Ocarina

Ocarina

So, what is an ocarina? It is the strange name of a wind musical instrument – and means ‘little goose’ in Italian dialect. Also known as a vessel flute, the ocarina’s chamber has between four and twelve tone-holes and also a mouthpiece which usually projects from the flute body. The ocarina was traditionally made from ceramic or clay. However, this instrument was also made from metal, bone, wood, glass or even plastic.

The ocarina belongs to an ancient family of instruments and is thought to date back to over 12,000 years when ocarina-style instruments were very popular in areas that were Mesoamerican (southern North America and Central America) or Chinese. It went on to only be popular as a toy instrument in European communities.

If we fast forward a bit, we discover that our modern European ocarina originates from the 19th century. A young Italian called Guiseppe DONATI (1836-1925) from Budrio, not too far from Bologna, decided to change the toy ocarina into a more complex and comprehensive instrument, inventing thereby the classical ocarina. His was a ceramic wind instrument that used the Helmholtz resonator (another story!) to actually produce sound.

There are a number of different types or styles of ocarinas and they vary in the number of holes and shape. Perhaps the most well-known is the transverse (sweet potato) type like the one DONATI invented. It is normally round in shape and you use two hands to hold it horizontally. It is played by opening one more hole than the previous note in order to ascend in pitch. They tend to have 10 or 12 holes. Their range is between an octave plus a fourth and an octave plus a minor sixth.

There are also pendant ocarinas which are worn as the name says… like a pendant. The fingering for these was invented by the Englishman John TAYLOR in 1964.

Inline ocarinas tend to be oval-shape or rectangular and when played the ocarina points away from the player. The fingering seems to be identical or at least similar to the transverse ocarina fingering.

Things of course had to get complicated… with double and triple ocarinas. These are ocarinas with more than one chamber. So, in other words, two ocarinas are moulded into the same body but there are two separate sets of tone-holes and two mouthpieces. This means that multiple notes can be played at once, expanding the instrument’s range. These multi-chambered instruments can be made transverse, inline or pendant style. A transverse double ocarina plays two octaves plus a minor third. A transverse triple ocarina can play with a range of about two octaves plus a minor seventh.

If that weren’t complicated enough… in the late 19th century, keys and slides were added. This would make it easier for the players to reach certain tone-holes or notes.

What it is clear in the end is…. it’s not a good idea to drop an ocarina. It will probably never be the same again!

Budrio double ocarina
Felix Esterl – Junger Mann mit Okarina ca. 1925
LIBRARY OVERVIEW

Flute – KLEMM, Carl August

This beautiful ebony flute was completely restored.It is stamped with the marks of Carl August KLEMM (1769-1830). He was born... read more

Bass ophicleide – A.G. GUICHARD

This bass ophicleide was made perhaps around 1840 in Paris by the August G. GUICHARD workshop. This important maker would... read more

Fife – CAHUSAC, Thomas Sr.

This boxwood fife is very old indeed. It was made around 1780–90 by one of London’s famous instrument-making families –... read more

Emil Rittershausen – Boehm flutes made in Berlin

Who better to make Boehm flutes than a flute maker who received first-hand training from Mr. Boehm himself? Carl Emil... read more

Schwedler-style flute – ADLER, Robert Oswald

This Schwedler-style flute was made by Robert Oswald ADLER (1865-1946). ADLER is another famous surname in German woodwind instrument making.... read more

Reform flute – V. Kohlert Söhne with Pupeschi system

This reform flute was made by V. KOHLERT SÖHNE. The Kohlert company was founded in 1840 by Vincenz Ferarius KOHLERT... read more

Flicorno – ROTH – CONTINI

Ever seen a flicorno before? We haven’t! This really special combined B-flat & F flicorno is one of a kind!... read more

Bassoon – HUITTL, Ignaz

The maker of this bassoon was Ignaz HUITTL. He was active making instruments around 1800 in the city of Kraslice... read more

E. Rittershausen, Berlin

One of the beautiful stories of mythology tells of the way the first musical instrument was suggested. As the story runs, as Orpheus was walking along the shores of the sea, his foot struck a reed that had been cast up by the waters, and had dried in the sun. The reed gave forth a soft, sweet sound as it was made to vibrate by the stroke of Orpheus’ foot and the result was the lyre or hand-harp of the ancient Egyptians. A similar story, and probably the same one adapted to the wind instruments, is that of Lucretius which says that “the simple flute had its origin from the breathing of western winds over certain reeds,” and thus was suggested the musical pipe, or simple tube, which has developed into one of the most fascinating of instruments.

The most elaborate and beautiful collection of flutes ever displayed in the United States, and probably in the world, was seen by visitors to the German section of the Columbian Exposition. The display was that of E. Rittershausen, of Berlin. It was arranged in a large, square glass case, and consisted of flutes made of various woods, of Ebonite and of sterling silver. The Rittershausen flutes are the standard of the world, and have received the indorsement of the best performers upon this favorite instrument. Until 1832 the flute was not regarded as a perfect instrument. In that year Theobald Boehm, of Munich, brought the instrument to such a degree of perfection as to make it one of the most prominent of orchestral and solo instruments. The Rittershausen flutes are made exactly upon the Boehm system, and with such wondrous skill and delicacy of workmanship as to have long since become the favorite of discriminating flutists. It is, in fact, the instrument universally referred to when the Boehm flute is desired.

Like the illustrious Boehm, Mr. Rittershausen is also a virtuoso as well as a manufacturer, devoting his entire faculties to the production of a perfect flute. By his own practical skill he is enabled to appreciate the many details and requirements in the construction of such an instrument as is demanded by the most fastidious virtuoso. This, it will readily be seen, is an invaluable consideration in the selection of a flute by a skilled performer. And in the rapid progress of musical culture of America, there are many lovers of the beautiful instrument who are its admirers and enthusiastic students at the present time.

Living in the musical city of Berlin, Mr. Rittershausen is thrown in personal contact with the greatest flutists of Europe, thereby receiving many suggestions from them that are of incalculable benefit in the manufacture of his instruments. The Rittershausen factory is located at 107 Bergmann street, Berlin, and its product has been famous from the establishing of the present business in 1870. Each year adds largely to the number of Rittenhausen-Boehm flutes in use in America, and they have received the highest testimonials from the most famous composers and performers in this country as well as those abroad. The American representative of the Rittershausen flutes is Mr. Carl Fischer, No. 6 Fourth Avenue, New York.

Musical Instruments at the World’s Columbian Exposition – Frank D. Abbottt, Charles A. Daniell – 1895 – P. 200