History is filled with an illustrious group of oboe soloists who have concertized throughout Europe and added a unique, colorful and important dimension to the tradition of music in Western civilization. Today, there are but a handful, and, in the United States, fewer still. One of those few is Humbert Lucarelli, Professor of Oboe and Chairman of the Wind Department at the Hartt School of Music at the University of Hartford. For over twenty years, Mr. Lucarelli has been introducing the oboe and its role as a solo instrument to audiences throughout the world. Through the efforts of Mr. Lucarelli and many other American and European oboists, the instrument is beginning to regain its rightful place as an important solo instrument in the international music scene.

"An American-based competition for young solo oboe players has been a dream of mine for several years," noted Lucarelli recently, while at home in his New York City apartment. "It is, I believe, one of the important platforms which will help ensure the oboe's acceptance, by concert audiences, among the ranks of premiere solo instruments. The well- established tradition of solo oboe playing in Europe has not only enriched the concert lives of audiences, but has also provided a viable alternative for the many extraordinarily talented players who may not fit into the 'orchestral groove' for any number of legitimate circumstantial, tempermental or musical reasons. Today we are producing an unprecedented number of wonderful players who deserve the opportunities made possible through solo playing and chamber music careers, which the orchestral scene cannot offer."

As a case in point, Mr. Lucarelli noted that twenty five years ago when he successfully auditioned for several American orchestras his competition was, at the most, only a half-dozen oboe players. Today, in virtually any symphony orchestra, when an oboe opening is announced, one can expect as many as two hundred players to apply. "Many of these oboists are serious contenders for the job, and the unfortunate result of this situation is that many talented young people leave their careers bitter and disillusioned. Surely not everyone who fails to win an orchestra audition should be discarded. Is it possible that solo playing and chamber music can offer another option? We are simply producing more wonderfully talented young players than the profession, as we know it, can absorb. I feel that it is a positive sign of the times that so many young people are turning to the arts to give meaning to their lives. It is a movement of which we can all be proud. As one who has received benefits from the past, I feel a responsibility to help develop options for the future," stated Lucarelli. Audiences, especially in the United States, he believes, need to be exposed to the variety of repertoire - not only for the oboe, but for all woodwind instruments - which can add richness and joy to live concert experiences.

As evidence of the rising interest in the oboe as a solo instrument, Mr. Lucarelli was approached last year by a group of private individuals, all enthusiastic patrons of the arts, who requested that he organize and lend his name to an American- based competition for solo oboists. "While I felt a certain natural reticence about putting my 'name in lights,' as it were," commented Lucarelli, "I was also thrilled at the prospect of what could be accomplished and recognized that this would provide a constructive platform for young players who desperately need direction and an opportunity to develop. I became convinced that my own experience of breaking down barriers and resistance to the oboe as a solo instrument could lend a focus to this event."

Between April and September of 1985, a corporation was established to support the many projects envisioned to help young solo oboe players, and to handle the numerous details involved in launching and sponsoring this competition. Aptly named OBOE INTERNATIONAL, INC., it was determined that this would be a not-for-profit, tax-exempt organization, whose purpose would be "to foster the growth and re-establishment of increased public interest in the oboe as a solo musical instrument. " Oboe International's maiden undertaking would be the presentation of The First Lucarelli International Competition for Solo Oboe Players.

An age limit of eighteen to thirty was decided upon to provide the most benefit to young, emerging artists. For logistical reasons, it was also determined that the preliminary screening would be by cassette tape. Individual entrants would make their own repertoire selections. Lucarelli feels that a soloist must tailor his or her repertoire to enhance their own unique strengths, noting that "one would not ask Birgit Nilsson to sing a lieder recital any more than one would ask Elisabeth Schwartzkopf to sing Isolde; this is not only a question of instrument but, more importantly, a question of artistic temperament. " Thus, one of the significant factors considered by the judges was each oboist's selection of repertoire. In fact, several judges felt entrants should give more attention to their "first" impression made on a tape, and prepare a program which would confront the "soloistic" aspect of this competition more directly while avoiding the selection of chamber or orchestral pieces. Also the quality of all the supporting factors in the presentation, such as accompanists, assisting artists and recording quality, were at times an unavoidable distraction from the entrants high level of playing. Lucarelli pointed out that, for the preliminary screening, all tapes were rendered anonymous by a numerical coding system, and that he did not adjudicate.

