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Solo Oboe
Oboe with Keyboard Instrument
Oboe with Orchestra or
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Oboe with Chamber Ensemble
Additional Oboe Compositions
Classified Listing of Norwegian Compositions Listed by Performance
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Addresses of Norwegian Music
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COMPOSER: AMDAHL, Magne
TITLE: Cantilene
MEDIA: oboe (or alto saxophone) and piano
DATE: 1973
AVAILABILITY: Available in manuscript from Norsk Musikkinformasjon.
LENGTH: approximately 4 minutes
RANGE: e-flat1 - c-sharp111
COMMENTS: Cantilene is a one-movement composition that alternates between sections of 6/8, 3/4 and 4/4 meter. The composition is in traditional notation and has a distinctive "jazz" quality in regard to harmony and phrasing. The phrases are long and lyrical with very few large intervals, and the range is good for the oboe. A minimum of rests in the oboe part makes breathing difficult. The composition is technically accessible and there are very few fast notes. The piano part is not complicated, and the ensemble between the oboe and piano parts is easy.
COMPOSER: AMDAHL, Magne
COMPOSITION: Tranquillo Dolce
MEDIA: oboe and piano
DATE: 1973
AVAILABILITY: Available in manuscript from Norsk Musikkinformasjon.
LENGTH: approximately 4 minutes
RANGE: el - c111
COMMENTS: This is a short, one-movement composition in traditional
notation and 4/4 meter. Tranquillo Dolce is more dissonant than
Cantilene, but a distinct "jazz" quality is still present.
This composition emphasizes the piano more than the oboe.
The oboe lines consist primarily of whole and quarter notes, and
the range is limited. This composition is a good teaching piece
for beginning players because there are many rests and the phrases
are short.
The piano part is more complex than the oboe part. It has occasional fast passages and some complicated rhythms, but it is not very difficult.
COMPOSER: BADEN, Conrad
COMPOSITION: Sonata, Opus 115
MEDIA: oboe and organ
DATE: February 25, 1978
AVAILABILITY: Available in manuscript from Norsk Musikkinfonnasjon.
LENGTH: approximately 12 minutes
RANGE: c1 - d111
COMMENTS: Sonata, Opus 15 is a three-movement composition in traditional notation. The first movement is an allegro in 4/4 meter. The second movement is an andante in 3/4 meter which begins with the oboe alone, and the third movement is an allegro in 4/4 meter.
Each of these movements is characterized by smooth, flowing
phrases which are written well for the oboe. There are many rests
for breathing and the com
position is technically accessible. A good understanding of phrasing
is necessary to perform this composition. The oboist must have
good control of the dynamic range in all registers of the oboe.
The organ part is not difficult, and coordinating the oboe and organ ensemble is not problematic. The organ registrations are not notated in the score.
COMPOSER: BADEN, Conrad
COMPOSITION: Sonata Number 2, Opus 139
MEDIA: oboe and organ (or piano)
DATE: 1985
AVAILABILITY: Available in manuscript from Norsk Musikkinformasjon.
LENGTH: approximately 10 minutes
RANGE: c1 - e111
COMMENTS: Sonata Number 2, Opus 139 is a threemovement composition which is tonal and in traditional notation. The first movement is an allegro in 4/4 meter. The second movement is an andante sostenuto in 4/4 meter and the third movement is an allegro in 6/8 meter.
This composition is more a duet between the oboe and the organ than a solo sonata. Both the oboe and organ have long, flowing phrases which propel the momentum of the composition. Baden has written many rests for the oboe and the range is good. Sensitive phrasing and dynamic control will enhance the overall effect of the composition. The organ registrations are not provided in the score.
COMPOSER: BOTTCHER, Eberhard
COMPOSITION: Canzona og Capriccio
MEDIA: oboe and piano
DATE: 1985
AVAILABILITY: Available in manuscript from Norsk Musikkinformasjon.
LENGTH: approximately 5 minutes
RANGE: d1 - c111
COMMENTS: Canzona og Capriccio is a two movement, tonal composition in traditional notation. The "Canzona" is marked tranquillo and consists of two sections for oboe and piano separated by a solo piano interlude. The dynamic range is large and breath marks have been notated. The "Capriccio" is marked con brio and is characterized by embellished oboe passages and syncopated rhythms.
