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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: ASHEIM, Nils Henrik
TITLE: In Between: for oboe solo og digital
delay (In Between: for oboe solo and digital delay)
MEDIA: solo oboe with digital delay
DATE: March 10, 1985
AVAILABILITY: Available in manuscript from
Norsk Musikkinformasjon or the composer.
LENGTH: approximately 7 minutes
RANGE: b-flat - g-flat111

COMMENTS: In Between requires careful collaboration between the oboe soloist and a skilled technician. The score indicates where feedback levels and delay input must be carefully synchronized with the oboist. A Yamaha D-1500 digital delay is suggested, but any device with a delay time of one second will suffice.

The oboist has considerable freedom when performing In Between. The quarter note is indicated at M.M. = 126. Frequent fermati and occasional nontraditional notation suggest that a feel for improvisation is intended.

The composition is unmetered and there is no obvious tonal scheme. There are large interval skips of more than one octave and the oboist must have good control of the third octave. The dynamic range is varied and requires control from piano to fortissimo. There is a variety of articulations. The more difficult aspects of In Between are concerned with the third octave: fast technical passages, soft dynamics, and intervals that span almost two octaves.

COMPOSER: BERG, Olav
COMPOSITION: Tre Portretter for Solo Oboe: Etter Tre Bilder by Henri Matisse (Three Portraits for Solo Oboe: After Three Pictures by Henri Matisse)
MEDIA: solo oboe
DATE: February 2, 1984
AVAILABILITY: Available in manuscript from Norsk Musikkinformasjon.
LENGTH: approximately 15 minutes
RANGE: b-flat - f111

COMMENTS: Tre Portretter for Solo Oboe is a three movement, atonal composition which is programmatic. The first movement, "Antoinette," is an unmetered adagio of flowing phrases with occasional large intervals. The dynamic range is large, and good control is necessary to perform the long crescendi and decrescendi.

The second movement, "Le Luxe," is an allegro in mixed meter, but a majority of this movement is in 2/4 meter. "Le Luxe" is essentially continuous sixteenth notes interspersed with triplet figures and fermati. Good embouchure control is necessary to perform the long crescendo passages. The technical passages are written well for the oboe and are not difficult.

The third movement, "Portrait a la raie verte," is the most demanding movement in regard to range, control, and expression. Marked Lento tempo rubato, this movement is comprised of long expressive phrases in 4/4 meter with occasional technical passages. Dynamic control is imperative for an effective performance. The dynamic range is large and harmonic fingerings are required.

COMPOSER: BERGE, Sigurd
COMPOSITION: Oboe Solo
MEDIA: solo oboe
DATE: 1966
AVAILABILITY: Published by Norsk Musikforlag A/S in Oslo. Copyright 1977.
LENGTH: approximately 5 minutes
RANGE: c1 - g111

COMMENTS: Oboe Solo is an unmetered composition in da capo form. The quarter note is, indicated at M.M.= 60-90. The composition uses no apparent tonal scheme and several sections are in nontraditional notation. The music contrasts isolated segments of sound with flowing melodic lines.

Motivic structures of one or two notes are often separated by fermati and/or rests. Oboe Solo is technically accessible, but several fast passages require careful attention to ensure accuracy. The dynamics and articulations are clearly marked. The dynamic range is large and often requires rapid adjustment of the embouchure. Many of the phrases have large intervals.

COMPOSER: FONGAARD, Björn
COMPOSITION: Sonate for Oboe, Op 70, Number 1
MEDIA: solo oboe
DATE: 1968
AVAILABILITY: Available in manuscript from Norsk Musikkinformasjon.
LENGTH: 9 minutes, 45 seconds
RANGE: c-sharp1 - f111

COMMENTS: Sonata for Oboe, Opus 70, Number 1 is a three-movement, atonal composition which requires rhythmic integrity for performance. The first movement is an adagio in 7/8 meter with occasional measures of 4/8 and 5/8 meter. The eighth note is indicated at M.M. = 63. The movement requires an accurate subdivision of the beat while maintaining flowing, melodic phrases. There is also a considerable amount of dynamic contrast in this movement.

