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Solo Oboe
Oboe with Keyboard Instrument
Oboe with Orchestra or Band
Oboe with Chamber Ensemble
Additional Oboe Compositions
Classified Listing of Norwegian Compositions Listed by Performance Media page 1 | page 2
Addresses of Norwegian Music Resources Consulted (see bottom of page)

COMPOSER: BERGE, Sigurd
COMPOSITION: Raga
MEDIA: oboe solo and orchestra
(2/2/l/2, 4/3/3/0, harp, strings)
DATE: 1959, revised 1975-76
AVAILABILITY: Available in manuscript from
Norsk Musikkinformasjon.
LENGTH: approximately 18 minutes
RANGE: d1 - f-sharp111
COMMENTS: Raga was premiered at the Young Nordic Festival in Copenhagen in 1960. The composition was revised and shortened. The new version was premiered on Norwegian Radio in 1978 with Brynjar Hoff as oboe soloist.
The composition is based on a raga, a particular scale or mode which is the basis of melodies in Indian music. It is a three-part composition that ends with an extensive oboe cadenza.
The oboe part is technically accessible. The solo lines have some fast staccato passages and are embellished with grace notes. There are fast interval skips, particularly in the cadenza, and the composition requires glissandi and flutter tonguing. Raga is very syncopated and the meter changes frequently. The composition has an exotic quality and an exciting pace. A considerable amount of rehearsal is necessary for balance and tempi.
COMPOSER: BIBALO, Antonio
COMPOSITION: Musica
MEDIA: solo oboe with string orchestra, harp and
percussion
DATE: 1986
AVAILABILITY: Available in manuscript from Norsk Musikkinformasjon. All rights reserved by Wilhelm Hansen A/S.
LENGTH: approximately 22 minutes
RANGE: d1 - f111
COMMENTS: Musica is a two-movement composition in mixed meter. The first movement, "Nocturne," begins with an unmetered oboe solo. The oboist is joined by the percussion and finally by the strings. The solo and orchestral parts are not technically difficult, but the complex rhythms require exact precision. The orchestra provides various colors which enhance the solo oboe line.
The second movement, "Scherzo finale," contrasts fast, staccato passages with lyrical, expressive phrases. There is an extensive oboe cadenza which leads to a rapid finale.
The premiere performance of Musica is scheduled for October 19 and 20, 1989 in Norway. Brynjar Hoff will play the oboe solo with the Oslo Philharmonic.
I
COMPOSER: BREIMO, Bjorn
COMPOSITION: Fantasia Concertante
MEDIA: solo oboe, violin, cello, and piano with
string orchestra
DATE: March/October 1987
AVAILABILITY: Available in manuscript from
Norsk Musikkinformasjon.
LENGTH: approximately 16 minutes
RANGE: b - c111
COMMENTS: Fantasia Concertante is a onemovement, tonal composition marked allegro moderato. It is orchestrated like a concerto grosso. The oboe, solo violin, solo cello, and piano are the concertino and the string orchestra is the ripieno.
Each instrument of the concerto has extensive solo passages. The oboe has a solo duet with the violin and with the piano. The violin and piano are predominant in the concertino.
The lyrical oboe lines are not technically difficult. The note values are rarely faster than the eighth note. The piano part is very technical. It contains fast, chordal passages and rhythmic diversity. The ripieno has flowing melodic lines which are not complex. The ensemble between the concertino and ripieno, is not difficult.

COMPOSER: CLEVE, Cissi
COMPOSITION: Legende
MEDIA: solo oboe with string orchestra and harp
DATE: not provided in the score
AVAILABILITY: Available in manuscript from
Norsk Musikkinformasjon.
LENGTH: approximately 3 minutes
RANGE: d1 - a' I
COMMENTS: Legende is a simple, one-movement composition in E-minor. The small range and the short, legato phrases are excellent for beginning oboists. The fastest rhythmic value is the eighth note. The oboe is accompanied by harp arpeggios and sostenuto strings.
The composition is pleasant for audiences, but its short duration makes programming difficult. Legende can possibly be programmed with Cleve's Nocturne for Obo og Orkester. These two compositions have similar orchestration and duration. Legende was arranged for orchestra by Ragnar Soderlind.