The narrow range, short duration, and the overall simplicity
of Canzona og Capriccio makes it an excellent composition for
beginning oboists. The performer has plenty of interpretive freedom,
and almost every possible articulation is used. The piano part
is technically accessible and the ensemble is not difficult.
COMPOSER: BOTTCHER, Eberhard
COMPOSITION: Fantasie (Fantasia da camera)
MEDIA: oboe and piano
DATE: none available
AVAILABILITY: Available in manuscript from Norsk Musikkinformasjon.
LENGTH: approximately 7 minutes
RANGE: c1 - e-flat111
COMMENTS: This composition is very different from the Canzona og Capriccio. Bottcher uses an extended oboe range, and fast staccato passages are frequent. This work is more dissonant than Canzona og Capriccio and is very sectional. Each of these sections are usually in a different tempo and meter. Various moods must be conveyed to the audience in Fantasie. The tempi and interpretation require extensive rehearsal. Bottcher has written many rests for the oboist.
COMPOSER: FONGAARD, Björn
COMPOSITIONS:
Sonata for Oboe og Orgel, Opus 52, No. 2
Sonatina for Oboe and Piano, Opus 126, Nos. 8-12
Sonatina for English horn and Piano, Op. 126, No. 13
MEDIA: oboe with piano or organ and English horn with piano
DATE:
Sonata for Oboe og Orgel, Op. 52, No. 2: 1970
Sonatinas, Opus 126, Nos. 8-13: 1974
AVAILABILITY: Available in manuscript from Norsk Musikkinformasjon.
LENGTH:
Sonata, Opus 52, No. 2: approximately 5 minutes
Sonatina, Op. 126, Nos. 8,9,12: 5 minutes each
Sonatina, Op. 126, Nos. 10, Il, 13: 6 minutes each
RANGE: Each Fongaard composition for oboe and keyboard is within
the range c1 - ell'. Sonatina for Oboe and Piano, Opus
126, Number 8 ascends once to f111.
COMMENTS: These compositions are listed together because of their similar characteristics in compositional style. Sonata for Oboe og Orgel, Opus 52, No. 2 is three movements. The Sonatinas, Opus 126, Nos. 8-13 are each only one movement. These compositions are atonal, unmetered, and are in nontraditional notation. The score indicates that approximately one centimeter of the staff is equal to one second of sound. The notes that receive more emphasis have been indicated by highlighting in the score. The dynamics are clearly marked.
COMPOSER: GJERSTRÖM, Björn G.
COMPOSITION: Two Intermezzi, Opus 19
MEDIA: oboe and piano
DATE: 1987
AVAILABILITY: Available in manuscript from Norsk Musikkinformasjon.
LENGTH: approximately 7 minutes
RANGE: c-sharp1 - d111
COMMENTS: Two Intermezzi, Opus 19 is a two-movement composition in traditional notation and is tonal. The work is melodic with an accompaniment that is very sensitive texturally, but occasionally thick.
The first intermezzo is an andante in 4/4 meter marked molto espressivo. A simple piano introduction sets the mood for the first oboe entrance. This oboe line is expanded and manipulated throughout the entire movement. The final section of the movement is an oboe cadenza with piano accompaniment marked con rubato. This cadenza requires the oboist to perform an effective smorzando. The first intermezzo ends on a level of low activity.
The second intermezzo is marked allegro moderato and is in 2/4 meter. It begins with the oboe alone. Thematic material is alternated between the oboist and pianist, and the movement ends with a technical flourish in the oboe part.
Two Intermezzi, Opus 19 is technically accessible for intermediate-to-advanced oboists. The composition is not rhythmically or technically demanding, but is challenging to interpret. The oboist needs a good control of dynamics. There are many rests for breathing and the oboe range is good. The piano part is athletic, requiring a large hand span and a good sense of rhythm. Understanding the harmonic direction of Two Intermezzi, Opus 19 is necessary for interpretation.
