Descripción

[:es]Para los oboístas modernos, comenzar a tocar el oboe barroco presenta una confusa mezcla de elementos conocidos y elementos nuevos. Con este breve manual quiero despejar las primeras dudas que surgen cuando un instrumentista experimentado, que normalmente proviene del oboe moderno, comienza a tocar el oboe barroco, oboe histórico, hautboy como se diría en inglés de la época y obué en castellano antiguo.

Hoy día es el oboe barroco modelo sajón el que se ha estandarizado y extendido, pero no es lo único que se ha estandarizado (igualado, sería más apropiado): la afinación, el temperamento, la digitación, los materiales, la manera de hacer cañas (hasta donde la estandarización permite), etc. A pesar de que lo pretendamos, cuando tocamos el oboe barroco no está sonando como sonaba originalmente en el s. XVIII; ni nosotros tenemos el mismo oído, ni el mismo gusto musical ni las condiciones alrededor de nuestra actividad musical es la misma.

Este manual te ayudará a aclarar las primeras preguntas que te estarás haciendo nada más recibir tu copia de oboe barroco.

Guillermo Beltrán Plumed. Editorial Fusagrafia. Edición en castellano.[:en]When beginning to play the baroque oboe, the modern oboist is presented with a confusing mix of new and familiar elements. In this brief manual, I would like to clear up some of uncertainties that may arise when an experienced instrumentalist (normally someone from the world of the modern oboe) begins to play the baroque oboe, the historical oboe, the hautboy.

Over time, it is the Saxon model of the baroque oboe which has become the most widespread standard. This standardization includes tuning, temperament, fingering, materials, the way of making reeds (as far as standardization allows), etc. Despite our best efforts, when we play the baroque oboe, it doesn’t sound as it would have sounded in the 18th century; we do not have the same musical ear or taste, and the conditions of modern music-making are different.

This manual will help you to answer the first questions that arise as soon as you receive your baroque oboe copy.

English translation by Sarah Bishop. Editorial Fusagrafia.

English edition[:fr]When beginning to play the baroque oboe, the modern oboist is presented with a confusing mix of new and familiar elements. In this brief manual, I would like to clear up some of uncertainties that may arise when an experienced instrumentalist (normally someone from the world of the modern oboe) begins to play the baroque oboe, the historical oboe, the hautboy.

Over time, it is the Saxon model of the baroque oboe which has become the most widespread standard. This standardization includes tuning, temperament, fingering, materials, the way of making reeds (as far as standardization allows), etc. Despite our best efforts, when we play the baroque oboe, it doesn’t sound as it would have sounded in the 18th century; we do not have the same musical ear or taste, and the conditions of modern music-making are different.

This manual will help you to answer the first questions that arise as soon as you receive your baroque oboe copy.

English translation by Sarah Bishop. Editorial Fusagrafia.

English edition[:]