ven in ancient times, a wooden double-reed instrument known as aulos already existed on the eastern shores of the Mediterranean; pictures dating back thousands of years have been discovered in various countries. Made of two cylindrical pipes with a variable number of finger holes, the instrument allowed different notes to be produced. The aulos can be regarded as a distant ancestor of modern woodwind instruments such as the oboe, sharing several similar features and characteristics. Aulos – Concerto for Double Reeds and Wind Orchestra opens with the oboe’s ‘big brother’, the English horn (cor anglais). The beautiful, slightly melancholic timbre of this instrument is especially suitable for lyrical and melodic lines. At the beginning of the work, the soloist plays backstage, sounding from afar, literally as well as figuratively. Thus, one of the original functions of the oboe family is evoked, namely giving voice to the pastoral atmosphere that is traditionally associated with herdsmen and open landscapes. After the somewhat improvisatory introduction, a cantabile part follows that gains a distinctive rhythmic tension with use of irregular time signatures. Here, the range of the English horn is utilized almost to its full extent, whilst the orchestra plays an essential, active role, doing more than merely providing accompaniment. The first movement ends serenely and quietly, which makes the contrast with the second movement all the greater. Following a striking percussion passage, a rather exotic atmosphere is induced by the woodwinds and damped brass. By now the English horn gives way to the oboe, that introduces an oriental-inspired theme. This motif is repeated several times in a predominantly fast movement, in various guises and registers. Then a new contrast follows: during a pseudo mediaeval dance, the solo oboe plays in bombard style. The archaic-like sounds and rhythms take the listener back to the time that the precursors of the modern oboe reigned supreme in our regions. The calm then returns, and in the Meno mosso e caloroso, the oboe is given the opportunity to fully showcase the sonorous richness of this expressive instrument through lyricism and musicality. The exotic theme returns after this cantabile intermezzo, and then the concerto closes with fire and virtuosity. The world première of this work took place in the Concertgebouw Brugge (B) on the 1st of March 2026, for the occasion of the composer’s 70th birthday. The soloist was Bram Nolf, who also commissioned this work. He was accompanied by the Houtlands Harmonieorkest from Torhout, conducted by Nico Logghe. This composition has been made possible with the much-appreciated support of Dr. Jean Van Roy.