COMPOSER: GROV, Magne
COMPOSITION: Juinatt (A Night in June)
MEDIA: oboe and piano
DATE: 1973
AVAILABILITY: Published by Norsk Musikforlag
A/S in Oslo. Copyright 1986.
LENGTH: approximately 8 minutes
RANGE: e-flat1 - F111
COMMENTS: Juinatt is a one-movement, programmatic composition in 4/4 meter. It opens with an extensive oboe solo, and the phrases are short and legato. 'ne range is often in the upper register of the oboe and some of the fingerings are awkward. The oboist must have excellent control of this range at a pianissimo dynamic level. The composition rarely reaches a forte dynamic level. The piano part is rhythmically complex, but overall it is not very difficult.
COMPOSER: HOEMSNES, Björn Korsan
COMPOSITION: Scandinavisches Reutland (figuratively translated
as Scandinavian Pioneering)
MEDIA: oboe and piano
DATE: none available
AVAILABILITY: Available in manuscript from Norsk Musikkinformasjon.
LENGTH: approximately 2 minutes
RANGE: b-flat - c111
COMMENTS: Scandinavisches Reutland is a short, simple
composition in 12/8 meter. It is marked allegro con moto. The
short phrase lengths, simple key structure, and small range make
this composition particularly appropriate for beginning oboists.
The oboe phrases are very embellished and use a variety of articulations.
The composition is not a challenge to advanced oboists, and a
general folk quality makes it a pleasure to perform. The piano
part is simple and ensemble is not a problem.
COMPOSER: HOVLAND, Egil
COMPOSITION: Variasjoner for Obo og Klaver, Op. 64 (Variations
for Oboe and Piano, Opus 64)
MEDIA: oboe and piano
DATE: 1968/69
AVAILABILITY: Published by Norsk Musikforlag A/S in Oslo. Copyright
1971.
LENGTH: approximately 11 minutes
RANGE: b-flat - a111
COMMENTS: Variasjoner for Obo og Klaver, Opus 64 is five variations based on the letters in the name PER EGIL (Hovland's son). The variations, commissioned by the Norwegian State Nationwide Concerts, were composed for school concerts and teaching purposes. Each variation has passages that are technically challenging for even the most advanced performers. The composition requires good control of the third octave because each variation requires g111 or higher. The variations are presented as follows:
1. "Monolog: Soliloquy"; This is an eleven-measure
introduction. It is performed by the oboe alone and consists of
short phrases in the altissimo register.
2. "Karusell" (Roundabout); This variation is in 2/4
meter and is bitonal. The oboe lines are very rhythmic over a
two-note, ostinato pattern in the piano part. Rhythmic accuracy
is essential, and the movement must sound very simple. The oboe
range extends to a"' several time's within this variation.
3. "Klangdr penes Trippeldans" (Patter-dance of the
Tone-drops); This variation is in 3/4 meter and in three-part
form. The middle trio section is a series of running eighth notes
in the altissimo register. This section accelerates to a presto,
and the lack of rests makes breathing difficult.
4. "Fabel" (Fable); This variation is in 4/4 meter and
is a musical conversation between the oboe and the piano. The
oboe part has large interval skips, and overall must sound like
an improvisation.
5. "Med et Langt Bein og et Kort Bein" (Hoppity-Hop);
This is a rondo-form variation in 5/8 meter. It is very rapid
and the eighth note is indicated as M.M. = 240. This variation
covers the entire range of the oboe, and uses glissandi and flutter
tonguing.
Hovland comments on Variasjoner for Obo og Klaver, Opus 64 in
the printed score:
Further study is provided by the character of the movements, the
harmonic relations, the melodic variants, and the tonic structure
and stylistic features - from folk music features in the first
movement to the tonic columns in the fourth movement, where all
twelve tones of the chromatic scale are included.
Variasjoner, Opus 64 is technically and interpretively demanding for the oboist and pianist.
COMPOSER: JOHANSEN, Bertil Palmar
COMPOSITION: Divertimento
MEDIA: oboe and piano
DATE: 1982
AVAILABILITY: Available in manuscript from
Norsk Musikkinformasjon.
