Pastoral oboe. Nominal pitch: F.

Triébert

(Note: Each icon above opens in a new tab.)

Alternative Title

Hautbois pastoral.

Instrument

Dessus de musette

Instrument Family

Wind

Maker

Triébert

Place Made

Paris ; Europe ; Western Europe ; France

Date Made

Circa 1860

Description

Technical description: Rosewood with german silver keys [and reed well lining]. Built in two sections with a separate bell, the bell socket is unlined. The low B key and the B♭ and C keys are levers, all other keys are axles. System: Simple system L0: 8. L1: T. L2: T. L3: T. L4: G♯; low B. R0: sup. R1: T; B♭; C. R2: R. R3: R; F. R4: low C; C♯; E♭. Keyhead type: saltspoon. Keymount type: pillars. The metal lining for the reed well is missing. General usage of type: The pastoral oboe was introduced by Triébert in the 1850s as small instrument pitched a 4th, 5th or minor 6th higher than the ordinary oboe, but with the same mechanism and fingering. The makers intended it to provide a colourful voice for the military band (the ordinary oboe being hardly able to compete with the heavier band instrumentation then developing) and as a dance band and amateur instrument (to provide a bright, catchy sound for bucolic 'characteristic' numbers). However, bandmasters preferred instead the soprano saxophone and amateurs, when they used any such instrument, appear to have been content with the simpler and cheaper musette. Hence very few pastoral oboes were made; as with the musette, the fact that they are small and well-made has led to their becoming over-represented in collections. However, although their initial launch as a new product failed to generate a viable market, the design concept may well have been well executed: a re-appraisal of their musical potential could lead to interesting conclusions. General literature references: Baines 1957, p.327 and p.330. Usable pitch: Diapason Normal. Performance characteristics: Because of the missing reed well lining it is necessary to play with the reed pulled out 1mm. Using a modern musette staple(supplied by Patricola) and a cane shaped slightly wider than for a modern oboe, the response is precise, the intonation is good and the full compass up to fingered D₆ (sounding G₆) can be obtained.The tone quality is strong and pleasant, darker than that of (3016). Specific literature references: Kampmann 1986, pp.48-49 No. 57. Illustration references: Vol. 1 p.77; Kampmann 1986 p.XXXII No. 57. Previous ownership: Ex- Bruno Kampmann Collection. Current ownership: Lent by A. Myers.

Other Information

General usage of type: The pastoral oboe was introduced by Triébert in the 1850s as small instrument pitched a 4th, 5th or minor 6th higher than the ordinary oboe, but with the same mechanism and fingering. The makers intended it to provide a colourful voice for the military band (the ordinary oboe being hardly able to compete with the heavier band instrumentation then developing) and as a dance band and amateur instrument (to provide a bright, catchy sound for bucolic `characteristic' numbers). However, bandmasters preferred instead the soprano saxophone and amateurs, when they used any such instrument, appear to have been content with the simpler and cheaper musette. Hence very few pastoral oboes were made; as with the musette, the fact that they are small and well-made has led to their becoming over-represented in collections. However, although their initial launch as a new product failed to generate a viable market, the design concept may well have been well executed: a re-appraisal of their musical potential could lead to interesting conclusions.

Notes

S. Milton, 1993.

Measurements

353.

Provenance

Ex- Bruno Kampmann Collection. ; on loan to the Collection.

Collection

MIMEd

Accession Number

3017

Related Items