Oboe D'amore - Modern Instruments

Modern Instruments

Modern makers of oboes d'amore include Howarth of London (instruments in African Blackwood or Cocobolo wood), F. Lorée in Paris (instruments in African Blackwood or Violet wood) and others such as French makers Rigoutat, Fossati and Marigaux. New instruments cost around £6,500 at 2008 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.

Double reed instruments

(also includes those with quadruple and sextuple reeds; does not include bagpipes)

European classical (modern)	Piccolo oboe Piccolo heckelphone Oboe Oboe d'amore Cor anglais (English horn) Bass oboe Heckelphone Lupophon Contrabass oboe Tenoroon Bassoon Semi contrabassoon Contrabassoon Contraforte Contrabassophone Reed contrabass Sarrusophone Rothphone Tromboon

European classical (historical)	Aulos Baroque oboe Bassanelli Cornamuse Cromorne Crumhorn Dulcian Hirtenschalmei Kortholt Oboe da caccia Pommer Rackett Rauschpfeife Shawm

African traditional	Algaita Rhaita Zukra

Asian traditional	Balaban Duduk Guan Gyaling Hichiriki Hne Kèn Kèn bầu Kèn đám ma Kuzhal Mizmar Nadaswaram Pi Piri Shehnai Sundari Sorna Sralai Suona Taepyeongso Tangmuri Zurna/Surnai

European traditional	Aulos Bifora Birbynė Bombard Catalan shawm Dulzaina Graïle Gralla Musette Piffero Sopila Tárogató Zurla Surma-horn

American traditional	Chirimía Trompeta china

Members of the oboe family

Piccolo oboe Piccolo heckelphone Oboe Baroque oboe Oboe d'amore Cor anglais (English horn) Oboe da caccia Bass oboe Heckelphone Lupophon Contrabass oboe

Read more about this topic: Oboe D'amore

Famous quotes containing the words modern and/or instruments:

“So all that is said of the wise man by Stoic or Oriental or modern essayist, describes to each reader his own idea, describes his unattained but attainable self.”
—Ralph Waldo Emerson (1803–1882)

“Whilst Marx turned the Hegelian dialectic outwards, making it an instrument with which he could interpret the facts of history and so arrive at an objective science which insists on the translation of theory into action, Kierkegaard, on the other hand, turned the same instruments inwards, for the examination of his own soul or psychology, arriving at a subjective philosophy which involved him in the deepest pessimism and despair of action.”
—Sir Herbert Read (1893–1968)