LENGTH: approximately 5 minutes
RANGE: b1 - e111
COMMENTS: Divertimento is a one-movement composition that is a mixture of traditional and nontraditional notation. The oboist begins alone at an allegro tempo. This introduction is in mixed meter with the eighth note remaining constant. The piano enters and plays simultaneous sixteenth-note patterns with the oboe. The piano part also provides syncopated accents in the bass. There is an oboe cadenza that leads to a section with various twentieth-century techniques. Although the oboe part is basically traditional, the piano part has glissandi and requires sound from inside the piano.
To perform Divertimento the oboist must have a good sense of rhythm and finger-tongue coordination. The composition is technically accessible. A majority of the technical passages are scaler and there are very few large intervals. The dynamics are clearly marked. Achieving accuracy and balance between the oboe and piano requires extensive rehearsals.
COMPOSER: KARLSEN, Kjell Mork
COMPOSITION: Sonatina, Opus 44
MEDIA: oboe and piano
DATE: 1977
AVAILABILITY: Published by Norsk Musikforlag A/S in Oslo. Copyright
1985.
LENGTH: approximately 12 minutes
RANGE: b - e111
COMMENTS: Sonatina, Opus 44 is a three-movement composition in traditional notation. The first movement, "Fable," begins with the oboe alone. An opening motive is the foundation for the entire movement. This motive consists of large interval skips and is chromatic. The central section of the movement uses dotted rhythms. These are a contrast to the opening and closing legato phrases. The oboe also has a short cadenza over a steady pulse in the piano.
The second movement, "Rhapsody," is a rapid, technical movement in 6/8 meter. The technical passages consist of sixteenth notes which are placed well on the oboe. This movement is very exciting to hear and to perform.
The third movement, "Pastorale," is in a slow 6/8 meter. It opens with a long piano solo. As the movement continues the oboe and piano parts become more technically demanding. The movement peaks at an allegro section where the two performers exchange musical dialogue. A return of the opening thematic material concludes the composition.
Sonatina, Opus 44 is written well for the oboe. The score indicates appropriate places for the oboist to breathe. The piano part has difficult sections.
According to Ragnar Söderlind:
... the Sonatina, Opus 44 gives a fair impression of Karlsen's manner of expressing himself. Stylistically neo-Classical of certain regenerative elements, the work is well written idiomatically for both instruments in an easy and engaging view (Talent TLS-4036).
COMPOSER: KLEIBERG, St. le
COMPOSITION: Sonate for obo og piano
MEDIA: oboe and piano
DATE: 1982
AVAILABILITY: Available in manuscript from Norsk Musikkinformasjon.
LENGTH: approximately 10 minutes
RANGE: d-flat1 - e111
COMMENTS: Sonate for obo og piano is a threemovement composition. The first movement is an adagio in 3/4 meter and begins with the oboe alone. There are sporadic arpeggios by the piano during this oboe solo. The movement ends presto with the oboe and piano playing together. The oboe lines are simple eighth and quarter-note patterns over arpeggios in the piano part.
The second movement is an expressive larghetto in three-part form. The oboe line is a continuous triplet pattern over a steady quarter-note pulse in the piano. These triplets are scaler and make use of the left E-flat key. The middle section is an allegro that alternates triplet patterns between the oboe and the piano. The movement eventually returns to a repeat of the opening thematic material. It consists of short phrases which are alternated between the oboe and piano. This movement is not difficult to perform.
Sonate for obo og piano is interesting to hear and enjoyable to perform. The oboe part has a variety of articulations and plenty of rests for breathing. One disadvantage of this composition is that the harmonic progressions eclipse the melodic lines. The piano part is not difficult.
COMPOSER: LUNDE, Jr., Ivar
COMPOSITION: Theme with Variations for Oboe and Harpsichord,
Opus 27
MEDIA: oboe and harpsichord
DATE: May 17, 1966
AVAILABILITY: Available in manuscript from Norsk Musikkinformasjon.
Copyright 1966 by
Ivar Lunde, Jr. All rights reserved.
