Not content with learning one instrument, the inevitability of this project is that there’s always so much more to discover – welcome the oboe d’amore!
Thankfully the d’amore has the same fingerings as the oboe but I have been experiencing many difficulties which might be interesting to anyone wanting to give it a try. The oboe d’amore is a minor 3rd lower than the oboe so is in the key of ‘A’. J.S.Bach was a great fan of it because it could play much more easily in certain keys than the oboe and has a darker, more woody character. If you can play baroque oboe it’s almost a given that you should be able to double on oboe d’amore!
The main challenge is the sheer size of it….
If you have small hands then tough luck. The spacings between holes are much wider than the oboe so you have to stretch out and make sure that you’re completely covering the holes. The first few times I tried it involved lots of squeaking as I couldn’t get the hang of the new hand shape and the basic intonation is slightly different as well. You have to be much more flexible with embouchure and give loads of support in the higher octave with a few more ‘false’ fingerings for safety. All the basic premises are the same but everything needs more accuracy to avoid bum notes!
To get a feel for the instrument I began working on Bach’s Concerto in A major BWV1055 (played here by Lucas Navarro) which was potentially a step too far initially! Even basic things like half-holing D and Eb became more of a challenge. But with more practice this will change fast and I’ll be able to explore the gorgeous colours the instrument can create.
The annual chamber music festival took place at the RNCM from the 9th-11th of January 2015, and this year it featured a few performances on Baroque instruments, which both of us took part in. Throughout the festival several of Zelenka’s ‘Lamentations’ were performed alongside some contemporary works, and there was also a performance of Biber’s ‘Battalia à 10’, directed by head of Historical Performance Roger Hamilton. Here is a short clip of the Biber I played in, where the performers are encouraged to stamp their feet, tap their bows, or even attempt to hit each other over the head as one of the viola players demonstrated!
As it was our first try at playing the instruments in public we were slightly apprehensive, but the concerts went really well and were very enjoyable to play in. The baroque violin in particular took a bit longer to tune on stage, and also seemed to slip a bit in the performance, but perhaps this just made the performance a bit more authentic..!
It was the piece by Zelenka that Amy and I both got to play in together, which was one of the beautiful Lamentations for solo voice and instrumental accompaniment. We both discovered how much you have to listen to, and also watch, what the singer is doing to be able to play together and imitate the different phrases they sing. Similarly, the ‘cello and harpsichord players have to be completely in sync with the bass line.
We were very pleased to get this opportunity to perform on our baroque instruments, and we’re really looking forward to the next time – a ‘Louis XIV’ concert at the RNCM on the 1st of March. Watch this space!
Back in October our trio had a coaching session with RNCM staff pianist and historical performance expert. We took our non-Handel trio (see previous post) and got some great tuition on general style and 18th century culture.
One of the main things Harvey mentioned was ‘playing the bass line’ ie. the harmony directs how melody is phrased. You have to think vertically as well as horizontally because harmonic patterns shape the contours of the melody. This meant Caitlin (cello) and Harvey being very aware of each other and listening to how they’re shaping the bass line or how they’re using articulation and bow stroke etc.
On a less serious note, we weren’t fully getting the right style or mood of the piece and so Harvey thought it would be useful to think about how culture worked in Handel’s lifetime (1685-1759). The inside lid of the harpsichord had a beautiful painting of gentlefolk lounging around in powdered wigs and opulent clothes. This was an age of pleasure for the upper classes and emerging middle classes, who wanted musical entertainment in their homes in the form of small chamber groups, like our own. Everything was stately, savoured and washed down with enormous amounts of food and wine. Harvey recommended we read ‘The Diary of a Country Parson 1758-1802’ by James Woodsforde to see the typical menus laid on every day, understand the comfort they experienced and the quantity they consumed.
With this in mind, our playing really did change – we settled into the piece more, were less frantic and perhaps more joyful in our approach. Just like an actor, if you’re aware of the context surrounding the text, it adds a richness and depth to your interpretation.
As part of our Baroque learning experience, we thought it would be a great idea to set up a little chamber group to get used to playing with each other, learning more repertoire, and improving our sense of pitch. Therefore we teamed up with a fellow student, Caitlin, who’s learning baroque cello and got going with some Handel trio sonatas. We’re hoping that one of the students learning harpsichord might be able to play some continuo with us in the near future but it’s obviously very challenging to learn the art of figured bass!
