Its popularity waning in the late eighteenth century, the oboe d'amore fell into disuse for about 100 years until composers such as Richard Strauss (Symphonia Domestica, where the instrument represents the child), Claude Debussy ("Gigues", where the oboe d'amore has a long solo passage), Maurice Ravel, Frederick Delius, and others began using it once again in the early years of the twentieth century. It can be heard in Toru Takemitsu's "Vers, l'arc-en-ciel, Palma" (1984), but its most famous modern usage is, perhaps, in Ravel's Boléro (1928), where the oboe d'amore follows the E-flat clarinet to recommence the main theme for the second time. Gustav Mahler employed the instrument once, in "Um Mitternacht" (1901), one of his five Rückert-Lieder. American composer William Perry uses the oboe d'amore in his film scores and most recently in the third movement of his Jamestown Concerto for cello and orchestra (2007). In his orchestration of Mussorgsky's Pictures at an Exhibition, Vladimir Ashkenazy uses the oboe d'amore to highlight the plaintive solo of the "Il vecchio castello" movement.
Modern makers of oboes d'amore include Howarth of London (instruments in African Blackwood or Cocobolo wood), F. Lorée in Paris (instruments in African Blackwood or Violetwood) and others such as French makers Rigoutat, Fossati and Marigaux, Italian maker Bulgheroni (who offer instruments in Grenadilla, Violetwood, Cocobolo, Rosewood, Palisander, and Cocus wood), and German maker Püchner. New instruments cost approximately £6,500 at 2014 prices (roughly $9,600 US), comparable to the cost of a new cor anglais. This cost, coupled with the limited call for the instrument, leads many oboists not to possess their own oboe d'amore, but to rent one when their work dictates the need. For the same reason, however, second-hand oboes d'amore surface from time to time with very little wear (and yet with very little reduction in price over a new instrument).