LENGTH: approximately 8 minutes
RANGE: b - f111
COMMENTS: Theme with Variations for Oboe and Harpsichord, Opus 27 is presented as follows:
1. "Introduction"; This is an andante in 5/4 meter.
The oboe and harpsichord exchange musical dialogue that is embellished
with mordents.
2. "Theme"; This is a seven-measure theme in 4/4 meter.
It is marked largo and consists of two phrases.
3. "First Variation"; This variation is marked allegro.
The theme has been lengthened and embellished with grace notes
and triplet figures. The accompaniment is continuous triplet figures.
4. "Second Variation"; This variation is a vivace in
7/8 meter over a steady pulse in the accompaniment.
5. "Third Variation"; This variation is an andantino.
The thematic material of the introduction is repeated by the oboe.
6. "Fourth Variation"; This variation is marked moderato
e marcato and is characterized by triplet figures.
7. "Fifth Variation"; This variation is marked senza
misura, ad libitum and is unmetered. The oboist must use harmonic
fingerings.
8. "Sixth Variation"; This variation is a presto in
6/8 meter.
9. "Ending"; This section is marked molto moderato e
espressivo and is a repeat of the opening theme.
Theme with Variations for Oboe and Piano, Opus 27 is technically accessible for the oboe. There are a few awkward slurs between the registers (eg g11 to f111), and some of the phrases are very long without rests. On the whole, the oboe part is written well.
The interpretation and understanding of the thematic material throughout the variations is challenging. The composition is an excellent study of the theme with variations and ornamentation. The harpsichord part is not difficult, but occasionally uses cross-rhythms.
COMPOSER: LUNDE, Jr., Ivar
COMPOSITION: Sonatina, Opus 39
MEDIA: oboe and piano
DATE: 1970
AVAILABILITY: Available in manuscript from Norsk Musikkinformasjon.
Copyright 1988 by Ivar Lunde, Jr. All rights reserved.
LENGTH: approximately 8 minutes
RANGE: c-sharp1 - g111
COMMENTS: Sonatina, Opus 39 is a three-movement composition which is tonal. The first movement begins maestoso and accelerates to a faster tempo. The oboe phrases require sensitive musicianship and good rhythm. These oboe phrases are also rather long. The piano part is athletic and syncopated.
The second movement is marked "Very Slow, senza misura" and begins with a solo oboe passage. This passage is interrupted by sporadic interjections from the piano and is marked misterioso. The music develops into an intense, homorhythmic section. The movement concludes with the oboe in the altissimo register at a fortissimo, dynamic. The oboist must have good control of dynamics.
The third movement is very fast with staccato, sixteenth-note passages. These passages are written well for the oboe. There are interesting slurs and articulations in the oboe part which may need careful attention. The piano part is athletic and the pianist must use a forearm to play rapid tone clusters. The tempi and interpretation require extensive rehearsal.
COMPOSER: LUNDE, Jr., Ivar
COMPOSITION: Five Simplicities, Opus 87
MEDIA: oboe and piano
DATE: 1984
AVAILABILITY: Available in manuscript from Norsk Musikkinformasjon.
Copyright 1984 by Ivar Lunde, Jr., All rights reserved.
LENGTH: approximately 7 minutes
RANGE: c1 - c-sharp111
COMMENTS: Five Simplicities, Opus 87 is a composition of five short movements which evoke contrasting emotions. The movements are as follows:
1. "Game"; This is a fast, lively movement that alternates
between 2/4 and 3/8 meter. The strong beats are often displaced
and motives are interchanged between the oboe and piano.
2. "Echo"; This is a slow and mysterious movement in
3/4 meter. The oboe part consists of long, flowing phrases. The
oboe and piano are in canon at two beats.
3. "Joy"; This is a simple melody for the oboe accompanied
by an eighth-note pulse in the piano.
4. "Love"; This movement, marked "Tenderly,"
is lyrical and legato.
5. "All of the Above"; This is a fast, technical movement
in 2/4 meter. It is the culmination of the preceding four movements.
The oboe lines are easy, scaler patterns.
Five Simplicities, Opus 87 is an excellent composition for beginning
or advanced oboists. Each movement is brief and technically accessible.
