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The oboe sound is one of the most effortlessly recognised of all orchestral instruments. When played well it has a clear, sweet sound but one which carries well over all but the firmest of textures. This makes it an idealisti instrument for the exposition of tunes within the orchestral setting. Composers have used it is quality for the sounding of galore of the most famous themes in the whole of the orchestral repertoire. The sound, however, does vary more or less from country to country. This is dictated partly by the type of reed used. In Europe we have the full, more or less wooden sound of the German school of playing as well as the much lighter and reedier tone of French oboists. The English sound is a sort of hybrid of the two, having a reasonably full sound but with a lighter timbre than the German tone. What we many times refer to as the “English sound” is ordinarily accredited to Leon Goossens, the great player of the mid-20th century. This tone was passed on through his a great deal of great students such as my teacher, Sidney ‘Jock’ Sutcliffe. Goossens was taught by a German oboist and he took the full German sound but lightened it to develop the sound a great deal of British oboists try to emulate today. In his day, Goossens was likewise highly regarded in the USA where a great deal of players were influenced by his tone. Other countries have their peculiar sounds which may be traced back through their outstanding national players of the last few decades. Within the woodwind family, the oboe is commonly scored beneath the flute and above the clarinet, with the bassoon beneath all three. If you look at a usual orchestral score you will see this order reflected in the layout of the score. Within the woodwind division the oboe sound may either blend with the other instruments or stand alone in a solo capacity. The oboe’s nearest relative within the woodwind family is the bassoon as both have a double reed and a conical bore. The oboe sound is produced and controlled by establishing a remainder amid the pressure of the diaphragm (breathing muscle) and the embouchure (lip muscles). Getting this remainder right is the real mystery of oboe playing. The diaphragm does most of the work with the embouchure providing the finer adjustments. This makes it necessary to have a good breathing technique, an issue which underpins all other techniques. This is not just unfeigned of the oboe but of all other wind instruments too. When played well, with a good breathing technique, the tone of the oboe is a delight. When played with poor technique, the sound may be in a positive manner painful to listen to. Apart from it is use in the orchestra, the oboe has been widely applied in all other fields of music. There are a great deal of fine chamber works including the oboe; – the usual ‘wind quintet’ is made up of Flute, Oboe, Clarinet, Bassoon & Horn. In recent years, the oboe has likewise been much used in the fields of TV and film music. Composers over the years have been attracted to the oboe sound and produced a lot of splendid Sonatas and Concerti for the solo instrument. Copyright (c) 2010 Robert Hinchliffe |
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