The second movement is a scherzando in 6/8 meter, and the dotted quarter note is indicated at M.M. = 84. Occasional syncopation requires rhythmic integrity from the performer. The movement is generally staccato except for a legato middle section.

The third movement, entitled "Fantasie," is reminiscent of the first movement regarding style and content. This movement is in 7/8 meter and the eighth note is indicated at M.M. = 54. There are some complicated subdivisions of the beat and a few difficult passages. The movement is in a three part form, and the middle section recalls thematic material from the scherzando of the second movement. Aside from this scherzando section, movement three is similar to a chromatic cadenza that allows the performer a considerable amount of interpretive freedom.

COMPOSER: FONGAARD, Björn
COMPOSITION: Sonatas Number 1-3 for Oboe,
Opus 125, Numbers 6-8
MEDIA: solo oboe
DATE: 1973
AVAILABILITY: Available in manuscript from Norsk Musikkinformasjon.
LENGTH: Sonata No. 1, Op. 125, No. 6: 9 minutes
Sonata No. 2, Op. 125, No. 7: 7 minutes
Sonata No. 3, Op. 125, No. 8: 9 minutes
RANGE: Sonata No. 1, Op. 125, No. 6: c1 - d111
Sonata No. 2, Op. 125, No. 7: d-sharp1 - e-flat111
Sonata No. 3, Op. 125, No. 8: c-sharp1 - f111

COMMENTS: Sonatas Number 1-3, Opus 125 are listed together because of their common characteristics in compositional style. These three sonatas are very different from the previously mentioned Sonata for Oboe, Opus 70, Number 1.

Sonata Number 1, Opus 125 consists of three movements ("Adagio," "Allegro Vivace," and "Molto tranquillo"), Sonata Number 2, Opus 125 is one movement ("Scherzando"), and Sonata Number 3, Opus 125 is two movements ("Andante," and "Scherzando").

Each sonata is atonal, unmetered, and is 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 are indicated by highlighting in the score. Dynamics are clearly marked and the range is primarily below d111.

Fongaard's Sonata, Opus 125, Number 9 should be included with this category. It was composed in a style similar to Sonatas Number 1-3 for Oboe, Opus 125, Number 6-8, and is for the English horn. Sonata, Opus 125, Number 9 is eight minutes in duration.

COMPOSER: FONGAARD, Björn
COMPOSITIONS:
Concertos for Oboe and Tape, Opus 131, No. 4-5
Concerto for English horn and Tape, Opus 13 1, No. 6
MEDIA: solo oboe or English horn and pre-recorded tape
DATE: 1976
AVAILABILITY: Available in manuscript from Norsk Musikkinformasjon.
LENGTH:
Concertos for Oboe and Tape: 13 minutes each
Concerto for English horn and Tape: 12 minutes
RANGE:
Concerto for Oboe and Tape, #4: c-sharp1 - f111
Concerto for Oboe and Tape, #5: d-sharp1 - f111
Concerto for English horn and Tape: #6: d1 - d-flat111

COMMENTS: Concertos, Opus 131, Numbers 4-6 are listed together because of their common characteristics in compositional style. Each concerto is one movement, atonal, unmetered, and 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 are indicated by highlighting in the score. Dynamics are clearly marked and the range is primarily below d'".

Concerto for Oboe and Tape, Opus 13 1, Number 4 requires flutter tonguing and multiphonics. The multiphonic fingerings are provided in the score. Concertos, Opus 131, Numbers 5 and 6 do not require these techniques. Each of the concertos have sections of improvisation which must be synchronized with the tape. According to Fongaard, the taped accompaniment consists of "orchestrated microtonalis."

COMPOSER: HAUG, Halvor
COMPOSITION: Fantasia for Oboe Solo
MEDIA: solo oboe
DATE: 1977
AVAILABILITY: Available in manuscript from Norsk Musikkinformasjon.
LENGTH: approximately 5 minutes
RANGE: c1 - g111

COMMENTS: Fantasia for Oboe Solo is a short, onemovement composition. There is a variety of twentieth-century techniques such as glissandi, quarter tones, divergent beams for acceleration, and free pitch sequences. The score includes instructions for achieving these effects, which are used primarily in a cadenza marked tempo ad libitum. However, the majority of this composition is in traditional notation.

