Editor's Note: Karl Ventzke of Duren, West Germany is a well-known collector of instruments, an historian and antiquarian.
In Germany in 1927, an "Oboistenbund" (Oboists' Alliance) came into existence quite unobtrusively. It was a musical organization of whose membership and origin nothing had previously been heard. In January of 1928, this association made its presence known to the public by issuing a printed journal entitled "Die Oboe." It was published in Leipzig by the celebrated firm of C. Merseburger.
The prefaces to issues 1 through 3 were signed "G. M." They were, therefore, written by Georg Merseburger, who was at that time the proprietor of the publishing house. One may suppose from this that he was the driving force behind both the formation of the "Oboistenbund" and the publication of the professional journal. Listed on the title page as "co-editors and co-workers" are contemporary oboists of the first rank. For example: Fritz Flemming, Berlin; J. E. Konig, Dresden; P. Ch. Felumb Copenhagen; K. Mille, Munich; L. Bechler Weimar; A. Wunderer, Vienna.
Membership in this organization was to be free of charge to any oboist. It was expected that the projected enlargement and sale of oboe literature would make it possible for the publisher to recoup his considerable outlay for the organization and its newspaper. In later editions, patrons of the association ("Bundesforderer") who had made financial contributions were listed by name.
The aims of the "Oboistenbund" were outlined thus in the preface to the first edition:
1. To make possible the publishing of new compositions and studies as well as new editions of old worthwhile, out-of-print compositions to be chosen for their artistic merit. To found a prize competition for solo or chamber music compositions.
2. To make possible reduced prices for all members by means of subscriptions. To make payment easier by means of an installment plan.
3. To publish from time to time a journal entitled "The Oboe," free to members.
4. To supervise and carry out suggested changes and improvements in the instrument.
5. To do historical studies.
6. To support greater interest in the use of the instrument in solo, chamber and amateur music making.
In each issue the recruiting of new members was emphasized as a necessity in the accomplishment of these aims. However, a question remains as to whether or not the "Oboistenbund" actually grew from "not yet 100 addresses" around the end of 1927 to 1000 in October of 1928. In November of 1929, 1200 members were mentioned, but of these only 30 had renewed their subscriptions! There were constant references to the critical state in which the association was finding itself, owing to the "serious economic difficulties" which were then prevalent everywhere.
In February of 1930, 1400 oboists were supposed to have received the journal. In contrast to this ostensible increase in circulation was the small number of active supporters among the membership. Could it have been the fault of the general dearth of income in those times of unemployment? Did the reason lie in a lack or interest, or in excessive self-interest? The number of active participants in the undertaking was so small that with the 9th issue, January 1931, publication ceased because of financial difficulties.
Of special concern to the German "Oboistenbund" was the promotion and publication of valuable additions to the repertoire. For that purpose, an "Artistic Committee" was established. It consisted of the following: Professors Wunderer (Vienna), Mille (Munich), Flemming (Berlin), Konig (Dresden), Lauschmann (Kiel), and Gleissberg (Leipzig). As the committee's first offering, Richard Lauschmann issued the "Oboe Concerto" written in 1802 by Chr. Fr. Gottlied Schwenke (1767-1822), and "Six Chamber Pieces for Oboe" by Arthur Johannes Scholz. Other compositions were examined by the committee and suggested for publication.
There were occasional meetings of the "Oboistenbund" in the larger cities: Berlin (45 members), Vienna (22 members), for example.
"Die Oboe" appeared in nine editions with altogether 112 consecutive numbered pages. The format was 29 x 23 centimeters with double-spaced type. Each issue contained advertisements of available oboe compositions offered by German publishing houses, as well as solicitations by instrument manufacturers for the sale of oboes, cane and accessories (i.e., "gouging machines with adjustment screw"). Fairly regularly, letters and announcements from readers were published, mentioning state funded concerts and chamber music performances in which oboists participated.
Informative articles dealt with questions of pedagogy, construction, history and performance practices of the instrument. The following is a survey of the longer articles, listing author, title, and issue number.