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{The Brussels Musical Instruments Museum Oboe Collection}
Stefaan Verdegem - Koninklijk Conservatorium Brussel
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IND ?> Inv. number
0964
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CN/NP ?> Common name / Nominal Pitch
Oboe in C
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TS ?> Type or system
3 keys
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MK ?> Maker
Miller, George
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IN ?> Mark, inscriptions
G.MILLER / London / (unicorn head) – on all 3 parts.
- PL ?> Place of origin London
- DM ?> Date of making End of the 18th century.
- MATERIALS Probably boxwood with 4 ivory mounts, and silver or silver plated keys.
- MEASUREMENTS
- Body Length 590mm
- TJ length (body + tenon) 215mm + 27mm
- MJ length (body +tenon) 215mm + 30mm
- B length 159mm
- Acoustic Length 330mm
- BORE
- Minimal bore 5.8mm
- Reed well diameter 8.1mm
- Bore at end of TJ 10.8mm
- Bore at top of MJ 11.7mm
- Bore at end of MJ 16.1mm
- Bore at top of B 19.7mm
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TECHNICAL DESCRIPTION
3 brass keys with octagonal flat flaps, type Young-R.
SATB (springs attached to the body).
Raised key rings not circular.
3rd hole doubled with finger cove.
Bell with 2 vent-holes and inner rim.
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FL ?> Faults
Ivory MJ socket brink broken-off and loose.
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UP ?> Usable Pitch
A = c.415Hz with reed TL 78mm / 2-part staple 59mm (27mm Chiarugi no.2 EH staple + 36.9mm (ø 5mm + 3.3mm) bottom staple) / tip width 9.5mm.
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PO ?> Previous Ownership
Ex-Mahillon V. & J.
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SR ?> Specific literature Reference
Mahillon (R1978) Vol.II p.248–9 ('C.Miller').
Listed in Haynes (2001) p.86, as an example of type-C hautboy.
Listed in Young (1993) p.65.
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GL ?> General literature (about this type of instrument)
Adkins (1996) pp.66–79.
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Comparable instruments
Oxford: The Bate Collection, oboe no.X20.
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Remarks
Maple ("érable ondé") according to Mahillon (R1978) Vol.II p.248–9 and Young (1993) p.165. Boxwood according to Charles Indekeu and Marcel Ponseele.
The keys are almost identical to the Brussels MIM 1978 Anonymous oboe, the latter having only 2. Similarities of the keys with other makers could be explained by the fact that, according to Lasocki (2010) p.102, John Hale was a London key-maker working for many instrument makers of that time. No engravings could be found on the key front. Since the keys could not be taken off we do not know if there are any engravings on the back of the keys.
Adkins (1996) pp.66–79 considers this widespread 'straight top' model to be an 'English Country oboe' that was used to support the psalms in church services in parishes where they could not afford an organ. The simplified straight top was cheaper (because easier to make) than the bulb shaped oboe.
{Miller}