The composition is very chromatic and unmetered. There is a large dynamic range and rhythmic complexity. Fantasia for Oboe Solo is not technically difficult and the range is primarily on the staff. Legato articulations, smooth phrasing and rhythmic integrity are necessary for an effective performance of this composition.

COMPOSER: JOHANSEN, Bertil Palmar
COMPOSITION: Out of the Wood
MEDIA: oboe d'amore
DATE: 1984/85
AVAILABILITY: Available in manuscript from Norsk Musikkinformasjon.
LENGTH: approximately 7 minutes
RANGE: c1 - c-sharp111

COMMENTS: Out of the Wood is a single-movement composition marked largo, molto cantabile. It combines traditional notation with twentieth-century techniques such as harmonics, glissandi, microtones and multiphonics. The notation is primarily traditional, but is often combined with divergent beamings for acceleration.

The beginning of Out of the Wood is unmetered, but metronome markings indicate the speed of the quarter note. Bar lines are provided halfway through the movement that designate two-beat measures. However, the score does not indicate these measures in 2/4 meter.

The score of Out of the Wood is very detailed. The speed of vibrato is notated, and multiphonic fingerings are provided. The composition is sectionalized, and constantly alternates between a large and con brio tempo. Subdivisions of the quarter note are complex once the 2/4 pattern is established. Careful attention to the rhythm is necessary to ensure accuracy.

COMPOSER: JOHANSEN, Hallvard
COMPOSITION: Pastorale for Oboe Solo, Opus 99
MEDIA: solo oboe
DATE: 1986
AVAILABILITY: Available in manuscript from Norsk Musikkinformasjon.
LENGTH: approximately 6-8 minutes
RANGE: b - e111
COMMENTS: Pastorale is a one-movement composition with the tempo indicated as andante espressivo. The composition is very chromatic and in traditional notation. There is much use of mixed meter, but the quarter note remains constant.

The rhythmic structure of Pastorale is very intricate with the use of syncopation, dotted rhythms and beat divisions. This rhythmic structure, and the absence of rests throughout the entire composition, helps to maintain an unremitting melodic line.

The allegro grazioso at the end of the composition is comprised of rapid sixteenth-note patterns which are staccato. This is the only section in Pastorale that deviates from the otherwise slow pulse. There is no indication of dynamic or metronome markings, and there is a scarcity of phrase markings.

COMPOSER: KLEIBERG, St. le
COMPOSITION: Solo sonate for obo/obo d'amore
MEDIA: solo oboe or oboe d'amore
DATE: 1986
AVAILABILITY: Available in manuscript from Norsk Musikkinformasjon.
LENGTH: approximately 10-12 minutes
RANGE: b - e111

COMMENTS: It is uncertain if this composition was originally intended for the oboe or the oboe d'amore. The title page indicates either instrument, but the part is clearly marked for the oboe. The composition is easily accessible to either instrument.

This sonata is a tonal composition in three movements which often places technical demands upon the performer. The meter of the first movement alternates between 3/4 and 2/4, and the quarter note is indicated M.M. = ca. 52. This short movement contains various dotted-rhythm patterns and subdivisions of the beat. The accelerandi and ritardandi convey a spirit of improvisation, and the range generally remains on the staff. The first movement leads directly into the second movement.

In the second movement the dotted quarter is indicated as M.M. = 120. This lively movement is in mixed meter and the eighth note remains constant throughout. The movement is diatonic and contains various articulation patterns and metrical accents.

The third movement, entitled "Tempo rubato," indicates the quarter note as M.M. = 52. The rubato, improvisatory nature in which this movement begins is carefully marked with the composer's intention for phrasing and dynamics. The movement builds to a furioso and presents the most technical challenge of the composition. Complex articulations and rapid rhythmic patterns in the altissimo register reinforce the excitement of the movement, which returns to the calm rubato in the last moments of the composition. The omission of bar lines suggests that the performer approach the composition as an improvisation. The occasional instances of acceleration beaming are the only deviation from the otherwise traditional notation.

