The period of study concerns a transitionary time in the development of double-reed instruments — that is, the shift from the direct descendants of Renaissance-type instruments to the instruments developed for the French court in the mid-seventeenth century. Consequently, the terminology used to describe said instruments is inconsistent and contradictory. The term hautbois in French can refer to several types of double-reed instruments, specifically to what are considered shawms and oboes in today’s terms.[1] This is still the case today, evident in French texts such as a 2024 auction featuring shawms (Figures 3.1 and 3.2).
As many sources relevant to this study are written in French, tracing the exact moment that the oboe was introduced to the Republic is difficult. However, the presence of French musicians in the Republic[5] may have resulted in the early dissemination of the oboe, at least in Amsterdam.[6]
The Dutch term schalmei (in a variety of spellings) was common within the period of study. The earliest use of a Dutch cognate of the French hautbois was in 1678,[7] with the French term continuing to be used as a loanword throughout the eighteenth century.[8]
In many German-language sources from the Holy Roman Empire, the use of the adjective Französische (or other spellings) confirms that what is being referred to is what is presently considered an oboe, rather than a shawm.[9] Some Dutch-language sources are clear enough to make this distinction (Figure 3.3), including Haka’s invoice, but this is usually not the case. But since there are no examples of lexica using Dutch cognates of the French hautbois to refer to shawms, it can be presumed that sources which only use these Dutch cognates are referring exclusively to oboes.
There are also examples of both terms being used in the same source, implying that these instruments coexisted. Aside from Haka’s invoice, the earliest example of this is a set of military rules for the English and Scottish regiments who were based in the Republic (Figure 3.4), mentioning both oboists and shawm players.
Lexica only complicate the matter of differentiating between shawms and oboes. The earliest relevant such complications are two entries from a 1681 French-to-Dutch dictionary published in Rotterdam:
“Anches de haubois, f. De tongetjens van een Schalmeij.”[19]
“Haûbois, ou Hautbois, m. Schalmeije.”[20]
To further complicate matters, there are also entries which translate non-double-reed instruments as shawms.
“Buccïne, f. Een fluite, of Schalmeijë.”[21]
“Chalemïe, Chalemêlle, f. Chalumeau, m. Schalmeije”[22]
The next mention of double-reed instruments in a dictionary is in 1694, where hau[t]bois is still being used to refer to shawms.
“Anchés de haubois, f. De tonghskens van een schalmeye.”[23]
“Haubois, ou hautbois, m. Schalmeye.”[24]
The same dictionary also suggests that the term “[h]aubois” can refer to a “Basuyn”,[25] a term which may appear to be cognate with the French basson but actually refers to a type of brass instrument, cognate with the term “Buccïne”[26] which was used in 1681 to refer to a flute or shawm.[27]
The third edition of Sébastian de Brossard’s (1655–1730) Dictionaire de Musique[28] was published in Amsterdam by Estienne Roger sometime between 1705 and 1708. This source provides some useful information on instrument combinations, translating between Italian and French.[29]
“BOMBARDO. Espece d’Instrument à vent qui sert de Basse aux Haut-bois. C’est
nôtre BASSON.”[30]
“CORNETTINO. diminutif de Cornetto. […] On les peut supléer par nos Haut-bois.”[31]
“DULCINO, ou Dulcin, ou Dulce suono. C’est un Instrument à vent, qu’on nomme autrement Quart-Fagotto, qui répond à nos Taille sou Quints de Haut-bois. C’est un petit Basson.”[32]
“FAGOTTINO. Diminutif de Fagotto. Veut dire un petit FAGOT, ou Basson.”[33]
“FAGOTTO. Instrument à vent, qui répond à nôtre BASSON, ou Basse de Chromorne.”[34]
“PIFFARO. Espece d’Instrument qui répond à nôtre Haute-Contre de Haut-bois.”[35]
“PIVA. Veut dire Haut-bois.”[36]
Aside from this source and its later editions, there are no mentions of small bassoons and chromornes in the period of study in the Republic. Unlike the kleine schalmei, there are also no surviving examples. It is, therefore, difficult to discern if all of these instrumentation principles apply to music in the Republic, or only in France where the first two editions (1703 and 1705) of this text were published. But although this dictionary uses the term hautbois (consistently spelled as “Haut-bois”), the use of the term basson likely indicates that “Haut-bois” refers to an oboe rather than a shawm. This theory would be further supported by the fact that the words “Haut-bois” and “Basson” tend to be prefaced by the word “nôtre”,[37] just as German-language sources (and Haka’s invoice) categorise shawms of the period as being German instruments whereas oboes and bassoons are French instruments.[38]
A 1709 French dictionary by César-Pierre Richelet (1626–1698)[39] contains a few definitions for double-reed instruments, separating older, obsolete instruments from their more modern relatives by providing a definition for three related bass instruments; the bassoon, the courtaut,[40] and the dulcian. It should be considered that the first edition of the dictionary was published in Geneva in 1680,[41] meaning that not all of the information he provides may be accurate for the Republic in the period of study.