COMPOSER: CLEVE, Cissi
COMPOSITION: Nocturne for Obo og Orkester
MEDIA: solo oboe with small orchestra
(4 horns in F, harp, strings, timpani)
DATE: not provided in score
AVAILABILITY: Available in manuscript from
Norsk Musikkinformasjon.
LENGTH: approximately 3 minutes
RANGE: b - b11
COMMENTS: Nocturne for obo og Orkester is a onemovement, tonal composition. It is similar to Legende, but more soloistic and with a wider range. The composition is not difficult. The oboe phrases are short and legato without large intervals. The oboe is accompanied by sostenuto chords in the horns and strings. The harpist plays continuous arpeggios.
The short phrases and small range make Nocturne for Obo og Orkester an excellent composition for beginning oboists. Its short duration makes programming difficult. Nocturne for Obo og Orkester can be programmed with Cleve's Legende. These two compositions have similar orchestration and duration. Nocturne for Obo og Orkester was arranged for orchestra by Ragnar Soderlind.

COMPOSER: FLADMOE, Arvid
COMPOSITION: Caprice for Obo and Orkester
MEDIA: solo oboe with orchestra
(1/0/1/1, 4/0/0/0, strings)
DATE: 1984
AVAILABILITY: Available in manuscript from
Norsk Musikkinformasjon.
LENGTH: approximately 5 minutes
RANGE: d1 - f111
COMMENTS: Caprice for Obo og Orkester is a onemovement composition in mixed meter. It is tonal, with contrasting sections of extreme dissonance. The oboe lines are not difficult, but there are some awkward fingerings in the altissimo register. The articulations and dynamics are clearly marked. There are some fast, staccato passages, and the oboe lines are generally above the staff. There are two cadenzas written in the oboe part which are not indicated in the orchestra] score. The oboe has a duet with the horn and with the bassoon. The orchestral scoring is sensitive to balance and is not difficult.

COMPOSER: FONGAARD, Bjorn
COMPOSITIONS:
Konsert for oboe og orkester, Opus 120, No. 5
Konsert for oboe og orkester, Opus 120, No. 6
Konsert for Engelsk horn og Orkester, Opus 120, No. 7
MEDIA: Each concerto is for solo oboe or English
horn with electric organ, percussion and strings.
DATE: 1976
AVAILABILITY: Available in manuscript from
Norsk Musikkinformasjon.
LENGTH: Konsert for oboe og orkester, Opus 120,
No. 5 is 20 minutes. Konsert for oboe og orkester,
Opus 120, No. 6 is 17 minutes. Konsert for Engelsk
horn, Opus 120, No. 7 is 21 minutes.
RANGE: Each concerto is between b - f111
COMMENTS: These compositions are listed together because of their common characteristics in compositional style. Fongaard's intention was to create continuous orchestral sound in this concertos.
Each concerto has two movements. sections of tradi
tional and nontraditional notation, sections that are metered and unmetered, and a cadenza. Only Konzert for obo og orkester, Opus 120, No. 5 begins with the oboe alone. This concerto is the most conservative of Opus 120.
The solo parts are not difficult. The notes that receive more emphasis have been indicated by highlighting in the score. The dynamics are clearly marked. The interpretation of these concertos requires extensive contemplation, and the orchestral scores are very detailed.