COMPOSER: KVAM, Oddvar S.
COMPOSITION: Monofoni for Obo, Op. 43, No. 4
MEDIA: solo oboe
DATE: 1975
AVAILABILITY: Published by Musikk-Huset A/S
in Oslo. Copyright 1978.
LENGTH: approximately I minute, 45 seconds
RANGE: b-flat - g11

COMMENTS: This composition is the fourth movement of Fem Monofonier for bl sekvintett, Opus 43 (Five Monophonies for Wind Quintet) in which each instrument of the quintet has a separate solo movement. Each movement of Fem Monofonier for bl sekvintett is published separately. The score indicates that the five monophonies can be performed separately, or together in the order indicated after the opus number.

Monofoni for Obo is marked andantino with the half note indicated as M.M. = ca. 69. This modal composition consists of long, flowing phrases that have a scarcity of rests. The development of these melodic phrases is of primary importance in the composition. The dynamic range varies with juxtapositions of forte and piano. The meter is mixed with the half note remaining constant. The composition requires very basic technique, and the shortest rhythmic value is the eighth note. The oboe line is on the staff with the exception of one brief b-flat.

COMPOSER: LERSTAD, Terje Björn
COMPOSITION: Suite for Obo Solo, Opus 142
MEDIA: solo oboe, English horn, and oboe d'amore, and heckelphone
DATE: December 10, 1980
AVAILABILITY: Available in manuscript from
Norsk Musikkinformasjon.
LENGTH: approximately 8 minutes
RANGE: b-flat - g111

COMMENTS: Lerstad's comments on Suite for Oboe Solo, Opus 142 are as follows:
Four contrasting movements that make use of four members of the oboe family. The work may also be played with only oboe and English horn. The first movement is a kind of introduction with a rubato character for heckelphone. The second movement is a scherzo with a more lyric middle section for oboe d'amore. The third movement, for English horn, is cadential in character. The fourth movement is written for oboe and is quick, rhythmic and virtuosic (Translated from Opplysninger om nye verk, Norsk Musikkinformasjon).

This composition has four movements which are arranged as follows:
1. "Prelude"; this movement is for the heckelphone or for optional English horn. The range is b - el I I and the duration is approximately 1', 30". This movement is an unmetered cadenza with grace notes and flourishes that span the entire range of the instrument.
2. "Pastorale: Allegro vivace"; This movement is for the oboe d'amore or for optional oboe. The range is b - el I I and the duration is approximately 2'. This movement is a lively allegro in mixed meter with the eighth note remaining constant. The middle section of this movement is in 3 + 2/4 meter and is characterized by sixteenth-note patterns. The articulations and note beamings make this a very syncopated movement, and the performer must have very facile technique.
3. "Cadenza: Adagio sostenuto"; This movement is for the English horn. The range is b - f-sharp111 and the duration is approximately 3'. This movement is a metered adagio which is performed as a cadenza. The movement is rhythmically complex, extremely varied in dynamics, and the range spans the entire instrument. The solo line has large intervals and harmonics.
4. "Rondino: Presto ritmico"; This movement is for the oboe. The range is b-flat - g111 and the duration is 1', 30". This movement returns to a fast tempo and is in mixed meter. There is hemiola and note beaming across the bar lines. The performer must have a flexible embouchure to perform the large interval skips. There are extreme dynamic changes and use of glissandi. Each movement of Suite for obo Solo, Opus 142 is very chromatic.

COMPOSER: LUNDE, Jr., Ivar
COMPOSITION: Akrostikon Number One, Opus 73
MEDIA: solo oboe
DATE: 1980
AVAILABILITY: Published by Shawnee Press, Inc. Copyright 1982.
LENGTH: approximately 7 minutes
RANGE: c-sharp1 - g111

COMMENTS: Akrostikon Number One is a serial composition which is divided into seven sections. These sections alternate between a fast and slow tempo. The title Akrostikon (acrostic) refers to Lunde's method of manipulating the tone row. "Akrostikon" is Greek for a poem in which the first letter of each line forms a name when read vertically. This idea is carried further in Akrostikon where the combination of the first note of each section forms a twelve-tone row.
Lunde's printed comments about Akrostikon Number One are:

The note values are, though strictly written, intended to be a guide rather than strictly adhered to. The slow sections are expressive and song-like and the faster sections are smooth and give the performer ample opportunity to display virtuosity.

