Copyright Greg Steinke, Olympia, Washington, 1979
After an absence of a few issues I am now able to resume the dialogue with New Music and the Oboist III in which I would like to discuss several works involving the oboe in a theatrical situation.
The first work I'd like to discuss is Christopher Rouse's INSANI for Oboe and Actor, 1973, c. 12' (now available from American Composers' Alliance). It's dedicated to oboist Robert Weiner. The composition itself divides into six sections or "characters" which depict various states of mental illness and INSANI ("Lunatics"), to quote the composer;
". . . represents my long standing interest in the mentally ill; I have often been impressed by the fact that the so-called "insane" seemed to be wiser and more sensitive to meaning than us "normals." It should be noted as a result that INSANI may be disturbing to many and will undoubtedly not be considered music at all by the majority of listeners. . . ."
he goes on to explain that there are six sections:
"1. Vir Volucer (Flying Man)
2. Vir Afflictus (Depressed Man)
3. Vir Trepidus (Nervous Man)
4. Machina-Vir (Machine Man)
5. Vir Ululans (Screaming Man)
6. Vir Lucidus (Lucid Man)Each section is divided by a short oboe solo called an "embolium degenerum" ("perverted interlude")."[Quotes from Program notes supplied by the composer.]
By way of this quote I believe the reader can best understand the basic design of the piece and some concept of the wide range of emotive force encompassed in the piece. At the outset it should be said that this is not a piece for the timid oboist; however, it is within the performance capability of any well-trained oboist who can find a sensitive and musically-trained actor/tress with whom to work. There is not much "staging" involved for the performers: the actor/tress is dressed in white with white bandage around the head and the oboist is dressed entirely in black with a black mask; lighting is as dim as possible; yet, there is much "theatre" implied in creating a successful realization of the score. The actor/ tress is also called upon to play a small assortment of percussion instruments (mainly small traps).
In general, the piece is conventionally notated and in those few spots where special notations are used, the composer is precise in his explanations of what is required of the performers. The overall compositional style is reminiscent of George Crumb, with whom the composer has studied, and in keeping with the aesthetic represented within that style, I personally find the music quite performer-oriented and eminently performable. The writing for oboe throughout is sensitive and sensible in that all nuances, range and special effects compliment the acting part at all times so that there is a delicate and sensitive interplay throughout the piece. One poignant moment comes when the oboist plays a passage with a bassoon reed (mounted and sealed on an oboe tube) in the "Vir Afflictus" section:
The resultant sound -- like a recorded oboe sound played back at half speed--is just the perfect foil for the "afflicted man" being depicted at that point by the actor. Preparing to play this passage should not be especially difficult other than talking a bassoon colleague out of a reed; and adequate time is allowed in the score to make the changes between reeds comfortable.
At other points in the piece there are moments of real animation and high rhythmic activity such as this spot in "Vir Trepidus":
and this moment from "Machina-Vir"-
In the former are a series of rapidly played fragments, performed in any order for fifteen seconds, which creates a chaotic, yet ordered moment in the piece, while the latter example makes for a facile and exciting movement that pits the sharp clicking of Tibetan prayer stones against the clean, incisive articulation of which the oboe is capable. These passages are indicative of well-planned and crafted technical writing for the oboe; I find very few if any awkward moments in the piece for fingerings, and all would lie very well for any technically competent oboist. Rouse's close work with oboist Robert Weiner in the course of the composition of the work is evident throughout along with the composer's overall sensitivity to the subtle nuances of the oboe.
The composer does make use of multiphonics at several points in the work and in one movement as an electrified effect. As can be seen from the example below, the multiphonic is not specified, and it is left to the performer to create a multiphonic sound which generally encompasses the range suggested by the blocked-off stave area:
In this instance, having to cope with multiphonics should not present any problems at all, as it should be very easy for an oboist to create three or four multiphonic "sounds" which would be appropriate and comfortable for a particular performer to produce.
In the closing "Embolium Degenerum 5" there is a lovely lyric moment for the oboe which sets up the closing of the work; the final moments are performed by the actor with the oboist helping him/her off the stage as the work reaches its conclusion:
I believe if one can find just the right actor/ tress with whom to work, INSANI can add a very interesting and enjoyable segment to a recital besides challenging the oboist both musically and theatrically. Any performers wishing to have more performance directives can be in touch with the composer through American Composers' Alliance or The American Music Center.
Another work involving the oboist in a theatrical situation is David Cope's INDICES for Solo Oboe(ist), c. 10', now available from C. F. Fischer Facsimile Edition. The piece was originally written for Joseph Celli and has been widely performed by him on his various concert tours in the U.S. The piece is in one movement with several sections which involve the player in several different performance roles: among them being a quasi-pianist.