COMPOSER: GJERSTROM, Bjorn Gunnar
COMPOSITION: Konsert for Oboe og Strykere, Op. 17
MEDIA: solo oboe with string orchestra
DATE: 1986
AVAILABILITY: Available in manuscript from
Norsk Musikkinformasjon. Orchestral score only.
LENGTH: approximately 12 minutes
RANGE: b - e111
COMMENTS: Konsert for Oboe og Strykere, Opus 17 is a three-movement composition. It is tonal, with contrasting sections of extreme dissonance and jazz harmonies. the first movement, "Pastorale," is an adagio with cantabile oboe phrases. A cadenza comprised of sextuplets divides the movement into two sections. This cadenza is very chromatic and syncopated. The second movement, "Scherzo," is an allegro in 3/4 meter. This movement spans the entire range of the oboe with playful intervals. The third movement, "Elegiaco," begins andante in 4/4 meter with fluid oboe phrases. A rapid middle section in 6/8 meter gives dramatic contrast to the returning andante.
Konsert for obo og strykere, Opus 17 is written well for the oboe and orchestra. It is very syncopated and the first violin parts are demanding. There is much melodic interplay between the oboe and orchestra. There are several sensitive ensemble passages that require careful rehearsal. The solo oboe part allows freedom of artistic expression, but demands rhythmic accuracy. The score is clearly marked for articulations, breaths, and dynamics. The oboe part is technically accessible to advanced performers.

COMPOSER: HUNDSNES, Svein
COMPOSITION: Transoboic Fusion
MEDIA: solo oboe and symphonic band
(2 fl., 3 clar., tenor and alto sax., 3 tpts., 3 horns,
3 tbns., euph., tuba, perc.)
DATE: 1983
AVAILABILITY: Available in manuscript from
Norsk Musikkinformasjon.
LENGTH: approximately 12 minutes
RANGE: b - f111
COMMENTS: Transoboic Fusion is a one-movement, tonal composition in 3/4 meter. It is a very sectionalized composition. The long, lyric phrases and technical passages are placed well on the oboe. There is much
melodic interaction between the solo oboe and other winds, and there are several oboe cadenzas. There are tutti passages where the oboe only serves as an addition to the wind section. The oboe part is not difficult, but there are some awkward technical passages and intricate rhythms. The oboe can always be heard over the easy band accompaniment. Transoboic Fusion is a very good composition for the medium of oboe and band.

COMPOSER: KNUTSEN, Torbjorn
COMPOSITION: Konsert for Obo og Strykere
MEDIA: solo oboe and string orchestra
DATE: not available in the score
AVAILABILITY: Available in manuscript from
Norsk Musikkinformasjon.
LENGTH: approximately 20 minutes
RANGE: d-flat1 - f-sharp111
COMMENTS: Konsert for Obo og Strykere is a three movement composition in traditional notation. The first movement is marked allegro moderato and is in 2/4 meter. The oboe part has fast staccato passages and is very syncopated. The middle section has long oboe lines over tremolo in the strings. This section leads to a long cadenza. This is a da capo movement.
The second movement is marked lento e molto cantabile and is in 4/4 meter. The oboe part has long, flowing phrases. A syncopated middle section is in contrast to the slow opening and closing sections.
The third movement is marked allegro and is in 2/4 meter. This movement is extremely syncopated and the oboe rarely plays on a downbeat. The oboe lines have some large intervals. There is much interaction between the oboe and orchestra that requires rhythmic stability. The movement ends with a rapid, staccato passage in the oboe part.
Konsert for Obo og Strykere is a very effective composition. The rhythmic interplay and general case of the composition are enjoyable to the listener. The constant use of syncopation is a challenge to both the soloist and orchestra, but none of the parts are technically difficult.