This unmetered composition is clearly marked to indicate Lunde's intention for performance. Twentieth century techniques are used and include harmonics, glissandi, acceleration beamings, and specialized trills. Lunde provides fingerings for most of these effects. Several sections of Akrostikon require fast tonguing and flexibility of the embouchure and fingers. The absence of bar lines gives the performer considerable freedom of interpretation.

COMPOSER: LUNDE, Jr., Ivar
COMPOSITION: Three Short Pieces for Solo Oboe,
Opus 38
MEDIA: solo oboe
DATE: December 7, 1970
AVAILABILITY: Available in manuscript from Norsk Musikkinformasjon. Copyright 1970 by
Ivar Lunde, Jr., All rights reserved.
LENGTH: approximately 5-7 minutes
RANGE: b - g111

COMMENTS: Three Short Pieces for Solo Oboe, Opus 38 is a programmatic composition which is chromatic. It is not derived from twelve-tone rows. The first piece, "Dawn," is a series of short interjections fermati. These interjections vary in dynamics and rhythm. This piece is unmetered and marked "very slow," and serves as an introduction to the technically demanding second piece.

The second piece, "Day," is in a fast 6/8 meter with an occasional measure of 5/8 or 2/4. Arpeggios in hemiola span the range of the oboe, and require technical facility and rhythmic stability. The use of the altissimo register occurs during the final five measures of the piece. Otherwise, the range remains on the staff.

The third piece, "Dusk," is an exact retrograde of the first piece.

COMPOSER: MADSEN, Trygve
COMPOSITION: De Fire Riker for obo-solo, Opus 41 (The Four Kingdoms for oboe solo, Opus 41)
MEDIA: solo oboe
DATE: 1982/83
AVAILABILITY: Published by Musikk-Husets Forlag A/S in Oslo. Copyright 1984.
LENGTH: approximately 12 minutes
RANGE: el - d-flat111

COMMENTS: De Fire Riker for obo-solo, Opus 41 is a tonal composition in four movements which lies in a good range on the oboe. The first movement, "Krystall" (Crystal), is an andante in 3/4 meter. It contains short phrases which are developed throughout the movement. The phrases are very legato.

The second movement, "Rose" is a moderato in 2/2 meter. 'Me movement is a series of long phrases which lead to a cadenza. There is a brief return of the main theme from the first movement.

The third movement, "Fugl" (Bird), is a scherzando in 3/8 meter. This movement is a series of arpeggios which are technically easy on the oboe. The theme from the first movement serves as the middle, adagio section of the third movement.

The fourth movement, "Menneske" (Mankind), is an allegro in 4/4 meter, and refers to themes from the previous three movements. This movement is very sectionalized and has abrupt tempo changes.

De Fire Riker is an excellent composition to use for teaching purposes or to perform. The composition allows for much personal interpretation and stresses the structure and development of phrases. The articulations and dynamics are clearly marked. De Fire Riker is not technically difficult, but the final movement requires facility with the right-hand G-sharp key.

COMPOSER: OLSEN, Carl Gustav Sparre
COMPOSITION: Pastorale for Oboe Solo, Opus 64, No. 1
MEDIA: solo oboe
DATE: 1978
AVAILABILITY: Published by Harald Lyche and Company, A/S Musikkforlag, Oslo. Copyright 1978.
LENGTH: approximately 5-7 minutes
RANGE: b - e111

COMMENTS: This one-movement composition is marked moderato espressivo and is in 3/4 meter. The oboe range is mostly on the staff. The rhythmic structure consists of quarter notes and half notes. However, the middle section of the composition presents more intricate subdivisions of the quarter note. There are short fragments of sound juxtaposed with longer, more flowing phrases. The dynamics range from pianissimo to forte.

COMPOSER: RYPDAL, Terje
COMPOSITION: Oboistens Bursdag (The Oboist's Birthday)
MEDIA: oboe, English horn, electronics, props, stage hands
DATE: October 25, 1973
AVAILABILITY: Available in manuscript from Norsk Musikkinformasjon.
LENGTH: approximately 15 minutes
RANGE: b-flat - a-flat111

COMMENTS: Oboistens Burstag was written in celebration of oboist Erik Niord Larsen's birthday, but bears no dedication. It is a "musical drama" divided into five movements or scenes. Each movement depicts a different vignette of an oboist's birthday celebration. The scenario of each movement is as follows:

1. The oboist is seated in a comfortable, expensive chair with a drink in his/her hand. There are soft carpets, incense, and candlelight. The oboe is lowered from the ceiling. There are soft, pink spotlights. The music is in 4/4 meter and has long, legato phrases. The dynamics and the range are extreme. The oboist must trill an a-flat"' at a soft dynamic level.

