Johann Christian Fischer: Minuet with
Variations for oboe and continuo
Marin Marais: Variations on "La Folia
"for oboe and continuo (1701)
Pierre Danican Philidor: Three Suites
for two solo instruments opus 1, no. 1-3 (1717)
Pierre Danican Philidor: Suite for oboe
and basso continuo opus 1, no. 4 (1717)
Christian Schickhardt: Solo (sonata) for
oboe and continuo (1718)
Thomas Vincent: Solo (sonata) for oboe
with thorough bass, opus 1, no. 6 (1748)
Howard Hanger: Celebration Dance for flute,
oboe, and bassoon
Johann Christian Bach: Quartet in G for
Oboe and Strings
Johann Christian Bach: Quartet in Bb for
Oboe and Str., Quartet in Eb for E. H. and Str.
Giuseppe Ferlendis: Sonata for
English horn and Violoncello
Conrad J. DeJong: Variations on the Spanish
La Folia for woodwind quintet
David Evan Thomas: Quintet for Oboe and
Strings (1984)
Johann Christian Fischer
Minuet with Variations for oboe and continuo (1768)
B&D Publications, 615 West Cotta Ave., Spokane, WA 99204
J.C. Fischer was a German oboe virtuoso of the eighteenth century, best known today for suffering a fatal stroke while performing for the British royal family. A very influential oboist in his day, Fischer extracted this minuet from the finale of his first oboe concerto. It was a popular tune in the 1770s, serving as the basis for Mozart's Variations K. 179.
This edition of the Minuet, like the other works in the B&D catalogue, has keyboard realization by Beverly Biggs and is edited by David Dutton. In this garb, the Minuet is a partial success. It is a jaunty tune with three rather commonplace variations. Although not particularly difficult, it lies almost entirely in the upper register; every phrase climaxes on high d, and the variations suffer from rhythmic monotony, the first variation being continuous triplets and the second, sixteenths. The editor atones in part for the sins of the composer by use of different articulations. As is true of other works from B&D reviewed below, the oboe and bass parts are printed together, making study and rehearsal of these works considerably easier; this is a practice which I commend to other publishers. The preface is interesting and helpful, while the printing is very readable and intelligently laid out, although the bass part (which is constant for the tune and three variations) would be improved by telling the bassoonist how many times he has to play his line. B&D Publications, by the way, is a desktop publishing operation whose parts issue from the Laserprinter in Mr. Dutton's Spokane home. His publications show just how good a home-grown operation can be, with uniformly fine printing and conscientious editing.
All in all the Minuet is a minor but enjoyable work; its outstanding use will be as an encore to more substantial pieces.
Marin Marais
Variations on "La Folia "for oboe and continuo (1701)
B&D Publications
Marin Marais was a French court musician at the turn of the eighteenth century. A virtuoso viol player, his variations are taken upon one of the most popular themes of his day; other composers who composed variations on "La Folies d'Espagne" include Corelli, Albicastro, Salieri, and Conrad De Jong*. Marais' variations were written for viol, although the composer sanctioned performance on the organ, harpsichord, violin, lute, traverso, recorder, guitar and oboe. Mr. Dutton has discarded 9 of the original 32 variations and shuffled the order of the remainder to suit the capabilities of the oboe.
What results is a gem, a work that is difficult for yet eminently playable on the oboe, a virtuoso piece that carries a great emotional impact. My quarrels with this edition are minor; the editor chose not to use the highest register of the modern oboe, although the melody in several variations could logically ascend as high as g; and he employs the comma as a symbol for a short trill from the upper note, a notation that is historically correct but confusing. The basso part is intended for viola da gamba rather than for violoncello or bassoon, and goes below the range of either modern instrument; my 'cellist found this relatively easy to fix with a few judiciously chosen octave transpositions.
But these matters are mere trifles, considering how effective and attractive the piece is. Oboists should place these variations in their recital libraries next to the sonatas of Handel and Telemann; they are a compelling, moving work that with some woodshedding will bring down the house. This is one of the best new pieces for oboe to appear in print in the last several years, and I recommend this music most highly to all serious oboists.
*Variations on "La Folia" by Corelli and De Jong are both available from Josef Marx Music. Corelli's variations, which were intended for alto recorder and continuo, are more apt for the flute than the oboe. They can be played on the oboe but lie rather high, although they work well on the English horn if the solo part is taken down a perfect fourth and the continuo left be. DeJong's version for woodwind quintet is reviewed below.
Pierre Danican Philidor
Three Suites for two solo instruments opus 1, no. 1-3 (1717)
B&D Publications
Suite for oboe and basso continuo opus 1, no. 4 (1717)
B&D Publications
The three duo suites are unpretentious, tuneful music typical
of the Versailles court. Each is in four movements, covering between
them many of the dances of the day as well as three fugues. The
editing and printing are superb. The
music is charming and light, although the third Suite has more
weight than the others. The prices include two sets of parts.
The a minor suite for oboe and continuo is in six movements, ranging from a pathetic opening Lentement to a gracious and too-short Air en Musette in the parallel major. This latter movement, with its "flattements" (fingered vibrati) and drone bass, imbues the entire suite with a provincial charm that is irresistible. The duration is about 11 minutes; technical difficulty is modest, opportunities for embellishment abound, and it will fit nicely into a recital or church service.
Christian Schickhardt
Solo (sonata) for oboe and continuo (1718)
B&D Publications
This is a notable work by a forgotten composer. A German composer and woodwind performer, Schickhardt was quite well known in his day, with his works published in Amsterdam and (illicitly) by Walsh & Hare in London, from whose edition the present copy is derived. The five movements include slow and fast Allemandes, a Courante, a slow Rondeau cum sarabande and a final Allegro which the editor sees (probably correctly) as a gigue. The piece is remarkable for its unusual number and arrangement of movements, and for the blend of French and Italian styles which the pragmatic Schickhardt displays. The music is always tasteful and tuneful, and although it is never particularly difficult, it contains several "technique" passages which will keep most oboists interested.
