Three works of Reinhard Luttmann will be discussed at some length to open this set of reviews. The first, Meditation I subtitled Fantasie sur un theme de plain-chant for oboe alone, was published by Leduc in 1973. It is a short one movement work, lasting but six minutes, and over the normal range for oboe from low B-flat to high G. The piece opens with a statement of the plainsong theme followed by a section without bar lines and is intended to be performed in a free and improvisatory manner. It is somewhat sectionalized by fermati of varying lengths. The dynamic range is narrow, exceeding MF only on rare occasions for a F outburst here and there.

Occasionally there is the usual indication for harmonic sounds. The middle section is measured in the traditional sense but maintains a quasi free feeling by wide dynamic variation and fast groupings of grace notes. A peculiar notation occurs at the top of page 2 which could possible indicate an increasing vibrato speed and amplitude. A short passage of harmonics is to be played "senza vibrato." The final section is essentially the same as the opening-unmeasured, rather quiet except for one F outburst, with fermati and breath marks providing and phrasing. The entire piece has a wonderful legato, singing quality with no indication for staccato articulation. I find it a most attractive work which might well serve as the opening piece on a recital in a resonant hall.

The second piece, Meditation II, is for English Horn and organ and was also published by Leduc in 1973. It is almost twice as long (11 minutes) as Meditation I and employs a rather conservative range, rarely exceeding written B natural. The only "new" technique employed is the use of double harmonics, produced by increasing lip pressure on low B natural. The piece opens calmly and freely in an unmeasured building of tonal clusters, each giving its own dynamic crescendo. The English Horn participates in a small way, seeming to melt into the cluster structures. This is followed by a chant-like statement in the English Horn which leads into the measured middle section where both instruments participate in soft chanting back and forth. This section leads to a free, unmeasured statement similar to the opening. A short solo statement by the English Horn leads to material heard earlier in the measured section. The piece closes with a free building of clusters similar to the opening. The formal structure might be arched, something like ABABA. The dynamics are very soft most of the time and serve the title well. This is an attractive piece for average English Horn players.

The 21 Dodecaphonic Studies, published by Leduc in 1969, are a masterly conceived set of etudes employing 20th century, 12 tone techniques. Properly studied, they should prepare the serious advanced student to more easily approach the standard 20th century fare such as Schoenberg, Berio, Huber, and others. Every study is based on the row or series stated at the beginning of the volume. The first is a beautiful cantabile working out of the row. The second makes use of light, fast single tonguing. With the left hand F key so common today I would question some of the fork F indications. The third study concerns double tonguing and introduces the normal harmonics produced by low note fingerings plus one of the octave keys. The fourth is a free, cadenza-like etude employing notation for gradually speeding up and slowing down a group of notes. It also uses alternation between regular and harmonic fingerings. The fifth study is titled Menuet and consists of a theme, five variations, and theme again. It exploits mordents, trills, and staccato wide leaps. Number six employs various articulations left to the discretion of the performer. The seventh is cadenza-like and stresses close range dynamic contrasts. Numbers eight to eleven deal with intervals in various ways; seconds staccato and double tongue, sevenths free and slurred, thirds and sixths with various articulations, and fourths and fifths slurred and articulated. The twelfth study freely uses various articulations; fast single tongue, double tongue, and flutter tongue. It also stresses single harmonics and beautifully effective double harmonics played very softly. Number thirteen employs various meter signatures in close order. Fourteen is measured at the beginning and end with a free cadenza in the middle. Number fifteen uses free opening and closing sections complete with subtle dynamic shadings and close order wide leaps. In addition the middle section employs fast articulation and offbeat accents. Number sixteen is in a smooth legato 12/8 meter. Seventeen is titled Sarabande and makes use of double trills, wide leaping grace notes and "pedal-point trills" with a staccato melody underneath. Number eighteen is a study in articulation, employing normal, fast staccato, accelerated double tonguing, presto double tonguing, and triple tonguing. This is a difficult study! Nineteen is a Bicinia meant for one player to sound as two. Number twenty is a rather simple 6/8-3/4 study in eighth notes. The final study uses harmonics and tremolos between harmonic and regular fingerings on given pitches. Following the 21 studies are seven excerpts from three 20th century composers who followed dodecaphonic principals in their compositions: Schoenberg (Erwartung, Moses and Aaron ), Berg (Wozzeck, Lulu, Violin Concerto ), and Henze (Concertino, König Hirsch ). In my opinion this is without a doubt the finest set of studies of its kind and should be studied by every serious student and teacher of the oboe.