All the judges for the preliminary round were oboe players themselves, chosen because their performing and teaching represented a variety of styles and concepts. At this stage of the competition their input would lend an ecumenical spirit to the entire competition as well as ensure a high standard of performance among the finalists. This year's preliminary judges were: David Abosch, Principal Oboist of the Denver Symphony: Elaine Douvas, Principal Oboist of the Metropolitan Opera: and Lois Wann, faculty member of the Juilliard School of Music.

In selecting judges for the finals, the organizers of this competition strove to create a balance of musicians from various disciplines, which would reflect the complex dynamics of oboe playing specifically, and of solo performance in general. Julius Baker, former Principal Flutist of the New York Philharmonic, the Bach Aria Group and faculty member of the Juilliard School, was there representing nonoboe woodwind players. As someone who has had vast experience working with some of the world's great oboists, Baker was an ideal choice. John Corigliano, a composer who has written extensively for the instrument, brought a deep knowledge of what a composer needs from his interpreter. Joseph Fuchs, renowned violin soloist and Juilliard faculty member, has judged numerous competitions, including the Tchaikovsky Competition in Russia; he brought to the panel a vision of the grand tradition of solo performance. Theodore Uppman, Metropolitan Opera Baritone, brought both a keen understanding of the vocal elements of musical expression - which are inexorably tied to the oboe - and a critical knowledge of the art of stage presentation, essential to any solo performance.

Robert Bloom, former Principal Oboist with the NBC Symphony Orchestra, the Bach Aria Group and former faculty member of both the Juilliard and Yale Schools of Music; along with Richard Killmer, former Principal Oboist of the St. Paul Chamber Orchestra and currently on the faculty of the Eastman School of Music; and John Mack, Principal Oboist of the Cleveland Symphony Orchestra, and renowned faculty member of the Cleveland Institute of Music, were all there representing the highest standards of oboe playing.

In speaking with several of the judges, there seemed to be a genuine sense of excitement and dialogue generated by the competition. All the judges praised the generally high level of talent in the competition. In fact, Elaine Douvas felt that as high as " 30 To of the entrants showed the potential of a truly soloistic nature," substantiating the urgent need for such a competition. She also expressed a concern that has been the subject of numerous recent articles in such publications as the New York Times and Time magazine, about competitions in general and reflecting upon the fact that young people should understand that winning a competition of this sort does not guarantee a solo career.

Lois Warm, who was a judge for the preliminaries, attended the finals and found that the results concurred with her own notes. She also expressed a hope that future competitions could add another "stage" such as semi-finals, to provide the judges with an opportunity to more fully observe the complex aspects of solo playing being displayed by each entrant.

Robert Bloom also praised the high level of technical development but said that a "deeper sense of musicality" seemed to be generally lacking, a definite trend in our profession which was reflected in this competition. Musicality, or the ability to make an instrument "sing," blended with a dazzling technique, is what makes a player a soloist. He also spoke of the important difference in listening to a soloist, rather than judging a player for an orchestral position. David Abosch felt that the solo field has not been fully explored by oboists and that this competition will help provide the incentive for oboists to pursue solo careers.

Richard Killmer noted that he was not only overwhelmed by the outstanding level of performance exhibitied by all the finalists, but surprised by the variety of styles represented as well. He commented that "building a career as a soloist presents many difficulties for an oboist. However, a young performer should know that being a virtuoso oboe soloist does not preclude being a member of an orchestra or a chamber ensemble, rather it can enhance a performer's musical personality." Killmer also went on to say that the talent of these finalists points out the necessity for this competition and that young oboists today need to know that this other dimension can be available to them.