2. The oboist literally dances to the music. This is a fast movement that alternates between 2/4 and 5/8 meter with various subdivisions of the beat. This movement requires the oboist to have a flexible embouchure and a fast tongue.

3. The oboe player bows to the audience and sits down in a chair to begin his practice. This is an extremely technical movement that allows very little time to breathe. The oboist must have facile technique, a fast tongue and control of the dynamic range. This movement is very difficult.

4. Champagne is delivered to the oboist by a waiter. The oboist drinks several glasses of champagne, picks up an English horn, and begins performing in an intoxicated fashion. This music is a slow, cantabile in 4/4 meter. The phrases are long and the range is extreme. A b-flat extension for the English horn is required for performance.

5. The oboist becomes sober and once again rehearses with intense concentration. He/She gradually becomes more satisfied, relaxes, and falls asleep. This movement is technically demanding. The opening tempo is moderato, but accelerates to a presto by the end of the movement. The oboist must have a fast tongue, facile technique, a flexible embouchure, and familiarity with contemporary techniques such as glissandi and multiphonics.

The performance of Oboistens Bursdag requires concentrated work and organization. Aside from the difficulty of the music, technical rehearsals are necessary for staging, props and lighting. The procedure for performing the work is unclear and the score offers no suggestions. It appears that either 1) the music should be prerecorded or 2) the oboist performs while the action is mimed on stage.

COMPOSER: SOMMERFELDT, Oistein
COMPOSITION: Divertimento for Oboe Solo, Opus 41
MEDIA: solo oboe
DATE: 1974
AVAILABILITY: Published by Norsk Musikforlag
A/S in Oslo. Copyright 1975.
LENGTH: approximately 8 minutes
RANGE: b-flat - e111

COMMENTS: Divertimento for Oboe Solo, Opus 41 is a four-movement composition. It is in traditional notation and model. The first movement is marked quasi rubato ed espressivo and alternates measures of 4/4 and 5/4 meter. This movement uses the Norwegian Folk Tune from Hallingdal. The phrases are long and flowing, and the score indicates where the oboist should breathe.

The second movement is an allegro in 2/4 meter with occasional measures of 3/4. This movement contains rapid scale passages, syncopated rhythms, and subito dynamic markings.
The third movement, marked quasi rubato, is rhythmically complex and should sound like an improvisation. This expressive movement has varied dynamics, long phrases, and frequent changes of tempo.

The fourth movement is marked grazioso and is in 6/8 meter. This movement is a steady stream of eighth notes with sixteenth-note flourishes. Occasional measures in 3/8 meter and frequent hemiola gives variety to the otherwise steady pulse.

Divertimento for Oboe Solo, Opus 41 is an interesting composition to hear or perform. The range is not overly demanding and the piece is not technically difficult. The melodic lines have a pleasant folk quality.

COMPOSER: SOMMERFELDT, Oistein
COMPOSITION: Liten Pastorale-suite for Engelsk horn solo, Opus 44, (Small Pastorale Suite for English horn solo, Opus 44)
MEDIA: solo English horn
DATE: 1975
AVAILABILITY: Available in manuscript from Norsk Musikkinformasjon.
LENGTH: approximately 4 minutes
RANGE: d1 - d111

COMMENTS: Liten Pastorale-suite for Engelsk horn solo, Opus 44 is a short, four-movement composition based on Sommerfeldt's Divertimento for Oboe Solo, Opus 41. The melodic and rhythmic material of both compositions is identical, but the folk songs from Divertimento for Oboe Solo, Opus 41 are omitted in Liten Pastorale-suite. The four movements, "Adagio," "Moderato," "Adagio," and "Allegro", are intended to be performed without a break.
This is an excellent composition to teach students phrasing, dynamics, and articulations. It is written in an easily-playable range for the English horn. The folk quality of the composition is a pleasure for both the performer and the audience.

