}}The ; ({{IPA-it|ËˆÉ”Ëboe daËˆmoËre|pron}}), less commonly ({{IPA-fr|obwÉ‘ damuÊ|lang}}), is a double reed woodwind musical instrument in the oboe family.Virginia Snodgrass Gifford: Music for oboe, oboe d'amore, and English horn. Greenwood Press, Westport, Connecticut 1983, {{ISBN|0-313-23762-X}}. Slightly larger than the oboe, it has a less assertive and a more tranquil and serene tone, and is considered the mezzo-soprano of the oboe family, between the oboe (soprano) and the cor anglais or English horn (alto).Norman Del Mar, Anatomy of the Orchestra (Berkeley: University of California Press, 1981): 143. {{ISBN|0-520-04500-9}} (cloth); {{ISBN|0-520-05062-2}}. It is a transposing instrument, sounding a minor third lower than it is notated, i.e. in A, so it can also be known as a Mezzo-Soprano Oboe. The bell (called ) is pear-shaped and the instrument uses a bocal, similar to but shorter than that of the cor anglais.

Invention and use

The oboe d'amore was invented in the eighteenth century and was first used by Christoph Graupner in his cantata (1717). Johann Sebastian Bach wrote many piecesâ€”a concerto, many of his cantatas, and the movement of his Mass in B minorâ€”for the instrument. Georg Philipp Telemann also frequently employed the oboe d'amore.Its popularity waning in the late eighteenth century, the oboe d'amore fell into disuse for about 100 years until composers such as Richard Strauss (Symphonia Domestica, where the instrument represents the child), Claude Debussy (Gigues, where the oboe d'amore has a long solo passage), Maurice Ravel, Frederick Delius, and others began using it once again in the early years of the twentieth century. It can be heard in Toru Takemitsu's (1984), but its most famous modern usage is, perhaps, in Ravel's BolÃ©ro (1928), where the oboe d'amore follows the E-flat clarinet to recommence the main theme for the second time. Gustav Mahler employed the instrument once, in (1901), one of his five RÃ¼ckert-Lieder. In his orchestration of Mussorgsky's Pictures at an Exhibition, Vladimir Ashkenazy uses the oboe d'amore to highlight the plaintive solo of the movement.

Modern instruments

Modern makers of oboes d'amore include Howarth of London (instruments in African blackwood or cocobolo wood), F. LorÃ©e in Paris (instruments in African blackwood or violetwood) and others such as French makers {{ill|Rigoutat|fr}}, Fossati and Marigaux, Italian maker Bulgheroni (who offer instruments in grenadilla, violetwood, cocobolo, rosewood, palisander, and cocus wood), Japanese maker Joseph and German makers PÃ¼chner, MÃ¶nnig and Ludwig Franck. New instruments cost approximately Â£8,250 at 2016 prices (roughly $11,885 US), 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. For the same reason, however, second-hand oboes d'amore surface from time to time with very little wear, demonstrating they were well loved (and yet with very little reduction in price over a new instrument).{{Citation needed|date=November 2019}}

References

External links

{{commons category-inline|Oboe d'amore}}
{{YouTube|bAP04hK2IjQ|Demonstration and talk}}, Gonzalo X. Ruiz, Concerto in A major for Oboe, BWV 1055R
List of Compositions Featuring the Oboe d'amore on IMSLP page

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