“Basson, s.m. [Gravioris soni tibia.] Instrument de musique à vent & à anche, qui est fait de bois, & est long de quatre piez, qui se démonte & qui sert de basse aux concerts de flutes, de hautbois & un cuivre, au bout duquel on met l’anche lors qu’on se veut servir du basson. Un bon basson vaut bien quatre ou cinq pistoles. (Hauteterre fait des bassons, & montre à joüer du basson & de tous les instruments à vent.)”[42]
“Courtaut. Instrument à anche & à vent; qui a plusieurs trous, & qui n’est autre chose qu’une espece de basson racourci, qui sert de basse aux musettes, & qui a la figure d’un gros bâton.”[43]
“*†Fagot. Espece de grand haut-bois qui se brisant en deux parties, & qui alors ressemblant à deux morceaux de bois liez ensemble est apellé fagot. Mers.l.5. Cet instrument est hors d’usage.”[44]
The term “basson” was first used within the period of study in an anonymous text from 1677, detailing what “Monsr. Be B.” would do to serve and impress his “Juffer”.[45] This included “zingen, en springen, veelen, en speelen den Basson, of Marot.”[46] While it is not known if this source refers to either a dulcian or a bassoon, its association with noble characters may infer that the instrument was one of a certain status.
Richelet also defines the “haut-bois”[47] but there are no mentions of shawms in this dictionary.
A Dutch-to-French dictionary by Pieter Marin includes translations for three relevant instruments, only one of which seems to correspond to other definitions.
“Basson, Muzyk instrument. Un Tuorbe.”[48]
“Hoboo, Muziek instr. Un hautbois.”[49]
“Schalmey, zekere veld-fluit. Chalumeau. M. chalémie. F. certaine flute champêtre.”[50]
Marin associating the term “basson” with theorboes is especially confusing, as is the French translation of “schalmey” where both chalumeau and chalémie are considered appropriate translations. This may explain why Jacques-Philippe Dreux’s (ca. 1670–1722)[51] Fanfares (Book 1 first published in 1704) are described as being suitable for “les Chalumeaux & les Trompettes, propres aussi à jouër sur les flûtes, violons & Hautbois”[52] where “Chalumeaux” could refer to either shawms or the cylindrically-bored single reed instrument known today in English as a chalumeau. As the range of these pieces is generally D4–A5 — a range too large for any size of chalumeau — the only possibility for the range to fit the instrument would be to play it on the soprano chalumeau and transpose a minor third higher, as this size of chalumeau supposedly has a larger ambitus than the other sizes.[53] However, this ambitus suits Haka’s descant velt-schalmeien perfectly, without needing to transpose.
In 1716, Matthias Kramer (1640–1729)[54] published a Dutch-to-German dictionary in Nuremberg. It provides two relevant translations.
“Schalmey, f. Schallmey[55] / Schalmeyen, Schalmey-blasen”[56]
He published another two dictionaries in 1719; a German-to-Dutch dictionary in Nuremberg and a Dutch-to-German dictionary in Amsterdam.
“mond-gat n. Mund-loch it. Mund-stuck. v. mondstuk. | Mondgat van een Fluit, Schalamei, Hoboei &c. Mund-loch einer Flöte, einer Schalmey, Hoboi &c.”[57]
“pyp, Pfeif i.e. Flöte it. Schalmey, it. Hoboi. v. fluit.”[58]
“tongetje, n. Zünglein. […] t Tongetje van een Schalmei, Hoboi &c. das Zünglein von einer Schallmay, Hoboi &c.”[59]
It is curious that the Kramer purports that the terms mond-gat and tongetje can both be used for both the shawm and oboe. This sort of possible inaccuracy may be the because this is not a specialised musical lexicon, rather a general dictionary where industry-specific terms may not be accurate.
The latest relevant dictionary from the period of study is a French-to-Dutch dictionary by l’Académie Française and Pieter Marin, published in Dordrecht and Amsterdam in 1720.
“ANCHE, tuyau de hautbois. f. Tongetje, ruispyp in een schalmey of hoboo.”[60]
“BASSON. m. Basse de hautbois. Casson [sic], bas van de hoboo.”[61]
“CHALEMIE. f. Sorte de chalumeau, fluste champestre. Boere fluit of schalmey, herders riet, herders fluit. / Chanter sur la chalemie. Op de boere of herders fluit speelen.”[62]
“CUIVRETTE. f. Petite anche de cuivre qu’on applique sur les Bassons ou Hautbois, lorsque leur longueur empêche de les emboucher commodément. Koper-tongetje op de Hoboos die te lang zyn om gemakkelyk op te blaazen.”[63]
“HAUBOIS. m. Instrument de Musique assez connu. Hoboo, bekend Muzicaal instrument. Jouer du haubois. Op de hoboo speelen.”[64]
“LANGUETTE d’une Cornemuse, d’un Hautbois. f. La petite piece de cuivre &c, gui se hausse & sebaisse, pour en ouvrir & fermer les trous. Tongetje van een Zakpyp, van een Schalmey, koper tuigje om de gaten open of toe te schuiven.”[65]
Within this dictionary, the French hautbois is translated as both shawm and oboe. Complicating matters is the definition for chalemie, which, in modern terms, simply means “shawm”.[66] In this dictionary, it is seems to be related to three instruments; the chalumeau, the flute, and the shawm. While there is evidently ambiguity around if chalumeau refers to a shawm, Dutch-language sources of the period likely refer to shawms and not a single-reed instrument when using the term schalmei. Chalumeau were certainly present in the Republic, though, as evidenced by estate sales. For example, the estate sale of Michiel van Bolhuis in Groningen in 1764 featured both two “Chalameau[x]” by J[an] Steenbergen (1676?–1733?)[67] and a “Schalmey”. The same sale includes a clarinet by “van Heerde”,[68] meaning that the shawm and the chalumeau were distinct from one another, as well as the chalumeau from the clarinet.[69]
The pastoral association of the definition of “chalemie” in this dictionary can be substantiated by several examples in Chapters 6 and 7, as well as by the anonymous song, Vryagie tusschen een Jonker en een Herderin (1719).[70] At the end of this pastoral song, musicians playing “Schalmeijen” appear.[71] The forty-ninth chapter of Jacob Campo Weyerman’s satirical Den Amsterdamsche Hermes[72] (1723) features a story of farmers’ wives dancing to music played a shawm, trumpet, and violin. It is accompanied by a picture of Hermes playing the shawm for a farmer and some cows (Figure 3.7), with the following epigraph from Lucius Annaeus Seneca the Younger’s (ca. 4–65) Epistulae Morales ad Lucilium.[73]
“Doces me, quomodo inter se acutae et graves voces consonent, quomodo nervorum disparem reddentium sonum fiat concordia. Fac potius, quomodo Animus secum meus consonet, nec consilia mea discrepent.”[74]
The surviving material regarding definitions of double-reed instruments are inconsistent and contradictory, including in modern examples. Some sources refer to both shawms and oboes, while others seem to use the terms rather interchangeably. Later editions of French-language dictionaries are difficult to trust as they do not necessarily reflect the circumstances of the Republic. There is also uncertainty around the chalumeau, as that term was sometimes used to refer to shawms. Additionally, some examples associate double-reed instruments with pastoral scenes.