One other set of studies in dodecaphonic style should be mentioned. 12 Brevi Studi Seriali by Aldo Faldi, published by G. Ricordi in 1970, are short studies of about one page each. The range varies from about two octaves in several of the studies to about 2 1/2 octaves in others. The studies alternate in speed between slow and fast throughout the volume. All exercises involve the working out, or manipulation, of a 12 tone row which is stated at the beginning of each. These studies present basic serial techniques to the performer-student in a very approachable manner. None is extremely technical and each is musically interesting and challenging to perform. They would be an excellent beginning set of studies to be used as an introduction to 12 tone technique and could easily be followed by the Luttmann 21 Studies.

Several pieces for oboe and piano of a more elementary and intermediate level have recently come to my attention. Three pieces from the publishing firm of G. Billaudot, comprising part of the "Collection de la Federation Nationale des Unions de Conservatoires Municipaux de Musique," are titled Nome, and Chanson Medievale by A. Ladriere and Nocturne by C. Arrieu. The range in the first is from low D# to G on top of the staff, the second from low D to B above the staff (one high C#), the third from low C to high E. Phrasing is clearly indicated in each either by means of rests or breath marks. All three have good melodic structure and each seems to exploit one basic rhythmic idea, which is good strategy for beginners. The accompaniments help to fill in the harmonic and melodic structure to support the oboe and allow the oboist to breathe. These pieces would help fill the need for good solo material for the beginning levels of oboe students.

Three pieces of Eugene Bozza, published by Leduc in 1976, were written for flute or oboe and piano. They will fill the need for more music of advanced elementary and intermediate level. The first, Air de Vielle, is limited in range to an octave and a fourth (low D to G). Various articulations are called for as well as a variety of rhythmic figurations. Dynamics are well marked. The second, Air Pastorale, has a slightly greater range (low C to B-flat above the staff). Legato style is stressed as well as a greater emphasis on technical fluency. Dynamics and phrasing are well marked. The third, Berceuse, is the most difficult of the three but is still within the early intermediate level. Range is expanded to two octaves and a third (low C to high E). Tenuto articulations, grace notes, syncopated rhythms, and subtle tempo variations are all part of the musical nature of this piece. Each of the three works seems to illustrate one basic mood making them excellent studies in one style in a rather limited way. They all have well done accompaniments and are enjoyable to play.

A nice piece for the early intermediate level is Aria A Variations by H. Vechey, published by Leduc in 1973. Range is somewhat more extended than the Bozza pieces (low B to high E). Phrases are clearly indicated and there is ample room for breath. Sustained tenuto and staccato articulations are used as well as slurred scale passages. Rhythm is rather straightforward with some use of syncopation and triplet eighth notes in 4/ 4 meter. The accompaniment is supportive to the player without overpowering.

Four newer works for oboe alone have come to me for review. The first, Sarc by Maurice Ohana, was written for the virtuoso oboist Jacques Vandeville in 1972 and was published by G. Billaudot in 1977. It is a difficult work in the contemporary idiom and makes use of 1/3 tones, rolling tones, multiphonics, and tone bending. For the most part, rhythms are notated freely with many sections left to the interpretation of the performer. It is always well to remember that fingerings given for multiphonics may or may not work for a particular instrument, reed, or player. Once the fingerings are worked out for the oboe and player in question it is a very approachable piece, but still very difficult. The second piece, Music for Oboe by Zdenek Sesták, was written in 1967 and is available through the Czech Center for Musical Information in Prague. It is an interesting work in five movements; the first, for oboe, is in a fast tempo (quarter = 152) mostly of eighth and quarter notes -- the second, for oboe, is in a slow, cantabile motion (eighth = 72)--the third, for English Horn, is a slow pastoral setting ( eighth = 60) with a faster middle section (eighth = 100) and a final return to the opening tempo to conclude the movement -- the fourth, for oboe, is in allegro 4/8 (eighth = 160)-- and the final movement an unusual triple fugue for 2 oboes and English Horn based on the name HEBDA, the oboist to whom the work was dedicated. This movement can be played by one oboist if the other two parts are pre-recorded and the tape is played for the performance. The range covers all tones between low B-flat and high G with some wide slurs into the extreme high area. The piece is enjoyable to play and certainly has enough musical challenges to make it interesting to work up for performance. The third piece, Pastorely by Jiri Pauer, is also available through the Czech Center in Prague. Written in 1976, this work has nine movements, the longest being 2-1/2''; and the total time listed as about 15 minutes. Each movement seems to have a folksong-like quality to it which is maintained throughout. Double tonguing and playing as if two lines are sounding at once (ala Britten "Metamorphoses") are some of the more difficult aspects of the work. It is also important to note that meter signatures are not used. However, with the exception of number four, bar lines are used as helpful organizers of the musical material. One problem with the copy I used was the printing of vertical lines from the composer's own manuscript paper--a most distracting point to an otherwise pleasant work. The final piece for oboe alone, Solfeggietto #4 by Claude Ballif, was published in 1976 by Editions Musicales Translatlantiques. As with the Ohana work this was also dedicated to Jacques Vandeville and has many of the same performance difficulties; 1/4 tones, multiphonics, harmonics, etc. The range is not too severe, only to high G. A five movement piece, each is unmeasured with the exception of number two. A very free character is intended throughout with phrasing indicated by small half bar lines. The biggest problem, aside from working through and around all the many fingering suggestions, seems to be familiarizing oneself to 1/4 tone playing and actually hearing the pitches prior to playing them -- a difficult task for those used to listening for 1/2 tone accuracy. I would refer those interested in 1/4 tone playing to the excellent and complete study by Lawrence Singer in his Metodo per Oboe, published by Zerboni in 1969. As far as sheer numbers of notes this piece does not require great demands from the oboist. However, carefully controlled dynamics from ppp to FFF are called for at rather close time intervals. Although I have not heard this piece in recital, it would appear to be one worthy of study if for no other reason than that presented by the complexities of 1/4 tone playing.