The entire composition is appealing to audiences. The ensemble
of the oboe and piano is not difficult.
COMPOSER: MADSEN, Trygve
COMPOSITION: Sonate for Obo og Klaver, Opus 22
MEDIA: oboe and piano
DATE: 1977
AVAILABILITY: Published by Musikk-Huset A/S in Oslo. Copyright
1979.
LENGTH: approximately 15 minutes
RANGE: c-sharp1 - e-flat111
COMMENTS: Sonate for Obo og Klaver, Opus 22 is a tonal, three-movement composition. The first movement is in 4/4 meter and the tempi alternate between andantino and allegro. This movement contains a variety of articulations and has some long phrases.
The second movement is marked andante cantabile and is in 4/4
meter. The phrases are long and expressive. A central rubato section
requires rhythmic stability and good dynamic control.
The third movement is a rondo in 3/4 meter. This movement requires
a precise rhythmic distinction between triplets and eighth notes.
A short cadenza leads to an allegro agitato and the movement accelerates
to the end.
Sonata, Opus 22 is very pleasant for the performers and the audience. The harmonic progressions are lush and the phrases are extremely melodic. It is a good composition for teaching proper phrasing, articulations, and dynamics. Sonata, Opus 22 is in a very playable range and is technically accessible. The composition allows much freedom for creative expression. The piano part has a few difficult passages in the first and third movements, but overall the part is not difficult. The contrasting tempi and interpretation requires extensive rehearsal.
COMPOSER: MORTENSEN, Finn
COMPOSITION: Sonatina for Oboe and Piano, Op. 15
MEDIA: oboe and piano
DATE: 1959
AVAILABILITY: Published by Norsk Musikforlag A/S in Oslo. Copyright
1976.
LENGTH: approximately 8 minutes
RANGE: di - e-flat111
COMMENTS: Sonatina for Oboe and Piano, Opus 15 is a
four-movement, atonal composition in traditional notation. The
first movement is an adagio in mixed meter. The oboe lines are
legato with large intervals. The middle section of this movement
is rhythmically intricate.
The second movement is an allegretto in mixed meter with the eighth
note remaining constant. The movement employs a variety of articulations.
The third movement is a musical dialogue between the oboe and
piano. The oboe only adds color to the simple piano texture. This
movement requires good dynamic control.
The fourth movement is an allegro marked "the eighth note
= as fast as possible." This movement is in mixed meter with
the eighth note remaining constant. There are contrasted sections
of flowing, legato phrases with staccato passages.
Sonata for Oboe and Piano, Opus 15 is a good introduction to serialism. The oboist and pianist must have rhythmic stability and good dynamic control. The texture of the piano part is very spatial and the oboe part has piano cues. Extensive rehearsals are necessary to assimilate the melodic relationships and for ensemble accuracy. The composition requires total concentration from the performers. Sonatina for Oboe and Piano, Opus 15 is not as complex as Sonata for Oboe and Harpsichord, Opus 44.
COMPOSER: MORTENSEN, Finn
COMPOSITION: Sonata for Oboe and Harpsichord, Op. 44
MEDIA: oboe and harpsichord
DATE: November 15, 1976
AVAILABILITY: Available in manuscript from Norsk Musikkinformasjon.
LENGTH: approximately 15 minutes
RANGE: b-flat - g111
COMMENTS: Sonata for Oboe and Harpsichord, Opus 44 is a five-movement, atonal composition. It combines traditional and nontraditional notation.
During the 1970s Mortensen worked with a new form of serial technique. His intent was to include melodic material as an element of serial construction. This technique can be observed in the Sonata for Oboe and Harpsichord, Opus 44. Indeterminacy, sonorous melodic movement and triads are successfully worked together in a strict serial technique.
The first movement is similar to an oboe cadenza with sporadic interjections from the harpsichord. The movement has large intervals and a wide dynamic span. It uses the entire range of the oboe.
The second movement is pastoral with legato phrases. The harpsichord is actively involved. This movement has large intervals of over two octaves.
The third movement is indeterminate. It is in sections which are separated by units of time. The oboist must bend pitches with the embouchure.
The fourth movement is short and fast. The harpsichord part is very technical and there are sporadic interjections of legato oboe lines. The oboe ends the movement with a simple, pianissimo phrase.
The fifth movement is rhythmically complex and technically demanding. Mortensen has indicated the musical relationship between the oboe and the harpsichord in the score. This movement demands accuracy. The oboe alone ends the composition.
Sonata for Oboe and Harpsichord, Opus 44 is written well for the oboe and is a good study of serialism. Extensive rehearsals are necessary to understand the melodic relationships and for ensemble accuracy. The oboe part has a large dynamic range and occasional fast, staccato passages.
COMPOSER: NYHUS, Rolf
COMPOSITION: Romanse
MEDIA: oboe and piano
DATE: October 9, 1986
AVAILABILITY: Available in manuscript from Norsk Musikkinformasjon.
LENGTH: approximately 3 minutes
RANGE: c1 - e111
COMMENTS: Romanse is a one-movement composition in 3/4 meter. This tonal composition is a miniature showpiece with a "Spanish" flavor. It is not technically difficult. The phrases are long and breathing is difficult. The composition is in two-part form. The parts are divided by an oboe cadenza. The composition requires bravura and a creative imagination. The ensemble between the oboe and piano is not difficult.
COMPOSER: OLSEN, Carl Gustav Sparre
COMPOSITION: Poem, from Opus I I
MEDIA: oboe and piano
DATE: 1963
AVAILABILITY: Published by Musikk-Huset A/S in Oslo. Copyright
1963.
LENGTH: approximately 1 minute
RANGE: c-sharp1 - d111
COMMENTS: Poem, from Opus II is a smooth, flowing composition in 3/4 meter. The phrases are long and legato consisting of whole notes, quarter notes, and occasional eighth notes.
This short composition would be excellent for teaching beginning oboists with two exceptions: 1) the phrases are long and slow with no suitable places to breathe, and 2) the phrases are constructed from awkward pitches on the oboe (e.g., c-sharp111). The piano part consists of flowing triplets that are occasionally dissonant with the oboe part.
COMPOSER: OLSEN, Carl Gustav Sparre
COMPOSITION: Air for Oboe and Piano, Opus 67
MEDIA: oboe and piano
DATE: 1981
AVAILABILITY: Published by Norsk Musikforlag
A/S in Oslo. Copyright 1981.
LENGTH: approximately I minute
RANGE: b-flat - c111
COMMENTS: Air for Oboe and Piano, Opus 67 is similar to Poem, from Opus 11, but is more accessible for teaching purposes. The simple phrases consist of slow note values and easy rhythms. A lack of rests creates breathing difficulties. The piano part consists of steady quarter note pulses.
COMPOSER: RÖNNES, Robert
COMPOSITION: Trois Nocturnes au Hommage a Frederick Delius
MEDIA: baritone oboe (heckelphone) and piano
DATE: 1982-86
AVAILABILITY: Available in manuscript from
Norsk Musikkinformasjon.
LENGTH: approximately 12 minutes
RANGE: b-flat - d111
COMMENTS: This is a three-movement composition composed in an Impressionistic style. The heckelphone lines are smooth and flowing, and the rhythms are often written across the barlines.
The first movement is marked tres modere and is a mixture of 4/4 and 3/4 meter. It is very sectionalized by fermati. The second movement is marked doucement and is in a slow 4/4 meter. The heckelphone lines consist of triplets and dotted rhythms. The third movement is marked lent et tres calme and is in 4/4 meter.
Rönnes makes the following comments about Trois Nocturnes:
These three Nocturnes are written in the style of French impressionism for an instrument that is used primarily in France. Delius had much in common with the French world of sound and acoustics, some of which I create by my own means in this composition. All three movements are composed very free and are picturesque, and can be played separately. The work is primarily written for bass oboe, but the heckelphone can be used as a substitute. The piano part has contained within it many different articulations. I must ask the performing artist to follow [these articulations] very carefully. Do not play any of the movements faster than what is indicated. [What is indicated] are the maximum tempos." (Translated by the author from Opplysninger om nye verk, Norsk Musikkinformajon, July 18, 1986).