John Mack, currently on tour in Europe with the Cleveland Orchestra where he is performing the Mozart Oboe Concerto, was out of the country at the time this issue went to press, but his comments and insights on this competition will be featured in a future article.

Julius Baker said that the "choice of repertoire by finalists showed remarkably good taste, as well as the wide range of available solo material for the instrument." He also thinks this competition provides, and should continue to provide, an important learning process for young oboists who wish to pursue solo careers. In closing, he stated that "the flute has long enjoyed solo stature; this competition should help do the same for the oboe, and given the level of talent at the competition, this bodes well for the instrument. "

The finals were held in Carnegie Recital Hall on January 4th, 1986, before an enthusiastic New York City audience. Each finalist performed a half-hour program. After three hours of exceptional oboe playing by the six young finalists, the judges' scores were tallied and an award ceremony took place on stage. "Having been chosen as one of the six finalists was, in itself, a very special honor in the international oboe community. Beyond that one must commend all the individuals who entered the competition, as their participation is directly responsible for the success of its goals," insists Lucarelli. "Many of the entrants took enormous time and energy to prepare a tape, while fulfilling their ongoing professional commitments. I hope that all entrants were rewarded with a positive learning experience, and that the comment sheets prepared by the preliminary judges - which were sent to every entrant - will provide them with useful observations for further growth and development."

Among the six finalists in this year's competition, Certificates of Merit were awarded to: Bill Bennett, Associate Principal Oboist of the San Francisco Symphony and a cum laude graduate of Yale University; Lon Bussell, Associate Principal Oboist of the Cincinnati Symphony Orchestra, who has performed at the Marlboro, Casals and Tanglewood Festivals; Cynthia Koledo DeAlmeida, currently Principal Oboist of the Concerto Soloists of Philadelphia and of the Philadelphia Pops.

Third Prize of $300 was awarded to Kimberly Bryden, Principal Oboist of the Toledo Symphony Orchestra and a member of the Toledo

Symphony Woodwind Quintet. Ms. Bryden holds graduate and under-graduate degrees from the Cleveland Institute of Music and has made solo appearances with Zubin Mehta and the New York Philharmonic, and the Colorado Philharmonic.

Second Prize of $500 went to Jeffrey Rathbun, Principal Oboist of the Oakland Symphony. Mr. Rathbun has also performed with the Dallas Symphony, the Cleveland Ballet Orchestra, and was formerly a member of the Honolulu Symphony. He has participated in the Blossom, Tanglewood and Chautaqua Summer Music Festivals, and his compositions have been performed by the Cleveland Orchestra and the Atlanta Symphony.

The First Prize of $1,000, plus solo recitals at Carnegie Recital Hall, as well as in Chicago, Boston and on Long Island, was awarded to twenty-one year old Brazilian oboist, Alex Klein, who is currently a senior at the Oberlin Conservatory of Music. Mr. Klein has been the recipient of numerous honors in the United States and in his native Brazil. He was First Prize winner at the Seventh Piracicaba National Competition in Brazil where at the age of nineteen, he performed the Strauss Oboe Concerto with the Porto Alegre Symphony under the direction of Eleasar de Carvalho. Last year Mr. Klein was granted the Artistry in Oboe Performance Award from Oberlin Conservatory of Music, distinguishing "that oboe student whose studies and performances represent excellence and outstanding artistry. " Immediately following the competition, Mr. Klein appeared with Mr. Lucarelli in a live broadcast on WQXR Radio in New York City. "I really became aware of the importance of winning this competition," said Klein, "when I was asked to make a tour of schools in Connecticut recently. While I have received other awards in the past, I was introduced to these students as 'winner of an International competition.' It is an honor and responsibility which I take very seriously. "

On January 16th, Mr. Klein was a featured guest artist at Carnegie Hall in a concert celebrating the "100th Anniversary of the Modern Oboe. " This event presented Mr. Lucarelli in a "birthday" tribute to the modern oboe, which marked the standardization of the keywork and design of the "conservatory" oboe throughout the world. A catalyst for this development was the acquisition, in 1881, of the firm of CharlesLouis and Frederic Triebert by Mr. Francois Loree. In the ensuing decade, Loree, with the help of George Gillet - a teacher at the Paris Conservatory - developed this "new oboe."