COMPOSER: KVAM, Oddvar S.
COMPOSITION: Dialoger for Obo og Strykere, Op. 24
(Dialogues for Oboe and Strings, Opus 24)
MEDIA: solo oboe and string orchestra
(or string quartet)
DATE: 1973
AVAILABILITY:. Available in manuscript from
Norsk Musikkinformasjon.
LENGTH: approximately 12 minutes
RANGE: b-flat - f-sharp111
COMMENTS: Dialoger for Obo og Strykere, Opus 24 is a four-movement, programmatic composition in traditional notation. It is tonal, with areas of extreme dissonance.
This composition may be performed by either a string orchestra or a string quartet. The score indicates that, in the event the piece is performed as a quintet,
the divisi parts should be played with doublestops.
Dialoger for Obo og Strykere, Opus 24 opens with a short ad libitum introduction by the oboe. This leads directly into the first movement, "Heftig diskusjon" (Intense discussion), which is an allegro. This movement is in 5/4 meter, and is an exchange of musical dialogue between the first violin and the oboe. The phrases are continuous sixteenth-note patterns. There is an extensive oboe solo which leads to a final tutti.
The second movement, "Rolig samtale" (Calm conversation), alternates between 3/4 and 2/4 meter. It has a plaintive oboe melody accompanied by tremolo. This oboe melody is simple and in the extreme low register.
The third movement, "Munnhuggeri" (Quarreling), is an allegro in 8/8 meter. Kvam indicated that the meter should be understood as 3 + 3 + 2/8. The movement is extremely syncopated with the eighth note remaining constant.
The fourth movement, "Munter passiar" (jovial talk), is a vivace in 3/4 meter. This movement is very direct with an unaccompanied oboe passage near the end.
Dialoger for Obo og Strykere, Opus 24 is effective as both a chamber and orchestral composition. The oboe lines require fluid technique, fast tonguing, and rhythmic stability. There is a variety of articulations and dynamics. Each part requires advanced technique and musicianship. Extensive rehearsals are necessary for balance, articulations, tempo, and interpretation. The score includes bow markings for the strings.

COMPOSER: KVAM, Oddvar S.
COMPOSITION: Elegy for English horn, Strings and
Timpani, Opus 8
MEDIA: solo English horn with string orchestra
and timpani
DATE: 1959
AVAILABILITY: Available in manuscript from Norsk Musikkinformasjon.
LENGTH: approximately 7 minutes
RANGE: c1 - f111
COMMENTS: Elegy for English horn, Strings and Timpani, Opus 8 is a short, one-movement composition. It is tonal, marked largo, and in 3/8 meter. The solo English horn serves more as orchestral color than as a soloist.
The composition is a series of musical dialogues between the English horn and the first violins. It is not technically difficult for the English horn and the fastest note value is the eighth note. The composition is pleasant and has a low activity level. The orchestration is often too thick, especially when the English horn plays fill.

COMPOSER: KVANDAL, Johan
COMPOSITION: Concerto for Oboe and String
Orchestra, Opus 46
MEDIA: solo oboe and string orchestra
DATE: 1977
AVAILABILITY: Published by Norsk Musikforlag
in Oslo in collaboration with the Norwegian Cultural Fund and the Society of Norwegian Composers. Orchestral material is available on hire. A miniature score for orchestra and a piano
reduction of the orchestral score is available from Norsk Musikforlag.
LENGTH: approximately 20 minutes
RANGE: b - f111
COMMENTS: Kvandal describes Concerto for Oboe and String Orchestra, Opus 46 as follows:
The oboe opens the first movement with a short motif, which is to function as an important unifying factor in the otherwise rich thematic material. The principals of the sonata form prevail in the movement, which fades out quietly. The three-part second movement begins with a short orchestral section, in which the pizzicato in the cello and double bass set the tone. Beyond this, the movement is dominated by the oboe's melody lines and by a cadenza for that instrument, before the recapitulation sets in. The third movement is in a free rondo form with a scherzo-like principal theme. Here rhythmic elements, with a strain of 5/8 time, play an important role. The concerto as a whole provides a good opportunity for demonstrating the qualities of the oboe, from the deepest to the highest register" (Johann Kvandal, Oboconcertos, Phillips 411-081-1).
This concerto is a standard for Norwegian oboists. The difficult technical passages, intricate rhythms, and interpretation are very challenging. The rhythms in the second movement are particularly complex. Performing this composition requires facile fingers and a fast tongue. This concerto is a very satisfying composition. The piano transcription of the orchestral score is very good.
Some reviews of Concerto for Oboe and String Orchestra, Opus 46 are as follows:
"...the concerto reveals a magnetizing musical fluency, and has a condensed middle movement with elements of folk music" (Carl-Gunnar Ahlen, Svenska Dagbladet, Stockholm, 14 June 1977).
"There is no superabundance of oboe concertos. So when the Norwegian composer Johan Kvandal presented a concerto for oboe and string orchestra in 1977, it was welcomed by oboists with delight. Splendidly suited to the instrument, it is, with its form of "modem tonality" and rhythmic vitality, a piece that will appeal to an audience who normally shrink from distinctly modem music" (Hans Voigt, Berlingske Tidende, Copenhagen, 24 July 1980).