The piece is performed with a grand piano at hand, which needs some simple preparation (outlined quite clearly in a preface to the score). In the course of the piece the "oboe (ist)" is called upon to perform in the normal manner as well as to play some passages into the piano to create sympathetic "ring off", and at a number of points the player executes various phrases on or within the piano with the hand(s) and/or mallets, speaking or singing into the piano, and playing on the reed alone. At several points the alternation between playing oboe and piano comes very rapidly and in several passages one plays both instruments at once! This mainly involves left hand oboe notes and piano with right hand. Two examples are quoted below:
In the latter example one plays both oboe and piano as well as sings!
As tricky as this may all seem to the reader, the piece really works and can be "brought off", provided one has practiced the several techniques required and has a bit of elan in the process. All demands made on the performer are quite possible, but it could all come together in a performance only if the player is convinced himself, convincing on the stage and believing in the theatrical nature of the piece as well as the theatrical nature of musical performance itself. From some rehearsing I've been doing on the piece already for a future performance, I believe INDICES can really be an exciting and stimulating piece to prepare and perform. I hope some oboists will be interested in trying it!
If one should have questions on interpretation or performance questions, I'm sure the composer would be more than willing to oblige. He may be contacted through College V, University of California, Santa Cruz, CA 95064.
Recently another composition has come to my attention, also written for Joseph Celli, by Josef Sekon, called THE FEATHER MERCHANT for English horn and tape and assorted percussion (wind chimes, small bells, antique cymbals) 1973, c. 12'45". It is theatrically oriented in the sense that the composer calls for special lighting to be used and the ideal performance space would be in-the-round. The composer has also indicated to me that even a special costume for the occasion would not be inappropriate.
As in the Cope piece, being poised and comfortable in a situation where one must interact with tape, lighting and percussion instruments is absolutely essential. The score is clearly laid out as to how the solo part fits with the tape as well as the use of the percussion. The English horn part does involve a number of multiphonics, but having not yet rehearsed the piece at this point, I can't share with the reader the ease or difficulty which a performer may or may not encounter. However, the desired multiphonics are clearly indicated in the score, both as to sound and fingerings to be used. I believe the piece could make a very effective contribution to any recital where good lighting facilities were available. Again, I know the composer would be more than willing to answer performance questions and/or clarify compositional intentions. (The score and tape are both available from the composer at 209 Lake Court, Aptos, CA 95003). A short excerpt from the piece is included here:
The final piece to be discussed, among those which have theatrical elements involving the oboe, is Lawrence Moss's UNSEEN LEAVES, a theatre piece for Soprano, Oboe, Tapes and Lights, 1975, c. 15'7" and available from C. F. Fischer Facsimile Editions. The theatrical element here is of absolute essence and involves rather intricate staging and presumes a well-equipped performance facility (lighting, quad playback system, two stereo tape decks, slide projectors) plus technical staff to handle it all. Additionally a conductor is required to coordinate it all. However, this should not act as a deterrent to performing the piece as it has some marvelous moments in it.
Since the oboe here is functioning more as part of an ensemble, I will not discuss the piece extensively. (It is available on a recording for a complete perusal; see later on in this article for listing.). As can be seen from the excerpts quoted here, there are technical and ensemble demands made on all performers in the composition which would require careful and fairly extensive rehearsing. The oboe is utilized effectively throughout, and the part for it should present good and interesting challenges for any oboist as there is a good balance between new performance techniques and more traditional-like writing for the oboe.
To give the reader a little of the flavor of the piece several brief excerpts follow:
In the next article I will take up a discussion of compositions involving oboe and percussion. I will endeavor, however, to keep this original column going to discuss from the performance standpoint different categories of oboe works.
To continue the listing of pieces begun in previous articles, I offer the following:
(regular notation, no new techniques, some new, some old, etc.):
Pierre Ancelin--GARRIGUES for oboe and piano (1974)Les Editions Ouvrieres (Galaxy Music Corp.)
Marshall Biolosky--CONSTANTLY BENDING for Solo Recorder (alto) or oboe (1978). MSS available from composer, California State College, D.H., 1000 E. Victoria St., Dominguez Hills, CA 90747
Marshall Biolosky--SONATINA for Oboe and Piano (1971) Western International Music, Inc.