Our first rehearsal was great fun and we spent a long time just tuning our instruments. The violin and cello gut strings are prone to much slipping so we needed frequent tuning breaks! It was good to know that all three of us are at the beginning of our period instrument journies, so there was no pressure to be perfect already as we all have our personal problems to improve on first.
I thought that Handel would be a good place to start because his sonatas are not too virtuosic and he’s a composer we have all played a lot on modern instruments, therefore understanding his musical style. However, the first set of trio sonatas I found and we rehearsed turn out not even to be by Handel! My teacher, Tony Robson, says they’re only attributed to him and don’t show enough Handelian style to be true. How annoying! But they were relatively simple so gave us a chance to improve our ensemble skills.
We then moved on to another Handel sonata, op.2 no.8 recommended by Tony which is undoubtedly by Handel. It’s much more complex harmonically and has beautifully intricate melodies passing between the two instruments. We’re now looking to explore a new composer….any suggestions?
My name is Kirsty and I have also recently started to delve into the past and study the baroque violin. After dabbling in playing a lot of baroque repertoire on my modern set up, I decided to take the stylistic aspects of the music a bit more seriously this year, playing on an instrument similar to one that might have been used at that time. Luckily for me, the RNCM provided me with a beautiful Andre Mehler violin and a Baroque-style bow, and also with some lessons from Polly Nobes, who has previously led the Academy of Ancient Music, and Annette Isserlis, a founder member of the Orchestra of the Age of Enlightenment.
Here is a picture of the violin, and another showing the maker’s stamp on the back:
Needless to say I was excited to get going, however it quickly became apparent that there was a lot for me to learn! While the baroque violin looked fairly similar to my own modern one, there are a few significant differences. For example, the lack of a chin rest or shoulder rest to secure the violin in place means that your left hand needs to crawl around the instrument, as opposed to playing on a modern instrument where the violin stays put under your chin and your left hand is fairly free to move around. Also, the strings made from gut as opposed to synthetic materials, which produce a very different sound, and also look quite different too:
These differences made it harder for me to shift to different notes, and even just play them in tune to begin with! Additionally, whilst the shape of the baroque bow inherently made playing in the right style easier, it feels a lot lighter than my modern bow, and therefore requires a very different type of control. Polly has given me a few exercises to work on these different aspects of playing the instrument, and hopefully I’ll be able to update this blog with my progress…
However the instruments themselves aren’t the only thing we will need to learn about during this project, and Amy and I are looking forward to exploring much of the repertoire and tradition surrounding Baroque music, and continuing to share what we learn here!
Hello and welcome to our nerdy baroque blog! My name’s Amy and I’ve begun the long journey of learning the baroque oboe – a very difficult instrument! I thought it would be an excellent idea for getting inside baroque music and seeing how the instrument lets you play the music of that period. Thankfully the Royal Northern College of Music have provided me with an instrument seen here…..
It’s a Stanesby model made by Richard Earle of the Orchestra of the Age of Enlightenment and is absolutely beautiful! Tony Robson, former principal of OAE, has been giving me lessons and generously provided me with reeds, cane, music, reed case etc. etc…..
Where to start? That was the big question beforethe summer holidays when I took the plunge…I wasn’t sure how to go about learning the different fingering system or even begin to understand the many varied national styles of playing from that period. I had half a lesson before the holidays to make sure I could make a noise on it and I literally felt like I was back at Grade 1 wondering what the fingering for A was. It took a long time for me to get my head around and I spent hours on scales and arpeggios, much to my poor parents’ dismay, trying to get the right finger movement and position.
Compared to modern oboe, your hands have to be much flatter and horizontal to the oboe because of the ‘double holes’ which you slide about on.
Also, reeds (dare I mention it) provided another challenge. They’re much wider and larger than modern reeds and you need to keep them further out of your mouth to ensure that the 1st octave notes don’t squeak. Also, embouchure has to be very loose or else you go very sharp and the bottom notes don’t speak. I’d advise lots of practice with a tuner (a semitone lower, 415) and checking every 10 minutes where your pitch is as it’s very easy to creep up closer to modern pitch.
Squeaks were a real problem, and still are sometimes,because to jump up the octave there is no octave key but it’s about air pressure and embouchure, much like the flute. Coming in on a 1st octave E-A was probably the hardest thing I’ve faced so far as you have to get used to the feeling in your core of preparing for more support and air.
Check out the OAE website as it has a great page on the history of the oboe and watch out for future posts that might be helpful if you’re wanting to get to grips with the instrument.