COMPOSER: LUNDE, Jr., Ivar
COMPOSITION: Konsertino for Violin og Oboe og Stryke-orkester, Opus 21 (This composition was revised as Concertino for Flute, Oboe, Harpsichord and Strings, Opus 21 in 1971, but this commentary pertains to the original version).
MEDIA: solo oboe and violin with string orchestra
DATE: November 1964
AVAILABILITY: Available in manuscript from
Norsk Musikkinformasjon.
LENGTH: 10 minutes (The revision is Il minutes)
RANGE: c-sharp1 - fill
COMMENTS: Konsertino for Violin og Oboe og Strykeorkester, Opus 21 is a three-movement composition with long, lyrical phrases. The violin and oboe continuously exchange musical dialogue or perform simultaneously in thirds or unison. The orchestra scoring allows the soloists maximum audibility.
The first movement is marked allegro molto and is an interchange of melodic passages between the two soloists. The orchestral texture is thin. A duo cadenza ends the movement.
The second movement is an andante in 6/8 meter. The oboe begins this movement alone. The thin orchestral scoring does not interfere with the melodic exchange between the oboe and violin. The second movement leads directly into the third movement.
The third movement is a presto in 2/4 meter with occasional measures of 3/8 meter. This movement is very direct. A short cadenza leads to the rapid finale. This duo cadenza for the oboe and violin is a challenge to coordinate.
Konsertino for Violin og Obo og Stryke-orkester, Opus 21 is written well for the oboe, violin and orchestra. It is technically accessible for intermediate oboists and is an excellent composition for teaching proper phrasing. The frequent use of unison between the soloists requires good intonation.

COMPOSER: MADSEN, Trygve
COMPOSITION: Concerto for Oboe and Small
Orchestra, Opus 30
MEDIA: solo oboe with string orchestra, harp, and
percussion
DATE: 1979
AVAILABILITY: Published by Musikk-Huset A/S
in Oslo. Copyright 1981. A piano reduction of the
orchestral score and a miniature score for orchestra
is available.
LENGTH: approximately 15 minutes
RANGE: e-flat1 - e111
COMMENTS: The premiere of this concerto was in Oslo Concerto Hall on October 4, 1979 by the Oslo Philharmonic Orchestra. The oboe soloist was Brynjar Hoff, who also commissioned the concerto. In terms of themes, harmony, and the use of solo instrument with the orchestra, the work is characteristic of the style of this composer.
Concerto for Oboe and Small Orchestra, Opus 30 is in three movements. The first movement is an orchestral passacaglia which underlies a singing oboe melody. The movement is in ABA form with the middle section characterized as a sarabande. The second movement is a quick scherzo in 6/8 meter.
The third movement is a sectionalized andante in ABCBA form, plus a coda. The composition concludes with a return of thematic material from the first movement.
Concerto for Oboe and Small Orchestra, Opus 30 is a delightful composition. The orchestration, enhanced
by Madsen's lush harmonies, is very effective. The oboe range is not extreme and generally remains on the staff. There are many rests for breathing. Some large intervals and awkward fingerings may be difficult, but the overall composition is technically accessible. The long phrases require much endurance.
Interpreting the concerto requires much contemplation because of the various moods that the music evokes. The composition is good for teaching phrasing and musical expression. The orchestral parts are difficult. The piano transcription is satisfactory.
COMPOSER: MADSEN, Trygve
COMPOSITION: Die sieben Schleier er Salome, Op. 37
(The Seven Songs of Salome, Opus 37)
MEDIA: soprano and solo oboe with strings
DATE: 1982
AVAILABILITY: Available in manuscript from
Norsk Musikkinformasjon.
LENGTH: approximately 15 minutes
RANGE: c-sharp1 - d111
COMMENTS: Die sieben Schleier der Salome, Opus 37 is a seven-movement composition with the German text of Christoph Klausener. The first movement is marked langsam (slow) and is in 5/4 meter. The oboe lines are short, flowing phrases accompanied by tremolo. These phrases enhance the vocal lines and are written above the staff. There is a short cadenza for the oboe.
The second movement is marked schnell (fast). The strings play triplets with occasional glissandi. This movement is primarily vocal with very little oboe material. The second movement leads directly into the third movement.
The third movement is marked ruhig (calm) and consists of long phrases for the oboe. This is the first time that the oboe and soprano perform simultaneously.
The fourth movement is marked ruhig and has long oboe phrases accompanied by sostenuto strings. These oboe phrases are characterized by triplets and dotted rhythms. This movement also has fast sextuplets which are technically easy for the oboe.
The fifth movement is primarily vocal and oboe only plays the final ten measures. The sixth movement, again marked ruhig, contains simple oboe phrases with a variety of rhythms.
The seventh movement is marked Langsam and is similar to the opening movement. The soprano and orchestra begin the movement. Eventually the orchestra is tacet while the soprano and oboe perform a duet. The composition ends as it began with short oboe phrases accompanied by tremolo.
Die sieben Schlier der Salome, Opus 37 is a very dramatic composition with effective orchestral timbre. The composition is written well for the oboe, soprano, and strings. The oboe part is technically accessible, but sensitivity and nuance in reflecting the text requires much contemplation. The string parts are not difficult.