A new publishing firm, Nova Music, offers a rather spectacular listing of works for oboe (as well as recorder, flute, and bassoon). There are 44 listings for oboe, some currently available and others to appear in the near future. My first glance at the seven works I received revealed a conscientious attempt by the editors toward historical accuracy, clear and legible printing, and prices well within reason ($2.00-$6.00). The Three Authentic Sonatas by Handel for oboe and continuo are edited by David Lasocki from autograph manuscripts, copyists' manuscripts and early prints. Mr. Lasocki is not only a very accurate and careful editor but also the author of numerous articles and books dealing with 18th century music and performance practice. In addition he has published many excellent performing editions of 18th century music. There have been many published editions of Handel oboe sonatas, some professing historical accuracy and others not. Some have even come out with elaborate ornamentations based on the editor's ideas of 18th century performance practice. To my knowledge this is the first edition which attempts to be historically correct according to specified sources from the period. In addition this is the first collection that I know which professes accuracy as to the "true" sonatas for oboe. I feel the arguments presented in the lengthy foreword represent sound musicological judgment regarding the authenticity of the three sonatas. The sonatas are C minor, Op. 1/ 8; B-flat major, Fitzwilliam; and F major, Op. 1/5. All three are presented as in the sources. All editorial additions are indicated by slashed slurs and square brackets.

No attempt has been made by the editor to offer ornamentations of his own. However, there is sufficient room between staves for the performer to write in his own embellishments if so desired. I find all three a delight to read in this version and especially enjoy playing the famous "Bouree" in its original setting. The keyboard realization, by John Madden, is excellent! I find this to be a most significant addition to the repertory and worthy of perusal by all. Another work edited by David Lasocki is the Sonata in G minor, Op. 2/5 for oboe and continuo by J. C. Schickhardt. Published at least four times between 1709-23, it is one of six (later seven) sonatas for this setting. In seven movements it follows a structure not unlike the dance suite. Range is pleasantly easy (low D to high C) and the technical demands placed on the performer are minimal. The lines flow in a very singing, Italian manner. An interesting aspect of this edition is reading real "p" and "pp" markings from the early 18th century. This is a lovely work which affords the performer ample opportunity to be expressive in the style of the period. The continuo realization, by John Madden, is well done and provides opportunity for the player to add more if desired. A third work edited by Lasocki is the Trio Sonata in G major, K. 46 for oboe, bassoon or cello, and continuo by Quantz. Published from an 18th century set of manuscript parts, it is in the standard slow-fast-slow-fast order common to the period. Range is low D to high B for the oboe and D in the staff to G above for bassoon. As one might expect there is much delightful imitative writing between the two solo voices. As was true with the other two works earlier discussed this is also a very clean edition with minor additions of bracketed trills and slashed slurs. It is unusual to find wind trio sonatas with one treble and one bass solo voice. In addition, the possibility of using bassoon continuo with the keyboard provides the intriguing possibility of a double reed trio with harpsichord. The continuo realization by ). Madden is excellent and could be used as is or tastefully embellished by a skillful performer. A new addition to the duet repertoire is the Sonatina for two oboes by Alan Richardson. There are few fine duets in 20th century style published for oboes. This work is not only in a refreshing idiom but within the technical limitations of advanced high school and beginning university players. In three movements (Allegro cantabile, Lento moderato, Allegro), the range (low B to high F) is perfect for all. Articulations and dynamics are clearly indicated. Performers will need to sharpen their rhythmic senses for subtle nuances appearing just around the next bar line. I find it an enjoyable piece to play and to hear played. It might serve as a pleasant foil between two substantial works on a recital program and also provide the opportunity of performing with a colleague or student. Another work for two oboes, this time with continuo, is the Sonata in B-flat by Godfrey Finger who was born in Moravia in 1660. In slow-fast-slow-fast order, three of the four movements are written in the imitative style popular in the late 17th century. