Op de Haubois of Basson meesterlyk spelen: Contextualising The Roles and Repertoire of Double-Reed Instruments in the Republiek der Zeven Verenigde Nederlanden, 1677–1725

Luis Tasso Athayde Santos

This study seeks to illuminate a body of forgotten repertoire, documented in the Dutch Republic's courts, theatres, military, amateur circles, and churches. Comprising of a dissertation and two appendices, this study explores how double-reed instruments were used in the Dutch Republic in the years 1677–1725, focusing on seven types and sizes of instruments made by Richard Haka (<1646–1705). This critical period in double-reed history marks Europe's transition from the direct descendants of Renaissance-type instruments to the French-style instruments of the high Baroque period. The Dutch Republic, being the origin of one quarter of all pre-Classical oboes and the earliest-surviving datable bassoon, was one of the first places to adopt these French instruments outside of France — though the older forms of double-reed instruments continued to be used throughout the period of study. One could question the need for having so many of these instruments in a region which is largely unexplored in terms of historical performance practice and repertoire. Double-reed players of the Republic served in a variety of capacities and could be found playing several genres of music, but due to the historically-inconsistent use of terminology, determining the exact introduction and extinction of these instruments is nearly impossible; however, by contextualising an array of seemingly-unconnected primary sources and analysing details in the iconography of the period, a more-informed perspective on the matter can be gained.

GLOSSARY

Pitch centre terminology (A±x): in this dissertation, pitch centres are described using terminology coined by Bruce Haynes.^[1] In short, it is based around the concept that “A±0” is A≈440Hz. From there, semitones are added and subtracted. This terminology has been adopted instead of precise hertz as measuring the exact pitch centre of double-reed instruments is dependent on reed and staple/bocal set-ups. Therefore, A-2≈392Hz; A-1≈415Hz; A+1≈466Hz. A-1½ is between A-2 and A-1.

Bocal: a bent, hollow, metal tube inserted into the wing joint of a dulcian or bassoon. A loose reed is inserted onto the end of the narrowest portion of the bocal. The combination of the reed and the length and conicity of the bocal affects the pitch and timbre of the instrument.

Deutsche schalmei (plural, Deutsche schalmeien): literally, “German shawm” in German; a type of European shawm from the seventeenth century with a conical bore.

Double reed: one piece of processed Arundo donax cane, folded over, shaped, and bound to be a reed; a vibrating piece of cane which produces sound for shawms, dulcians, oboes, and bassoons. Instruments which use this type of reed are double-reed instruments.

Fontanelle: a decorative portion of an instrument, used to cover holes which is operated by keys. On most shawms (and some early oboes), this is made from a turned piece of wood. On dulcians and the kleine schalmei, this is a rectangular metal object which is mounted onto the instrument. Richard Haka’s velt-schalmeien have a fontanelle but they do not cover a key, only a hole.

Pirouette: a hollow, wooden, flared tube, intended to surround the reed of a shawm. The lips can be placed on the pirouette to make the reed free-blowing, rather than operated directly by the lips.

Rampjaar: meaning “disaster year”, refers to the year 1672, mainly in relation to the Franco-Dutch War and the Third Anglo-Dutch War. The ongoing wars were part of the reason for the Amsterdam Schouwburg’s closure in 1672 until 1677.

Staple: a hollow, metal tube — generally straight — inserted into the top joint of an oboe. For treble oboes, cane is tied onto the narrowest portion of the staple to make a reed. For larger oboes, a loose reed is inserted onto the end of the narrowest portion of the staple. It is not known which of these options was most common with shawms. The combination of the reed and the length and conicity of the staple affects the pitch and timbre of the instrument.

Velt-schalmei (plural, velt-schalmeien): literally, “field shawm” in Dutch; a Dutch term referring to a local type of Deutsche schalmei.

[1] Haynes, Bruce, The Story of ‘A’.

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Luis Tasso Athayde Santos - Op de Haubois of Basson meesterlyk spelen: Contextualising The Roles and Repertoire of Double-Reed Instruments in the Republiek der Zeven Verenigde Nederlanden, 1677–1725 - 2025