COMPOSER: NORDHEIM, Arne
COMPOSITION: Boomerang: Concerto for Oboe and
Chamber Orchestra
MEDIA: solo oboe with 2 horns in F, harpsichord
(amplified), strings (12, 4, 4, 2)
DATE: 1985
AVAILABILITY: Published by Edition Wilhelm
Hansen A/S in Copenhagen. Copyright 1986.
LENGTH: approximately 17 minutes
RANGE: b - a-flat' 11
COMMENTS: Boomerang: Concerto for Oboe and Chamber Orchestra is an extremely effective contemporary composition in one movement. It was commissioned by the Norwegian Chamber Orchestra.
The score indicates that the oboist should stand in front of the string section and the two horns should have considerable distance between each other. This stage position of the performers enhances the exchange of melodic material. This composition requires advanced musicians. The oboe and orchestra parts are very difficult and require extensive rehearsals.
The oboe line is virtuosic and requires a fast tongue, good technique, dynamic control, skill in executing contemporary oboe techniques, and rhythmic stability. A majority of the oboe line is above the staff, and contemporary techniques include glissandi, multiphonics, lip slurs and flutter tonguing. At one point the oboist must improvise, and there is an extensive oboe cadenza.
COMPOSER: NYSTEDT, Knut
COMPOSITION: Concerto for English horn, Clarinet
and Strings, Opus 29
MEDIA: solo English horn and B-flat clarinet with
string orchestra
DATE: 1952. The premiere performance was
March 5, 1954 with Karl Varstad playing the
English horn.
AVAILABILITY: Available in manuscript from
Norsk Musikkinformasjon.
LENGTH: approximately 19 minutes
RANGE: English horn: b - d111, Clarinet: e - a'
COMMENTS: Concerto for English horn, Clarinet and Strings, Opus 29 is a three-movement, tonal composition in traditional notation. The first movement is an andantino and consists of sixteenth notes syncopated with rests and dotted rhythms. The English horn line is primarily above the staff and has large intervals. The English horn and clarinet exchange musical dialogue throughout this movement.
The second movement is marked vivace assai. It is technically accessible, but requires some fast staccato tonguing. There is a lyrical adagio section, and the movement has a variety of articulations and syncopated rhythms.
The third movement is marked largo-allegro vivace. The soloists only play during the allegro section, which are in 4/4 meter and consist primarily of triplet figures. There are many large interval skips.
This concerto is well written for the English horn, clarinet and strings. The texture of the string parts is thin and the soloists are always audible. This is especially important for the English horn solos written above the staff. The composition has a variety of dynamics and articulations. The ensemble is not difficult.
COMPOSER: RYPDAL, Terje
COMPOSITION: Drommespinn, Opus 43. (This title
is literally translated as "Spinning Dream")
MEDIA: solo oboe with string orchestra
DATE: February 28, 1988
AVAILABILITY: Available in manuscript from
Norsk Musikkinformasjon
LENGTH: approximately 5 minutes
RANGE: c1 - c111
COMMENTS: Drommespinn, Opus 43 is a short, onemovement composition. It is tonal and evokes a quiet, ethereal effect. The orchestral scoring is thin and the phrases are slow. The oboe lines are long and syncopated with occasional lip slurs. The oboe has a simple cadenza. The solo and orchestral parts are not difficult.
COMPOSER: RYPDAL, Terje
COMPOSITION: Shadows: Image for Oboe Solo,
4 Trombones, Percussion and String Orchestra
MEDIA: solo oboe with 4 trombones, percussion
(6 players plus a celesta), and string orchestra
(desired: 16,14,12,10,8; minimum 10,10,10,8,5)
DATE: February 2, 1980
AVAILABILITY: Available in manuscript from
Norsk Musikkinformasjon.
LENGTH: approximately 16 minutes
RANGE: b - g-sharp111
COMMENTS: This is a very contemporary concerto in one movement. It requires nontraditional techniques from each player of the orchestra. The oboe is often an orchestral color as opposed to a solo instrument. This composition demonstrates various combinations of orchestral timbre and requires extensive rehearsals.
Shadows begins with an extensive, unmetered percussion section. Upon entrance of the solo oboe a steady meter is established. The oboe part includes glissandi and quarter tones, and is very syncopated. There are large sections where the oboist must improvise. Several of the oboe lines are very rapid with large intervals. The dynamics are clearly marked. The score is very detailed.
COMPOSER: SOL S, Eyvind
COMPOSITION: Musikk for Obo og Strykere
MEDIA: solo oboe with string orchestra
DATE: February 28, 1984
AVAILABILITY: Available in manuscript from
Norsk Musikkinformasjon.
LENGTH: approximately 8 minutes
RANGE: e-flat1 - b-flat1
COMMENTS: Musik for Obo og Strykere is a onemovement composition marked allegro con brio et espressivo molto and in 4/4 meter. The solo oboe enters alone after a short orchestral introduction. These opening phrases are short with large intervals., As the intensity of the composition increases the oboe phrases
become noticeably longer. There are many rests for breathing. The composition is very dissonant and the oboe lines are chromatic.
Musikk for Obo og Strykere is technically accessible for the solo oboe and orchestra. The meter changes frequently, but the rhythms are not complex. The dynamic range is large. There are many sections of the composition where the oboe is unaccompanied.