Allan Blank--BICINIUM for oboe and Bassoon. American Composers Alliance
Allan Blank--TWO HOLY SONNETS by John Donne for Alto, oboe/e.h., vla., hrp., ACA
Will Gay Bottje--LITTLE SONATA I for oboe and organ, c. 8.5', ACA
Will Gay Bottje--LITTLE SONATA III for oboe, vln. and organ, ACA
Will Gay Bottje--CYCLES for oboe and piano, c. 9.5', ACA
Will Gay Bottje--SOUNDINGS for oboe and harpsichord, c. 8.5', ACA
Will Gay Bottje--CONCERTINO for English horn and piano or string quartet, c. 15' -- M. M. Cole
Sy Brandon--MINIATURE SET for oboe and piano (1976), Manuscript Publ. (available by mail order only,) 120 Maple St., Wrightsville, PA 17368
Sy Brandon--SONATINA for oboe and bassoon (1970) Manuscript Publ.
H. Brod, W. G. Longatte--PREMIERE SONATA for oboe and piano (c.1976), Billaudot (Theodore Presser)
Barney Childs--CHANGES for Three Oboes (1959, c.1970), American Composers Alliance, 170 W. 74th St., New York, NY 10023
Richard Faith--SONATA for oboe and piano (c. 1977) Manuscript Publ.
Jindrich Feld--THREE PIECES for oboe and piano (1925; c.1968), Supraphon/G. Schirmer
John Loeillet, ed. Pierre Poulteau--SONATE in b minor, Op. 3, No. 10 (c. 1977), Alphonse Leduc (Theodore Presser)
Lawrence Moss--LITTLE SUITE for oboe and harpsichord, 1978 MSS available from composer, 220 Mowbrae Rd.. Silver Spring,. MD 20904
Verne Reynolds--ECHO VARIATIONS for oboe and piano, 1978. MSS available from composer, Eastman School of Music, 26 Gibbs St., Rochester, N.Y. 14604
Friedrich Scheker--MONOLOG for oboe, No. 8016, Deutscher Verlag für Musik, Leipzig.
Rimsky-Korsakov, trans/ed. Greg Steinke--VARIATIONS on a Theme of Glinka for Oboe and Wind Ensemble (1978) c. 8'. MSS; available from composer, 6145 Northill Loop SW, Olympia, WA 98502
Greg Steinke--SKETCHES from "Twelfth Night" for Bass Voice and Oboe d'amore (1977) c. 8' Seesaw Music Corp.
William Sydeman--VARIATIONS for oboe and harpsichord (1959; c.1969). Ione Press, Inc./E. C. Shirmer Music Co.
(new notation, new techniques, etc.)
Dinos Constantinides--RHAPSODY for oboe and piano (1978) Seesaw Music Corp. (also version with harp.)
William Hellermann--ONE INTO ANOTHER (Ariel) for English horn and tape (1972) c. 6'50'', American Composers Alliance
George Heussenstamm--ALCHEMY, Op. 60 for Solo Oboe (1976) c. 8'. MSS; available from composer, 5013 Lowell Ave. La Crescenta, CA 91214 (May be with a publisher by now.)
Ulf Grahn--MUSIK for oboe solo (1968) Seesaw Music Corp.
Ruth Lomon--THE FURIES (Erinnyes) for oboe, oboe d'amore and English horn (or 1 performer with pre-taped parts) 1977; MSS available from the composer, 18 Stratham Rd., Lexington, MA 02173
Wilfried Kratzschmar--MOMENTS MUSICAUX for English horn and piano, 1970, No. 8118, Deutscher Verlag für Musik, Leipzig
Siegfried Matthus--MUSIC for oboe instruments (oboe, eh.h., shawm, oboe d'amore) and piano, No. 8113, Deutscher Verlag für Musik, Leipzig
Warner Hutchison--CEREMONIES for oboe, piano and tape (1974) Seesaw Music Corp.
Ursula Mamlock--FIVE CAPRICCIOS for oboe and piano (1968) C. F. Peters
Ursula Mamlock--CONCERTO for oboe and orchestra, ACA
Ursula Mamlock--POLYPHONY II for English horn, ACA
John Melby--ZONNORITIES for oboe, clarinet and computer (tape) (1974-75), American Composers Alliance
Elliott Schwartz--ARIA NO. 5 for Oboe and Bells (Vibes, Glockenspiel, Xylophone and Tubular Bells) (1968) c. 4'50", C. F. Fischer Facsimile Ed.
William Stuart Smith--FACES for oboe and clarinet (1974) Smith Publications,1014Wilmington Ave., Baltimore, MD 21223
Greg Steinke--ATAVISM for Oboe, Bassoon and Wind Ensemble (1976), c.15' MSS; available from composer.
Francis Thorne--GRAND DUO for oboe and harpsichord (1976) General Music Pub. Co.
Paul Martin Zonn--CANZONNI, OVERO SONATE CONCERTARE CONSERERE for oboe and eight players (1974), American Composers Alliance
Paul Martin Zonn--CHROMA for oboe and piano (1977;1972), ACA
Paul Martin Zonn--GEMINI-FANTASY for oboe and six players (1977), ACA