The past few years have seen the release of a large number of fine oboe records. Indeed, devotees of oboe music are suffering from an embarassment of riches, much of which has finally been caught up with for review.
Bert Lucarelli
John Corigliano: Oboe Concerto and Poem
in October
with Robert White, tenor
RCA ARL1-2534
This disc is first on the review list, simply because it contains one of the most remarkable woodwind recordings I've ever heard. Superbly written around the instrument's characteristics, the Concerto (available from G. Schirmer) is a complete and perfect oboe piece, calling for numerous tricks and special effects, but going far beyond the limited horizons of mere display.
Bert Lucarelli plays it marvelously, handling the many difficulties with aplomb, exhibiting tremendous virtuosity and complete control of the oboe's traditional and modern aspects. In fact, he was soloist at the work's 1975 premiere, when the American Symphony Orchestra under Kazuyoshi Akiyama (who also appear on this record) presented the Concerto to a "standing, shouting audience" at Carnegie Hall. This is an outstanding recording, possibly the best ever made of contemporary oboe music.
John Mack
Schumann Romances, Britten Metamorphoses,
Saint-Saëns Sonata, and Paladilhe Solo de Concert
with Eunice Podis, piano
Telarc 5028
The only problem with putting the Corigliano record first is that this one is thus forced into the next spot. Mack's second solo album is at least as good as his first, which is excellent.
It is difficult to write a detailed review of this record, as the performance quality is consistently high. The Romances are nearly perfect, showing Mack as a master of subtlety and lyrical phrasing. Britten's Six Metamorphoses and the Paladilhe are played at this same level, with the Britten sounding a bit better, if only because it is a stronger piece. However, the Saint-Saëns Sonata is the finest selection on this record, with each movement a veritable gem. Most striking are the rhapsodic cadenzas in the second movement. (Incidentally, the informative jacket notes are by Dan Stolper).
Heinz Holliger
Telemann: Partita in g, Solos (Sonatas) in e and g, Sonata in E-flat
with C. Jaccottet, N. Hostettler, M. Sax, P. Mermoud
Philips 9500 441
Bellini: Concerto in Eb, Molique Concertino in g, Moscheles
Concertante in F (with Aurele Nicolet, flute), Rietz Konzertstuck in
f
Frankfurt Radio Symphony Orchestra, conducted by Eliahu Inbal
Philips 9500 070
If you like Heinz Holliger, you'll love these two superlative recordings. The Telemann album is technically better, displaying flawless styling and fine ornamentation, but it cannot hope to match the romantic album for sheer enchantment. While none of these latter four concerted works are particularly immortal, they do deserve an occasional hearing, and the finer interpretive skills of Holliger and Inbal manage to make even the Bellini (which is cut, embellished, and reorchestrated for this recording) sound convincing.
Richard Rath
Cimarosa/Benjamin Concerto, Nelhybel Valse
Sentimentale, Handel Concerto in g, Guilhaud First Concertino,
Berger Sonata da Camera
with Karin Edwards, piano
Golden
Crest RE-7073
Oboist Richard Rath wears many other hats--he is an author, editor, administrator, an a founder of the IDRS. Although his first solo album is sometimes less than perfect, it includes three pieces that are rarely heard, of which the Berger is the most valuable discovery. A German native now living in Denver, Jean Berger writes well for the oboe, with a style at times reminiscent of Bloch's Suite Modale. Richly melodic, the Sonata da Camera was originally scored for oboe and strings. It is published by Broude Bros.
Only 3 1/2 minutes long, the Nelhybel is a sort of 3-legged waltz, a very curious and introspective piece. It is quite different from his better known works. Finally, Guilhaud's Concertino, dedicated to Georges Gillet, is a typical Parisian Concert Solo, very similar to those of Charles Colin. It makes some technical demands but does not really say a great deal, although there are some fine moments in the first and second movements.
Michel Piguet, Baroque Oboe and Recorder
Oboe Sonatas of Geminiani (e) and Vivaldi ("II Pastor Fido"
#6, in g and Sonata in c)
Recorder Sonatas of Bononcini, Bigaglia,
and Veracini.