COMPOSER: SAEVERUD, Harold
COMPOSITION: Obo-konzert, Opus 12
MEDIA: solo oboe with orchestra (picc., fl., cl., bsn., 2 horns, trumpet, perc., strings)
DATE: 1938
AVAILABILITY: Available in manuscript from Norsk Musikkinformasjon.
LENGTH: approximately 18 minutes
RANGE: c1 - f111
COMMENTS: Obo-konzert, Opus 12 was Saeverud's first solo concerto. The premiere performance was given in Goteborg on February 16, 1939 with the Swedish oboist Rolf Lannerholm as soloist.
Saeverud describes Obo-konzert, Opus 12 as follows:
The form of the first movement has been treated relatively freely with an interesting "nut" for the musicologists to crack in the last thirteen bars. The oboe concerto bears the dedication "To my Marie", and this is my thanks for the inspiration my first meeting with my wife-to-be gave me for what I consider to be "my loveliest melody". We hear the melody in the Adagio, but it is also repeated later in the Finale, first remote and mysterious in the clarinet, then taken up again by the soloist. Apart from this the finale goes "over stock and stone" (Saeverud, Oboconcertos, Phillips 411-081-1).
This three-movement concerto is one of the earliest Norwegian compositions for the oboe. It is tonal, but has large sections of dissonance. The first movement is marked allegro moderato and is very syncopated. The oboe phrases are long with various articulations and dynamics. There are many orchestral solos.
The second movement is marked adagio molto and has long, lyrical oboe lines which are syncopated. The second movement leads directly into the third movement.
The third movement is an allegro that constantly exchanges melodic material between the oboe and orchestra. Many of the oboe phrases are fast and staccato with large intervals. This movement has a long clarinet solo. Obo-konzert, Opus 12 is written well for the oboe and orchestra. Smooth, lyrical phrases are constantly juxtaposed with syncopated passages. The composition requires good technique and mature musicianship from both the soloist and orchestral musicians.