Thomas Vincent
Solo (sonata) for oboe with thorough bass, opus 1, no. 6 (1748)
B&D Publications
Composed in London in the last years of the Baroque, this sonata is more compact and tightlyknit than any of the works reviewed above. Set in only three movements, it opens with an almost too-stately Siciliana, then moves to a rushing, whirling Allegro. This closes with an astounding trill passage which audiences will enjoy. A brief Minuet ends the work. I like the Solo very much but wish it were longer; perhaps B&D can someday offer us more from this composer's pen.
Howard Hanger
Celebration Dance for flute, oboe, and bassoon
D. Adams Music, P.O. Box 8371, Asheville, NC 28814
This is a brief, bouncy, almost jazzy work, certainly appropriate to its title. It is relatively easy, with the flute part never reaching above top G, while the oboe only once touches A above the staff. Except for a single passage in the bassoon part, it will be easily playable by young musicians. Alternate instrumentation for strings is suggested and would probably be as effective, as the music is not particularly idiomatic for winds. The parts are well printed on Mr. Adams' personal computer.
Johann Christian Bach
Quartet in G for Oboe and Strings
D. Adams Music
This quartet is one of several works edited by Robert Hart Baker in the Adams catalogue, including the Bach and Ferlendis reviewed below. Like the others, it is drawn from the fertile archives of the Paganini Conservatory in Genoa, Italy, and is published here for the first time. It is a well crafted, light-hearted work in only two movements, an Allegro and a 2/4 Allegretto, which really should be played in four. The editor speculates, in his excellent notes, that a concluding minuet and rondo were planned (or have they been lost?); however, Bach's use of the two-movement form in the Eb major/Bb major quartet reviewed below suggests that the choice of this form was deliberate. This quartet stands on its own with only two movements, being of sufficient length (about 7 minutes) and interest to justify performance. The parts are very well laid out but could be edited with more sympathy; for example, abbreviations are used excessively, and the lines of music are of different length, giving the printed page a strangely ragged appearance. The score, in what is presumably the editor's hand, is badly aligned and messy; fortunately, the music goes easily and can be rehearsed without recourse to the score.
Johann Christian Bach
Quartet in Bb for Oboe and Strings
Quartet in Eb for English Horn and Strings
Both edited by Robert Hart Baker
D. Adams Music
These quartets represent the Doubler's Dream-a solo work for
oboe that can be played just as easily and legitimately on the
English horn. The wind parts are identical, with the strings transposed
down a fifth to accommodate the larger instrument. It appears
that the original manuscript parts (again from the Genoese library)
present the soloist in Eb concert, and strings in Bb; Mr. Baker's
editorial decision to present the work in both keys is bold and
logical. The work is similar to the G major quartet described
above, being in only two fast movements. I find the oboe version
more successful as the strings lie a bit low for prolonged comfort
in the English horn quartet. The oboe version is identical to
the spurious Haydn quartet (edition Doblinger), and although Mr.
Adams assures me that no copyright quarrels are likely,
players who already own the Haydn should not bother to purchase
this Bach quartet.
Giuseppe Ferlendis
Sonata for English horn and Violoncello
D. Adams Music
This is the least successful of Mr. Baker's Genoese finds, both in terms of musical quality and of utility to the performer. The Sonata consists of a rather pompous Andante/Allegro and a Minuetto. The cello part is the more interesting, due mainly to its very high tessitura; all but three notes of this part lie within the range of the viola. This unusual combination of timbres gives the sonata its greatest appeal, that being as a specimen of a curious but not particularly useful instrumental combination (similar to the use of English horns in Haydn's symphony 22). Because of its range, the cello part is rather difficult; the English horn's is not. Editing is free and indistinguishable from the original material, a sin which should not be condoned; suggested fingerings in the wind part are neither necessary (anyone owning an English horn should know when to use left hand F) nor correct. Mr. Baker's notes, as always, are exceptionally fine.
Conrad J. DeJong
Variations on the Spanish La Folia for woodwind quintet
Josef Marx Music, 236 W. 26th Street 11 S., New York, NY 10001-6736
This quintet presents an introduction, 8 variations on La Folia, and a final statement of that theme. It is in an appropriately modern idiom (being completed in 1985) and requires good players, but is always approachable for both players and audience. Each member of the quintet takes a turn as soloist, but the real star of this piece is the bassoon; variation 6 has three extended bassoon cadenzas, presenting the bassoonist as a jazz soloist a la Coltrane. Scoring is effective and the horn, often a sticky point in woodwind quintet music, is very well handled, adding weight by intelligent use of its middle register without being overbearing. The parts are of moderate difficulty, the oboe never goes above F and the bassoon, above Bb. The Variations will be best suited for established quintets that wish to expand their repertoire to include an effective and somewhat modern work.
David Evan Thomas
Quintet for Oboe and Strings (1984)
McGinnis & Marx Music Publishers, New York
This is a wonderful piece. It's long enough (15 minutes) to
stand on its own without being fatiguing; lyrical without being
saccharine; challenging without being impossible; and modern without
being problematic. The Quintet opens slowly with an undulating
syncopation in 7/8 time, which comes back in various guises to
serve as the cornerstone of this expressive movement. The second
and last movement is a lively dance which puts the oboist through
his technical paces; string writing is somewhat more restrained
until the climax of the movement, which has fairly aggressive
doublestops in all the string parts. The work is written with
a practiced eye to clarity and will rehearse well; it is a welcome
addition to the oboe's chamber literature.