[1] Haynes, Bruce, The Eloquent Oboe, 6.
[3] Vichy Enchères, ‘Vente aux Enchères: Mercredi 25 Septembre 2024 à 14 H 00’ (Vichy Enchères, Vichy), 5, https://docs.prod-indb.io/2024/09/19/165158_129649944_ bc138a3ef5037fe957a26af435527e23.pdf.
[4] Interenchères, ‘Instruments d Etude’, 2024, https://www.interencheres.com/art-decoration/instruments-d-etude-638957.
[5] See Ahrendt, Rebekah Susannah, ‘A Second Refuge: French Opera and the Huguenot Migration, c. 1680 – c. 1710’ (Doctor of Philosophy, Berkley, University of California, 2011).
[7] ‘Inventaris van alle de goederen ende middelen naergelaten ende metter Doot Ontruymt by Elias de Pommare’ (Amsterdam, 1678), 507, Notariële Archieven Amsterdam, Amsterdam: Stadsarchief Amsterdam, 4088_KLAB09783, 498–535.
[8] For an example from 1795, see Verloop, Gerard, Het Muziekinstrument op de Boekenveiling, 1776–1810, vol. 2 (Schagen: Stichting Collectie Verloop, 2002), 30.
[9] Owens, Samantha, ‘Seminar 2’ (Lecture, Hautboisten 2023, Graz, 16 November 2023).
[11] “Michiel Parent, musician and master of the bassoon, oboe, and flutes — who, for some years, has instructed all enthusiasts of the aforementioned instruments — would like to inform everyone that he makes and sells the aforementioned instruments; bassoons, oboes, flutes, and walking stick flutes, entirely perfectly in the French manner. He, Michiel Parent, not least to all enthusiasts, will continue to play and instruct the same instruments, on a short and thorough method. He lives in Amsterdam, on the Reguliersgracht, between the Heerengracht and the Botermarkt, on the east side.”
‘Michiel Parent’, Amsterdamse Courant, 27 February 1691, sec. Advertentie.
[12] “The Colonels and Captains are prohibited from withholding or keeping payment from any oboist, piper, or shawm player except with the equal consent of all Captains.”
‘Naeder ordre ende reglement, voor de Engelsche ende Schotsche regimenten, zijnde in dienst van den Staet’ (The Hague: Jacobus Scheltus, 1687), 4.
[14] ‘Inventaris Den 9 October 1770’ (Amsterdam, 1770), 307, Notariële Archieven Amsterdam, Amsterdam: Stadsarchief Amsterdam, 10586_NOTD02968, 304–312.
[15] Verloop, Gerard, Het Muziekinstrument op de Boekenveiling, 1776–1810, 2:16, 20–22.
[17] “Hey! Hear the drums play, / the oboes and shawms, too; / violins share / a scene with you, the melody. / The trumpets sound shrill, / the lyres and the flute / sound sweet. / Wants to drink now, / by your booty.”
Westerhoven, Jan van, Zeedelycke en Natuurlycke Gezangen (Haarlem: Izaak vander Vinne, 1716), 88.
[18] “Another group, softly covered, / Shaded from the willow trees, / And elder, and alder, and beech, arouse / The joy of all who come thither; / There flute, oboe, shawm and song, / With soft tones sweetly pair, / And the sweet noise, whether short or long, / Rises to the tone of shrill strings; / A hymn which the quick time / Hastens and binds the heart.”
