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The taille, also called the taille de hautbois or the alto oboe, was a Baroque tenor oboe pitched in F. It had a straight body, an open bell, and two keys. [1] The instrument was first used in Alcidiane by Jean-Baptiste Lully in 1658 and in French ensembles known as the bandes de hautbois, in which it played the inner lines of polyphonic ...
The last movement (♩. = 138–144) is marked "très vif" – very lively. The music maintains what Caré calls a frenzy of movement ("frénésie du mouvement"), [20] the piano playing without a single bar's rest, and the "ironic voice" of the oboe contrasting with the bassoon. [21]
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The entrance of the oboe is marked monotone, and the essentially sad music shifts in tonality towards the close. [2] A reviewer from The New York Times described the sonata as a "paradoxical mix of the elegiac, the suave and the clever". [1] Poulenc's wind sonatas share thematic material.
Silvestrini received commissions for chamber music from numerous institutions such as the Festival de Flaine, the Théâtre du Châtelet, the Bibliothèque nationale de France, Musique nouvelle en liberté [], [1] France Musique, etc.
There was an instrument referred to by H. de Garsault in 1761 as the basse de cromorne or basse de hautbois (Finkelman 2001) which was used by Lully, Charpentier, and other French Baroque composers. This apparently was an oboe-type instrument in the bassoon range. It had, nonetheless, a distinct tonal quality of its own.
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 violetwood) and others such as French makers Rigoutat [], Fossati and Marigaux, Italian maker Bulgheroni (who offer instruments in grenadilla, violetwood, cocobolo, rosewood, palisander, and cocus wood), Japanese maker Joseph and ...
The Three Romances for Oboe and Piano, Op. 94 (German: Drei Romanzen) is a composition by Robert Schumann, his only composition for oboe. [1] It was composed in December 1849. The work consists of three short pieces in A-B-A form, and it was written during what was speculated to be one of Schumann's manic episodes .