The hired Bulgheroni semi-automatic has to be returned, and we need to be getting an oboe for our son that will go from grade 5 onwards. He's just changed teachers so the rapport hasn't really had a chance to build up yet. I think she will check any choice but it's pretty much up to us as to what level of oboe we get.

Bulgheroni, Marigaux, Fossati and Rigataut seem to be the names I see the most in our country.

My main question is, the sales descriptions are full of 3rd octave keys, forked F keys, LH F keys, lower Bb keys , automatic, semi-automatic, conservatory, thumbplates, closed keys etc. But what does it all mean? What are the differences? What is necessary vs just nice to have? What is not necessary but awkward or limiting without?

Thanks.

Right, what country are you in?! If you're in the UK, there is a fantastic woodwind shop in London called Howarths, and in March or April sometime they have a double reed day, when pretty much every oboe/bassoon/other makers come to show what their products are; I'm going there to get an oboe for grade 8, dead excited about that!! Not having had a deluxe oboe yet, I don't know about all the keys, but if you go to this day, you'll find out and more so, I bet. I'll put a date up when I hear of one.

If you're not in UK, sorry! Can't help you!

There is a lot to this and best to ask her teacher. Some people like the 3rd octave key saying it definitely helps with the very top notes, others not. To me it's something else to go wrong! Conservatoire (continental) and thumb-plate (english) are different ways of fingering around the A to C at the top of the first and second octaves.

The other keys - this is always an issue with oboes, nothing is standard and better to ask the teacher or research the music being played. I play a Howarth S40 which is enough to play grade 8 and still play the contemporary music I like. I would not be unhappy if forced to play Marigaux or Rigautat, have borrowed both while considering the S40. Have not played the other makes.

Kai

Indeed we're not in the UK (we're in the Netherlands) and Howarths don't seem to crop up here very often.

There is a specialist oboe shop 1 1/2 hrs away, but it's by appointment only , not open on weekends, and by the time you get an appointment after school to first have a look, then perhaps the teacher have a look and then a third appointment to have another look/buy.... I thought it might help if first I knew a bit more about what all the descriptions meant.

The shop has both new and second hand - it lists 45 new varieties of oboe before you even begin on the 2nd hands.... Pricewise of course you can knock out the expensive new oboes, but then they reappear as 2nd hands at the same price as the cheaper new ones. - which is why it is all so confusing.

I'm hoping that his teacher will offer a bit more advice before we go looking - but in the meantime, I'd still like to hear any comments any one has !

I have a Marigaux 901, which is absolutely gorgeous. My teacher - who is a professional oboist, having played principal oboe with the Royal Phil amongst things - plays the same model, and she makes it sound stunning. So I can recommend you try one of these if you can

You're probably best off looking for a mid-range to proffesional stanard oboe, though i only have experience of playing Patricola, Howarth and Yamaha oboes, so cant really comment on the makes you mentioned..
If your son has always played on an oboe with covered holes (closed-key) your probably best sticking with this style, as switching from an oboe with covered keys to an open holed instrument can be extremely challenging and frustrating, and has no real advantage as far as i can see.
Its definitely worth considering second hand instruments also, as they tend to be more consistent and settled, unlike new oboes which have a definite 'playing in' period.
good luck with finding an instrument
s xx

Yes I think we'll be going the 2nd hand route.

On their 2nd hand listings they have for a similar price a Marigaux conservatory or a Bulgheroni 101/3 automatic with 3rd 8ve key so I think that's where we'll start with making comparisions. At the next price jump up there is a 2nd hand Marigaux automatic (and Fossati/Loree/Buffet auto's and a Loree con).

Are automatics really an advantage over conservatory? or is it just what you get used to?
Do oboes 'last'? I heard once that after 10 years, they've had it ?

Having played automatic octave instruments all my life, I would strongly advice against getting one -- the only benefit is a slightly simpler technique, but the problems it brings (difficulty in adjustment, lack of options for alternative fingerings) far outweigh the benefit.

Some players get a new oboe every few years while Leon Goossens used the same one for 80 years. I have kept mine for 16 years, so I don't think you have to throw away yours after 10 years. Oboes do tend to deteriorate a bit over time, but at a student level I don't think it's a concern.

Again though, if your son's around grade5 standard, then his technique will be fairly solidly formed, so at this point it's probably worth looking at an instrument on the same system as his current one.. though of course if he finds he prefers another style then switching is fine.. it probably most depends on his feel for the instrument when he tries it to be honest.

As to replacing oboes.. my mum had a student Howarth's oboe, which cost her £100 in the late 1960s. It still works perfectly well now. I think it all depeds on the instrument, and how the wood seasons with time. If you are unlucky then the oboe may deteriorate, but as a rule as long as it is cared for, and serviced fairly regularily, there's no reason it shouldnt last.

s xx

I agree with both the above posts - fully automatic can be a pain and does not help all that much. Also it can stop you using some alternative fingerings and the 'harmonics' oboists play.

A good oboe (of the sort you've mentioned, Marigaux) will last longer than ten years! I still have my old Howarth open-holed S2 and use it for contemporary music for which it is more suited. That is long over ten years old.

Very primitive I understand which makes me smile to think of "professional" oboes today!

Kai.

Thanks very much for explaining about automatics and ageing. That gives me a much better basis !

Tomorrow we finally see the teacher again but in the meantime the shop has come back to me and let me know they hadn't updated their instrument list. and those had already sold...so now I can start all over again. But at least now we know we can borrow some to take back to the teacher so it's starting to sort itself out.

Thanks again for all the helpful information.

Absolutely! One of the two oboes I have is THE oboe that was owned and played by Terence MacDonagh. It's a Gillet system S5 made by Howarth in 1955. Apart from one very tiny repaired crack on the outside of the bell joint, it is in perfect condition and the tuning is impeccable....And imagine how much use it had while he was principal in London orchestras!!

Actually I'm looking at oboe myself. How hard are they to blow?

I can get notes from a clarinet with a plastic 2 1/2 reed, so is this any comparison to an oboe?


S.

Good news. The teacher has now made contact with the shop herself so I don't feel I have to sort it out on my own any more. And she arranged that we can borrow a temporary oboe till something she approved of came up. That's certainly taken the stress factor down many notches! I was having visions of his first youth orchestra concert and no oboe.
Many thanks for all the comments, they've put alot of things into place.