With Walter Stiftner, baroque bsn, Martha Gumnder,
harpsichord
Musical Heritage Soc MHS 1864
Piguet has done it again--this is another fine recording by the master of baroque oboe and recorder. He gets a surprisingly warm, consistent tone out of his 1750 Thomas Lot oboe, to which his clear, sweet recorder sound is the perfect contrast. Walter Stiftner and Martha Gmunder complement the solo lines beautifully, resulting in an album which in all ways is a connoisseur's delight.
René Prins
Bruno Labate: Music for oboe and piano
with Walter Wollman, piano
Musical Heritage Soc MHS 3534
What oboist has never encountered the works of Bruno Labate? One of the great oboists of his time, he turned out quite a number of character pieces for oboe, of which twelve are recorded here. Prins provides a very vibrant sound, but his interpretations are not always convincing. There are some lovely moments, though, and if taken in small doses, this music can be quite charming, easy listening.
R.H.
Bernard Schenkel
J . S. Bach (1685-1750) Concerto in A Major
(BWV 1055) for oboe d'amore, strings and continuo
Concerto in C Minor (BWV
1060) for oboe, violin, strings and continuo
Concerto in G Minor (BWV 1056)
for oboe, strings and continuo
Georg Egger, violin
Wurttemberg Chamber
Orchestra of Heilbronn, Jorg Faerber, conductor.
Gallo 30-189 (Stereo)
Bach, who wrote some of his most beautiful religious and chamber music for wind instruments, wrote no concertos for wind instruments. These transcriptions, which are comfortably within Bach's style of writing for oboes, provide challenging and very rewarding literature in the concerto form. We are reminded that Bach was himself a diligent transcriber, both of his own music and of the music of other composers. The well-known A. Marcello oboe concerto was transcribed by Bach for harpsichord solo (this version may be found in the complete works of Bach). When Bach transcribed from one medium to another, he frequently changed keys, to enhance range or facility of the other instrument(s).
All three concertos on this recording are known also as concertos for one or two harpsichords, as demonstrated by the following:
BWV 1055
(as harpsichord concertos)
(as found on this recording)
Concerto in A Major (harpsichord, strings, continuo)
Concerto in A
Major (oboe d'amore, strings, continuo)
BWV 1060
Concerto in C Minor (two harpsichords, strings, continuo)
Concerto in C Minor (oboe, violin, strings, continuo)
BWV 1056
Concerto in F Minor (harpsichord, strings, continuo)
Concerto in G Minor (oboe, strings, continuo)
The slow movement of the F Minor concerto was also used by Bach as the sinfonia, played by oboe and strings, to Cantata 156 " Ich steh' mit einem Fuss im Grabe".
The oboist on this recording, Bernard Schenkel, is currently principal oboist with L'Orchestre de la Suisse romande in Geneva. He was born in 1941 in Geneva, and has received all of his musical training in Switzerland, where he studied with Andre Lardrot, R. Reversy, and E. Shann. His career as soloist has taken him to many European cities. Mr. Schenkel plays these works with a free, resonant sound, and an admirable control of all rhythmic elements. Bach's inordinately long lines and ornaments are gracefully managed. Mr. Schenkel plays in an appropriately reserved yet expressive manner. There seems to be, in this recording, a less distinctive difference in timbre between oboe and oboe d'amore than one usually expects.
The transcriptions themselves (no information is provided with the record) stay closely with Bach's ornamentation, i.e. the ornamentation in the corresponding versions of the same work. Tutti sections or ritornelli are omitted on occasion by the solo instrument to provide contrast and much-needed opportunities for momentary rest. The orchestra accompaniment provided by Jorg Faerber and the Wurttemberg Chamber Orchestra is excellently balanced with the solo instrument(s). Georg Egger, the orchestra's concertmaster, plays the solo violin part in the double concerto. This album provides much pleasure for the listener. Perhaps others wonder, as I do, if the transcribed solo and orchestra parts to the two solo concertos are available, or if Mr. Schenkel could assist in encouraging their publication!
J.R.M.