten Blake Songs” for tenor and oboe. Vaughan Williams also wrote a masterful oboe concerto, as did [[Richard Strauss]]. And even in orchestral works not written specifically as solo showcases, there are countless prominent oboe solos which are always highlights of the work; a venerable tradition experienced in [[Beethoven]]'s Fifth Symphony (first movement), [[Brahms]]'s violin concerto (second movement), and [[Samuel Barber]]'s violin concerto (also the second movement).

[[Category:Wind Instruments]]

[[Category:Wind Instruments]]