The program for the Carnegie Hall event featured some of the best and most well-known works in the oboe repertoire, including: the Mozart Oboe Quartet, performed with members of the Manhattan String Quartet; the J. S. Bach Double Concerto for Oboe and Violin, with guest artist Ida Kavafian; the Richard Strauss Oboe Concerto; the New York premiere of John Corigliano's own adaptation of the Fourth Movement of his Oboe Concerto, originally written for Mr. Lucarelli; and the Albinoni Concerto for Two Oboes in D which featured competition winner Alex Klein. The Lehigh Valley Chamber Orchestra made its Carnegie Hall debut at this concert, under the direction of Donald Spieth. The concert closed with a piece written by Richard Price which had a humorous, yet almost spiritual, feeling. The work juxtaposed the "Happy Birthday" tune with themes from the best-known solo repertoire and was scored for all of the nearly one hundred oboists in the audience, who came up on the stage of' Carnegie Hall, and who ultimately shared a standing ovation with Mr. Lucarelli from the enthusiastic audience.

The centerpiece of this event, however, was the world premiere of a group of twelve fascinating pieces, selected from the "musical guest book" of August-Gustave Vogt, one of the celebrated oboe soloists of the mid-nineteenth century. The manuscript contains over sixty pieces by composers such as Rossini, Liszt, Berlioz, Meyerbeer, Vieuxtemps and Moscheles. Since each piece is only a minute or two in length, the problem of performance seemed insurmountable. Lucarelli recalled that a popular musical form of the period was the monologue, in which the narration serves as a catalyst for musical ideas (such as in the Schilflieder, by August Klughardt, 1847-1902, scored for oboe, viola, piano and narrator). With the assistance of British journalist of music scholar, Michael Scott, historical, anecdotal and often humorous notes on the composers were woven together with the twelve pieces to form a work reminiscent of salon music of the period. Delivering the narration at this event was Mr. Robert Sherman, host of WQXR Radio's "Listening Room. "

These recent events in New York City are only the beginning of what Lucarelli hopes will be the first of many to provide a showcase for the talents of young solo oboe players. Immediate issues faced by Oboe International include establishing a budget and obtaining the funding to ensure the future of the competition. At this juncture, it is too early to tell whether the competition will be an annual or bi-annual event, and if it can become more fully international in scope. "Whatever the future brings for Oboe International and the competition, I will always hold some very beautiful memories that make me proud to be part of our profession. It was heart-warming to see John Mack, Richard Killmer and Robert Bloom bantering with each other and having a good time at dinner after the competition - colleagues enjoying one another's company. I was especially gratified by an unsolicited gift to Oboe International from a fellow oboist, David Weiss, of Los Angeles. Upon receiving a brochure for the event, he sent his contribution to the foundation, along with his good wishes for the future. I was deeply moved by M. Alain de Gourdon, of Loree, who sent a substantial gift along with a pledge of an oboe to future First Prize winners; - and by Mr. Gerry Carp, oboe-playing attorney, who donated his services to see this project come to life. Seeing so many young oboists being supportive and kind to one another was a bonus I never expected. Several oboists drove from Boston to help make finalists more comfortable backstage before their performances. Oboist Beth Orson unselfishly volunteered to turn pages for the accompanists, while numerous oboists in the audience were present to cheer finalists on to achieve their very best, creating a general spirit of camaraderie and healthy competition. The unbelievable number of letters from entrants, finalists and music lovers expressing enthusiasm was both encouraging and gratifying. Any qualms I may have had at the outset of this project have been put to rest. Continuing to make this exciting event happen is a challenge to which I am deeply committed." On behalf of young oboists and the international music community, we wish Mr. Lucarelli every success.

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