COMPOSER: THORSEN, Frode
COMPOSITION: Fantasia: obo solo
MEDIA: solo oboe
DATE: September 1982
AVAILABILITY: Available in manuscript from Norsk Musikkinformasjon.
LENGTH: approximately 7-9 minutes
RANGE: b - f111
COMMENTS: Fantasia: obo solo is a three-movement composition that is atonal and in mixed meter. The notation is traditional except for some divergent beamings of acceleration in ad libitum sections. The first movement is characterized by arpeggios and large intervals, and the tempo alternates between adagio and allegro. The allegro sections have fast staccato passages, and several of the large intervals are awkward on the oboe.

The second movement is an adagio in 4/4 meter with occasional measures of 3/4. This short movement is technically accessible, but the long phrases make breathing difficult. The range of this movement is generally on the staff.

The third movement is a vivace. The meter alternates measures of 11/16, 7/16, and 2/4. The movement is a constant stream of sixteenth notes that is technically challenging. There are very few rests and the large intervals are awkward at a vivace tempo. The range is on the staff except for extreme high pitches at the end of the movement.

COMPOSER: WALDEIER, Erik
COMPOSITION: Abstraktioner: fire digte med musik for recitator og obo d'amore (Abstractions: four poems with music for speaker and oboe d'amore)
MEDIA: speaker, oboe d'amore
DATE: 1982
AVAILABILITY: Available in manuscript from Norsk Musikkinformasjon.
LENGTH: approximately 9 minutes
RANGE: b - f111

COMMENTS: Abstraktioner is a six-movement composition based on poetic text. The author of the poetry is not provided in the score, and it is assumed that Waldeier wrote the text. The opening "Praeludium" and closing "Serenata" movements are for the oboe d'amore alone. The four central movements are titled as follows: "Et Tusind r - Et Sekund" (A Thousand Years - A Second), "Efter r" (Autumn), "Vi Var Selv Born- (We Were Burdened), and "Den Evige Drom" (The Eternal Dream).

The "Praeludium" is an extremely rubato, metered introduction with large intervals and rapid arpeggios. The four movements with the speaker consist of interjections from the oboe d'amore amid the spoken text. The length of these interjections range from one or two notes to long, extended phrases. The oboist must have a wide dynamic range, a fast tongue and articulation control to perform this composition. Twentiethcentury techniques include tremolo, multiphonics, and finger and lip glissandi. The score includes fingerings for these effects.

The final "Serenata" is more abstract than the opening "Praeludium." There is an obvious connection between the two movements, but now the music is more distorted and the dynamics more dramatic. The composition ends with the oboe at its softest possible dynamic level. The text is in Norwegian and is not translated in the score.

COMPOSER: WALDEIER, Erik
COMPOSITION: Tema & Variationer for Solo Obo
(Theme and Variations for Solo Oboe)
MEDIA: solo oboe
DATE: September 1981
AVAILABILITY: Available in manuscript from Norsk Musikkinformasjon.
LENGTH: approximately 5 minutes
RANGE: b-flat - f-sharp111

COMMENTS: This composition begins with a simple, eight-measure theme, entitled "Tema, adagio e rubato," which is in 4/4 meter and modal. Waldeier has composed seven short variations on this theme which are presented as follows:

II. "Moderato"; This variation presents the theme in triplets and eighth notes. There is also a long, descending chromatic passage.
III. "Largo e rubato"; This variation is composed in slow rhythmic values. There is an awkward long slur from b to b-flat.
IV. "Marsch"; This variation presents the theme in staccato, sixteenth-note patterns. There are some intervals of two octaves.
V. "Lento"; This variation is characterized by trills.
VI. "Aria"; This is a very slow variation with glissandi, harmonics and large intervals.
VII. "Tema, Andante e rubato"; This is the original theme in its entirety, and includes an additional six-measure coda.

Tema & Variationer for Solo Obo is an interesting study of the theme and variation. The theme can easily be traced throughout each variation. The composition is not difficult although a few large intervals may be challenging. The work enables students to learn basic twentieth century techniques without being overwhelmed.

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