The oboe d'amore, less commonly hautbois d'amour, is a double reedwoodwindmusical instrument in the oboe family. Slightly larger than the oboe, it has a less assertive and a more tranquil and serene tone, and is considered the alto of the oboe family, between the oboe and the cor anglais, or English horn. It is a transposing instrument, sounding a minor third lower than it is notated, i.e. in A. The bell is pear-shaped and the instrument uses a bocal, similar to but shorter than that of the cor anglais.
Invention and use
The oboe d'amore was invented in the eighteenth century and was first used by Christoph Graupner in his cantataWie wunderbar ist Gottes Güt. Johann Sebastian Bach wrote many pieces—a concerto, many of his cantatas, and the Et in Spiritum sanctum movement of his Mass in B minor—for the instrument. Georg Philipp Telemann also frequently employed the oboe d'amore. Its popularity waning in the late eighteenth century, the oboe d'amore fell into disuse for about 100 years until composers such as Richard Strauss, Claude Debussy, Maurice Ravel, Frederick Delius, and others began using it once again in the early years of the twentieth century. It can be heard in Toru Takemitsu's Vers, l'arc-en-ciel, Palma, but its most famous modern usage is, perhaps, in Ravel's Boléro, where the oboe d'amore follows the E-flat clarinet to recommence the main theme for the second time. Gustav Mahler employed the instrument once, in Um Mitternacht, one of his five Rückert-Lieder. American composerWilliam Perry uses the oboe d'amore in his film scores, in the third movement of his Jamestown Concerto for cello and orchestra and most recently in his suite Toujours Provence where two are called for. In his orchestration of Mussorgsky's Pictures at an Exhibition, Vladimir Ashkenazy uses the oboe d'amore to highlight the plaintive solo of the Il vecchio castello movement.
Modern makers of oboes d'amore include Howarth of London, F. Lorée in Paris and others such as French makers, Fossati and Marigaux, Italian maker Bulgheroni, Japanese maker Joseph and German makers Püchner, Mönnig and Ludwig Franck. New instruments cost approximately £8,250 at 2016 prices, comparable to the cost of a new cor anglais. This cost, coupled with the limited call for the instrument, leads many oboists not to possess their own oboe d'amore, but to rent one when their work dictates the need. For the same reason, however, second-hand oboes d'amore surface from time to time with very little wear, demonstrating they were well loved.