Willinks, Daniël, Amsterdamsche Buitensingel (Amsterdam: Andries van Damme, 1723), 112.
d’Arsy, Jean Louis and Ende, Casparus van den, ‘Anches de haubois’, in Le Gazophilace de la langue Françoise et Flamande (Rotterdam: Isaac Næran, 1681).
[20] d’Arsy, Jean Louis and Ende, Casparus van den, ‘Haûbois’, in Le Gazophilace de la langue Françoise et Flamande (Rotterdam: Isaac Næran, 1681).
d’Arsy, Jean Louis and Ende, Casparus van den, ‘Buccïne’, in Le Gazophilace de la langue Françoise et Flamande (Rotterdam: Isaac Næran, 1681).
[22] d’Arsy, Jean Louis and Ende, Casparus van den, ‘Chalemïe’, in Le Gazophilace de la langue Françoise et Flamande (Rotterdam: Isaac Næran, 1681).
d’Arsy, Jean Louis and La Gruë, Thomas, ‘Anchés de haubois’, in Le grand dictionnaire françois-flamand (Amsterdam: A. Wolfgang, 1694).
[24] d’Arsy, Jean Louis and La Gruë, Thomas, ‘Haubois’, in Le grand dictionnaire françois-flamand (Amsterdam: A. Wolfgang, 1694).
[25] d’Arsy, Jean Louis and La Gruë, Thomas, ‘Aubois’, in Le grand dictionnaire françois-flamand (Amsterdam: A. Wolfgang, 1694).
[26] Sijs, Nicoline van der, ‘Bazuin - (Blaasinstrument)’, in Etymologiebank (Netherlands: Instituut voor de Nederlandse Taal, n.d.), https://www.etymologiebank.nl/trefwoord/bazuin1.
[29] Malnati, Andrea, ‘Sébastien de Brossard’, Examenapium, 2003, https://www.examenapium.it/libri/brossard.htm.
[30] “Bombardo: a type of wind instrument that serves as a bass for oboes. It is our bassoon.”
Brossard, Sébastian de, ‘Bombardo’, in Dictionaire de Musique (Amsterdam: Estienne Roger, 1705).
[31] “Cornettino: diminutive of “cornetto”. They can be supplemented by our Haut-bois.”
Brossard, Sébastian de, ‘Cornettino’, in Dictionaire de Musique (Amsterdam: Estienne Roger, 1705).
[32] “Dulcino, or dulcin, or dulce suono [sweet sound]. This is a wind instrument, also known as a quart-fagotto, that corresponds to our Taille sou Quints de Haut-bois. It is a small bassoon.”
Brossard, Sébastian de, ‘Dulcino’, in Dictionaire de Musique (Amsterdam: Estienne Roger, 1705).
[33] “Fagottino: diminutive of “fagotto”. This is a small bassoon.”
Brossard, Sébastian de, ‘Fagottino’, in Dictionaire de Musique (Amsterdam: Estienne Roger, 1705).
[34] “Fagotto: a wind instrument which corresponds to our bassoon or bass chromorne.”
Brossard, Sébastian de, ‘Fagotto’, in Dictionaire de Musique (Amsterdam: Estienne Roger, 1705).
[35] “Piffaro: a type of instrument which corresponds to our Haute-Contre de Haut-bois.”
Brossard, Sébastian de, ‘Piffaro’, in Dictionaire de Musique (Amsterdam: Estienne Roger, 1705).
Brossard, Sébastian de, ‘Piva’, in Dictionaire de Musique (Amsterdam: Estienne Roger, 1705).
[39] For biographical data, see Bray, Laurent, César-Pierre Richelet (1626-1698) : Biographie et oeuvre lexicographique, vol. 15, Lexicographia, Series Maior (Tübingen: Max Niemeyer Verlag, 1986).
