Paul van der Linden

Baroque oboes

Historical wind instruments since 1981

I studied recorder and baroque oboe at the Royal Conservatorium in The Hague. I received the diploma “uitvoerend musicus” for recorder under supervision of Ricardo Kanji in 1984. 1986 was the year I obtained “aantekening” Baroque oboe with support of Ku Ebbinge.

My interest in the building of instruments started during my starting years of baroque oboe (1981). Frederick Morgan, Bruce Haynes and others have taught several courses at the conservatorium in those years. The Conservatorium has opened its own workplace in cooperation with Ricardo Kanji and Peter van der Poel amongst others, in first instance for repairing instruments. This has grown out to a complete workplace which has helped several builders of instruments to start there own workplace. Some of my colleagues were Jacqueline Sorel, Marten Root and Peter van der Poel. After a year my interest grew so much that I independently set up my own space with all the needed equipment and machines.

The first ten years the activities were mostly aimed at the building of recorders. Since 1990 the interest has increasingly shifted to baroque oboe, because I wanted to make what I played most in concerts. Because of that I have build solely baroque oboes for several years.

Since 1984 I have worked at many orchestras as baroque oboist and sometimes as a recorder player. Some of these orchestras are “Les Musiciens du Louvre”, “The Amsterdam Baroque Orchestra”, “Wiener Akademie”, “Les Arts Florissant”, Concerto Köln and many others. Important ensembles are Ottetto Amsterdam and baroque ensemble "Les Echos". At the moment, part of my activities besides building and playing oboes is the organisation of the Baroque Orchestra Florilegium Musicum which has specialised in the accompaniment of choirs. We play approximately 40 concerts a year. These activities in the organisation and the playing of baroque oboe could have the consequence that the planned delivery time of orders has to be postponed.

In conclusion I have to mention that for several years now the cooperation with Piet Dhont has led to many new insights and inspiration. For me he has been one of the pioneers on the area of making of historical oboes. I sincerely hope that we will be able to exchange our experiences repeatedly in the future.