There is no real distinction between these three movements.
There are similar in style and harmonic progression. The heckelphone
lines are generally on the staff, legato, and have a wide dynamic
range. These lines are technically accessible and the fastest
rhythm is the triplet.
Each movement is very sectionalized by fermati and changes in
the piano texture. The parts are well integrated, but the piano
carries the weight of the composition. The harmonies are characteristic
of Delius and the rhythm patterns are elusive to the listener.
The piano part is technically challenging. It requires a large
hand span and a good dynamic range. The tempi, interpretation
and balance will require extensive rehearsals. If a heckelphone
is not available the solo line may be performed on the oboe.
COMPOSER: STRÖMHOLM, Folke
COMPOSITION: Introduzione, Canzone og Finale, Opus 31
MEDIA: oboe and piano
DATE: 1975
AVAILABILITY: Available in manuscript from Norsk Musikkinformasjon.
LENGTH: approximately 10 minutes
RANGE: c-sharp1 - g111
COMMENTS: This composition is in G-minor and divided into three distinct sections. The "Introduction" is slow and a mixture of 3/4 and 4/4 meter. It has long phrases which are very chromatic and rhythmically intricate. The "Canzona" is in 4/4 meter and consists of long phrases interspersed with technical flourishes. The "Finale" is in a rapid 3/8 meter with frequent use of hemiola.
The oboe part is not difficult, but several of the fast passages
are challenging. The phrases are long and legato, and breaths
must be planned carefully. The piano score was unavailable for
observation at the time of this writing.
COMPOSER: SÖDERLIND, Ragnar
COMPOSITION: Two Pieces from the Desert: A Study in Arabian
Music, Opus 21 (Also see the identical listing under "Oboe
with Orchestra")
MEDIA: oboe and piano
DATE: October 29, 1973
AVAILABILITY: Available in manuscript from Norsk Musikkinformasjon.
LENGTH: approximately 11 minutes
RANGE: b - e111
COMMENTS: Two Pieces from the Desert, Opus 21 was originally composed for oboe and piano. It was later arranged for oboe solo with orchestra as Opus 21 -B. The composition was commissioned by oboist Brynjar Hoff. It resulted from a meeting with three Arabian musicians during a festival in Prague in 1973. It was not Söderlind's intention to write Arabian music, but rather to convey his personal impression of the musicians and their instrumental style.
The composition is in two movements. The first movement, "leli ya leli ya ayni! " (Oh! my night, oh! my eye [love]), is a musical dialogue between the oboe and piano. The oboe part sounds like an improvisation on modal scales. The oboe range is very playable. Rhythmic vitality and syncopation enhance the exotic quality of this movement.
The second movement, "Oomri alayki" (I spent my life),
is in a brisk 4/4 meter. The oboe begins the movement with brief,
mysterious phrases accompanied by an ostinato pattern. The intensity
of the movement increases and leads to an oboe cadenza. This cadenza
is in the altissimo register of the oboe. After the cadenza, the
movement accelerates to a rapid allegro vivace. The
composition ends with a soft, ascending scale played by the oboe.
Two Pieces from the Desert, Opus 21 is pleasant to hear
and to perform. The second movement sounds difficult, but the
technical passages are written well for the oboe. The composition
has a large dynamic range and requires control of the altissimo
register. The ensemble is not difficult if both players are rhythmically
stable. The orchestra version (Opus 2 1 -B) should be consulted
to completely understand the piano part.
COMPOSER: THOMMESSEN, Reidar
COMPOSITION: Liten Serenade (Little Serenade)
MEDIA: oboe and piano (or piano solo)
DATE: not provided in the score
AVAILABILITY: Published by Norsk Musikforlag A/S in Oslo. Copyright
1981.
LENGTH: approximately 2 minutes
RANGE: d1 - d111
COMMENTS: Liten Serenade is in D-major and in 3/4 meter.
This simple composition consists of flowing phrases in quarter
and eighth notes. It is excellent for beginning oboists because
the phrases are short and simple. For teaching purposes, it is
worth noting that the melodic line reaches to d111 several times.
The piano part duplicates the oboe line and is not difficult.