[40] Like the chromorne, there are no other references to this instrument in the Republic in the period of study.
[41] Petrequin, Gilles, ‘Le dictionnaire françois de Richelet : un « aventurier » de la lexicographie’, L’Information Grammaticale 114 (2007): 5–6.
[42] “Basson: a wooden wind instrument with a reed, and is long, which can be assembled with four parts. It serves as the bass in concerts of flutes and oboes. It has a brass [tube] on which the reed is mounted. A good basson is worth four or five pistoles [a currency]. Hotteterre made and played bassons, as well as all the other wind instruments.”
Richelet, César-Pierre, ‘Basson’, in Nouveau Dictionnaire François (Amsterdam: Jean Elzevir, 1709).
[43] “Courtaut: a wind instrument with a reed. It has several holes and is a type of shortened bassoon which serves as a bass for musettes and has the appearance of a large stick.”
Richelet, César-Pierre, ‘Courtaut’, in Nouveau Dictionnaire François (Amsterdam: Jean Elzevir, 1709).
[44] “Fagot: a type of large haut-bois which can be assembled in two parts. It resembles two pieces of wood put together like what is known as a fagot. This instrument is no longer used.”
Richelet, César-Pierre, ‘Fagot’, in Nouveau Dictionnaire François (Amsterdam: Jean Elzevir, 1709).
[46] “Singing, and jumping [dancing], fiddling, and playing the Basson, or trinket.”
Den Vermakelycken Opdisser, vol. 2 (Hoorn: Jan Claesz., 1677), 101.
[47] Richelet, César-Pierre, ‘Haut-bois’, in Nouveau Dictionnaire François (Amsterdam: Jean Elzevir, 1709).
[48] “Basson: musical instrument. A theorbo.”
Marin, Pieter, ‘Basson’, in Dictionaire Portatif of Nederduits en Frans Woorden-boekje (Amsterdam: Hendrik van Eyl, 1716).
Tuorbe is supposedly a variant of théorbe according to Littré, Émile, ‘Tuorbe’, in Dictionnaire de la langue française (Paris: Librairie Hachette et Cie., 1874).
[49] “Hoboo: musical instrument. An oboe.”
Marin, Pieter, ‘Hoboo’, in Dictionaire Portatif of Nederduits en Frans Woorden-boekje (Amsterdam: Hendrik van Eyl, 1716).
[50] “Schalmey: a certain field flute. Chalumeau. Shawm. A certain field flute.”
Marin, Pieter, ‘Schalmey’, in Dictionaire Portatif of Nederduits en Frans Woorden-boekje (Amsterdam: Hendrik van Eyl, 1716).
[51] For biographical data, see Rasch, Rudolf, ‘Dreux, Jacques-Philippe’, in Grove Music Online, 2001, https://www-1oxfordmusiconline-1com-1000008sm0032.han.kug.ac.at/grovemusic/ view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000008169.
[52] “The chalumeaux and the trumpets. Also appropriate to play on flutes, violins, and oboes.”
Rasch, Rudolf, ‘The Music Publishing House of Estienne Roger: D’Alay–Duval’, July 2018, 27–31, https://roger.sites.uu.nl/wp-content/uploads/sites/416/2018/07/Dalay-Duval.pdf.
[54] For biographical data, see Bray, Laurent, Matthias Kramer et la lexicographie du français en Allemagne au XVIIIe siècle, vol. 99, Lexicographia, Series Maior (Tübingen: Max Niemeyer Verlag, 2000), 17–58.
Kramer, Matthias, ‘Schalmey’, in Grund-richtig-Volkommene, doch kurtz gefaßte Nider-Teutsch-, oder Holländische Grammatica (Nürnberg: Johann Daniel Tauber, 1716).
[56] “Schalmeyen: to blow a shawm”.
Kramer, Matthias, ‘Schalmeyen’, in Grund-richtig-Volkommene, doch kurtz gefaßte Nider-Teutsch-, oder Holländische Grammatica (Nürnberg: Johann Daniel Tauber, 1716).