COMPOSER: SODERLIND, Ragnar
COMPOSITION: Two Pieces from the Desert,
Opus 21-B
MEDIA: solo oboe with orchestra (picc./fl., 2 clar.,
bass clar., 3 horns, percussion, harp, strings
[6,6,4,4,2])
DATE: October 12, 1975 (Orchestra version)
AVAILABILITY: Available in manuscript from
Norsk Musikkinformasjon.
LENGTH: approximately 11 minutes
RANGE: b - ell'
COMMENTS: Two Pieces from the Desert was originally composed for oboe and piano. It was later arranged for oboe solo with orchestra as Opus 2 1 -B. It was commissioned by oboist Brynjar Hoff. The composition resulted from a meeting with three Arabian musicians during a festival in Prague in 1973. It was not Soderlind's intention to write Arabian music, but rather to convey his personal impression of the musicians and their instrumental style.
The score indicates that Two Pieces from the Desert, Opus 21-B is written in strict modality. It is built upon the two following scales:
D, E-flat, F-sharp, G, A, B-flat, C-sharp, D D, E, F, G-sharp, A, B, D, D.
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 orchestra. The oboe part is an improvisation on these modal scales. The oboe range is very good. 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 move
ment with brief, mysterious phrases accompanied by an ostinato pattern. The intensity of the movement increases and leads to an oboe cadenza. This cadenza is primarily 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-B is pleasant to hear and to perform. The second movement sounds difficult, but technical passages are well written for the oboe. The composition has a large dynamic range and requires control of the altissimo register. The ensemble between oboe and orchestra is not difficult. The score indicates that occasionally the soloist should not be heard distinctly, but should be part of the tutti.

COMPOSER: SONSTEVOLD, Gunnar
COMPOSITION: Konzert for obo, harpe og orkester
MEDIA: solo oboe and harp with orchestra
(3,2,3,3 4,3,3, 1, perc., piano, strings)
DATE: 1978
AVAILABILITY: Available in manuscript from
Norsk Musikkinformasjon
LENGTH: approximately 28 minutes
RANGE: b-flat - e-flat111
COMMENTS: Konzert for obo, harpe og orchester is a twomovement composition in traditional and nontraditional notation. The first movement is an andante with a long orchestral introduction. This movement is in
mixed meter, dissonant, and rhythmically complex. The oboe and harp have many unaccompanied duets. Several of the oboe phrases begin in the extreme low register, and the movement ends with multiphonics.
The second movement is an adagio which features
several instruments of the orchestra. There is a duet between the orchestral oboe and the solo oboe. Both the harp and the solo oboe have an extensive cadenza. The
oboe cadenza has multiphonics, and fingerings are provided in the score.
Konzert for obo, harpe, og orkester is a complex, sectional composition that requires extensive rehearsal. The orchestral scoring is thick. The solo and orchestra parts are difficult. The various orchestral timbres and the solo instrument combination make this composition very unique.

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