The eighth annual meeting of the Society was held on the campus of the Ohio State University at Columbus on August 20, 21, and 22. As the president has commented earlier in this issue, the convention was a great success artistically and as another landmark in the Society's growth. Attendance reached a new high, and an unusually large representation of displays of music, instruments, and accessories added to the general interest and excitement. The beautiful new facilities of the Ohio State Music School, still in the process of completion, made an ideal setting for this exciting event. The entire membership owes William Baker and his co-host, Robert Cochran, a great debt of gratitude. An overview of the oboe-oriented performances by J. Robert Moore, oboe instructor at the University of Oregon and a frequent contributor to these pages, follows. . .
Those attending the 8th annual IDRS meeting enjoyed a varied and interesting three days, for which William Baker and Robert Cochran are to be congratulated. The following is a summary of oboe performances during the three days, including recitals and lecture-recitals.
Recital-IDRS Prize-winning Compositions
Two compositions were awarded prizes, Solo, by Brooke Halpin, performed by Eric Ohlsson, oboe and Carole Mason, bassoon, and Fantasy for Woodwind Quintet, by William Billingsley, performed by The Ohio State University Woodwind Quintet, Adah Mosello, flute, William Baker, oboe, Robert Titus, clarinet, Susan Rankin, horn, and Robert Cochran, bassoon. Both works are in one movement, concise and rewarding additions to any program, in a somewhat conservative style of 20th-century writing. Both works are to be published by Harrison Music Corporation. The performances of these compositions were quite good-rhythmically precise and musically pleasing. I regret that I do not have more information regarding these compositions. They were well-received by the audience.
Recital-John Mack, Pamela Pecha Woods, oboes, Louis Rosenblatt and Felix Kraus, English horns. Assisted by Winifred Shera, Clare Bell, violins, Peter Parkinson, viola, and Richard Bell, cello.
The recital featured works for two oboes and English horn (John Mack, Pamela Pecha Woods, Felix Kraus), and works for solo English horn with strings (Louis Rosenblatt). Of the three trios performed, Trio (1946) by Henk Badings, Three Virtuoso Caprices after Paganini (1978) by Paul Turok, and Variations on "Waltzing Matilda" (1972), by Graham Powning, only the Badings is published. The Turok is scheduled for publication by Bourne. It is, as the title suggests, a virtuoso piece of the first order, requiring individual and ensemble effort which will, I suspect, become notorious to oboists! The Powning variations are less pretentious but charming in their effect. The Badings trio has been in the literature for several years and is familiar to many oboists. The manner in which these trios were performed was marvelous to behold! It was ensemble playing characterized by a most impressive control and musicality, as one might expect from John Mack and his associates. Louis Rosenblatt's solo English horn with strings (Mozart - Adagio, K. V. 580a, Jan Koetsier - Quintett, op. 43 ) was, in a word, exemplary.
Recital-Wilma Zonn, Oboe and English horn, Paul Martin Zonn, Clarinet and Bass clarinet.
Six for Five By Two in Pieces (1971), Herbert Brun
Gemini-Solos (1978), Paul Martin Zonn
Faces (1976), Stuart Smith
Zonnorities (1975), John MelbyThis demanding program of 20th-century works, all written during this decade, utilized pre-recorded tape, various arrangements of spatial separation of the two instrumentalists on stage, special lighting, and many of the effects associated with "avante-garde" woodwind writing. Wilma and Paul Zonn surely must be among the most adept in the performance of 20th-century works for woodwinds. Their performance seemed expertly handled. Wilma Zonn has contributed much to the performance of contemporary oboe literature. Specific information regarding the derivation of the above titles was not available to me at the time of this writing.
Lecture-recital "Hans Hadamowsky and the Vienna Wind Style", presented by Noah Knepper, William Pohl, and the IDRS Texas College Professors Double Reed Ensemble: Doris DeLoach, Noah Knepper, oboes, Charles Veazey, English horn, and Richard Meek, bassoon.
Noah Knepper's lecture dealt with the evolution of Viennese oboe playing and the double-reed music of the Viennese oboist/composer Hans Hadomowsky. Specifically discussed was Book VI, 2 of his Oboeschule, a vast work on which Knepper has done recent research in Vienna. The ensemble then performed two of the works from this volume, Trio, Variationen uber ein Volkslied (two oboes, English horn) and Quartet, Eine kleine Abendmusik (two oboes, English horn and bassoon). These works would seem to be interesting additions to the double-reed literature; the Trio in particular, based on folk music, is appealing. These works are appropriate for advanced students and quite suitable for performance, although didactic in intent. Noah Knepper can provide information for those wishing to obtain the music (he is at Texas Christian University) .
The Texas double-reed ensemble served the - music well, with two sensitive performances.
Recital-Arthur Grossman, bassoon, and the editors of The Double Reed, Daniel Stolper, oboe, and Gerald Corey, bassoon. Assisted by Laura Jaeger, oboe, Susan Rankin and Vivian Baker, horns, Gertrude Kuehefuhs and Edwina Hopkins, piano, and William Conable, cello
The program was in two parts, the first a program of three works, Two Arias, by G. F. Handel, Trio Sonata No. 5 in F Major, by J. D. Zelenka, and Suite of Six French Songs, by Willard Elliot, which was performed by Dan Stolper, Gerald Corey, and assisting musicians. The highlight of this half of the program was the Zelenka Sonata, which is an extraordinary challenge to the oboes and bassoon. Daniel Stolper, Laura Jaeger and Gerald Corey played a spirited and polished performance of this, which is perhaps the most difficult of the six sonatas Zelenka wrote for the combination. The Willard Elliot pieces (performed by Daniel Stolper, Gerald Corey, and Edwina Hopkins) are a delightful vehicle for some lyrical playing by the double reeds, with the keyboard accompaniment (I believe, however that the scoring of the piano part could be made lighter for better balance with the oboe and bassoon).
The Handel Arias called for some very high horn parts. The assisting instrumentalists rallied with a solid performance.
The second half of the program was a bassoon recital by Arthur Grossman.
Lecture-demonstration, "The Baroque Oboe and the Oboe Band"
The lecture by Patricia Grignet Nott and Anthony Saint Pierre included a demonstration of the baroque oboe, and quotations from a number of important historical sources pertaining to the use of the oboe bands which were employed by municipalities and aristocratic courts of the baroque period. The lecture was scholarly and interesting, providing a preface to the performance of several pieces by a band of baroque instruments, including several oboes, oboe d'amore and bassoon. The sound of these instruments, in an acoustically 'live' situation, was remarkable! Other oboists in the group included Grover Schiltz, of the Chicago Symphony, and Harry vas Dias, who built some of the baroque facsimile instruments being played.
Recital-Harold Robison, bassoon; Howard Niblock, oboe; Janice Robison, organ
Compositions for this program were those written for oboe or bassoon with organ. Harold and Janice Robison performed Sonata for Bassoon and Organ (1973) by Rayner Brown, and Fantasy on a Jongleur Theme (1979) by Richard Wetzel. Howard Niblock, oboist, performed the Partita II in F Major for Oboe and Organ by Johann Wilhelm Hertel (one of three written by this composer). These partitas are among the nicest works, in my opinion, for oboe and organ (published by Sikorski). Howard Niblock and his colleague, Janice Robison, performed well in their segment of the program together.