[57] “Mond-gat: Mouthpiece. | Mouthpiece for a flute, shawm, oboe, etc.”
Kramer, Matthias, ‘mond-gat’, in Het Koninglyk Neder-Hoog-Duitsch en Hoog-Neder-Duitsch Dictionnaire (Amsterdam: Matthias Kramer, 1719).
[58] “Pyp: Pipe, that is flute, shawm, oboe.”
Kramer, Matthias, ‘pyp’, in Het Koninglyk Neder-Hoog-Duitsch en Hoog-Neder-Duitsch Dictionnaire (Amsterdam: Matthias Kramer, 1719).
[59] “Tongetje: The reed of a shawm, oboe, etc.”
Kramer, Matthias, ‘tongetje’, in Het Koninglyk Neder-Hoog-Duitsch en Hoog-Neder-Duitsch Dictionnaire (Amsterdam: Matthias Kramer, 1719).
[60] “Anche: reed for “hautbois” [French] […] shawm or oboe [Dutch].”
Académie Française, ‘Anche’, in Compleet Fransch en Nederduitsch woordenboek (Dordrecht: J. van Braam, 1720).
[61] “Basson: bass of the oboe.”
Académie Française, ‘Basson’, in Compleet Fransch en Nederduitsch woordenboek (Dordrecht: J. van Braam, 1720).
[62] “Chalemie: a type of “chalumeau”, pastoral flute. [French] Farmer flute or shawm, shepherd’s reed, shepherd’s flute. / Chanter sur la chalemie: to play on a farmer or shepherd’s flute. [Dutch]”
Académie Française, ‘Chalemie’, in Compleet Fransch en Nederduitsch woordenboek (Dordrecht: J. van Braam, 1720).
[63] “Cuivrette: a small brass reed [sic] applied to bassoons or oboes when their length prevents them from being played comfortably. [French] A small brass reed for oboes that are too long to play easily on. [Dutch]”
Presumably, this is referring to staples and bocals.
Académie Française, ‘Cuivrette’, in Compleet Fransch en Nederduitsch woordenboek (Dordrecht: J. van Braam, 1720).
[64] “Haubois: a well-known musical instrument. Jouer du haubois: playing the oboe.”
Académie Française, ‘Haubois’, in Compleet Fransch en Nederduitsch woordenboek (Dordrecht: J. van Braam, 1720).
[65] “Languette: such as for a bagpipe or oboe. The small piece of brass etc., which is raised and lowered to open and close the holes. [French] Reed [sic] of a bagpipe or shawm, a piece of brass which opens and closes the holes. [Dutch]”
Presumably, although confusingly, this is referring to keys.
Académie Française, ‘Languette’, in Compleet Fransch en Nederduitsch woordenboek (Dordrecht: J. van Braam, 1720).
[66] Encyclopædia Universalis, ‘Chalemie’, in Encyclopædia Universalis (Encyclopædia Universalis, n.d.), https://www.universalis.fr/encyclopedie/chalemie/.
[71] Het amoureuze lusthof, of ’t vervolg van Thirsis Minnewit (Amsterdam: Jacobus van Egmont, 1719), 22.
[73] “Moral Letters to Lucilius”.
Weyerman, Jacob Campo, Den Amsterdamsche Hermes, vol. 2 (Amsterdam: Jacob Campo Weyerman, 1723), 385, 387.
[74] “You, sir, are teaching me how the treble and the bass are in accord with one another, and how, though the strings produce different notes, the result is a harmony; rather bring my soul into harmony with itself, and let not my purposes be out of tune.”
Translation from Seneca, Lucius Annaeus, Ad Lucilium epistulae morales, trans. Gummere, Richard M., vol. 2 (London: William Heinemann Ltd., 1917), 354–55.
[75] Weyerman, Jacob Campo, Den Amsterdamsche Hermes, 2:385.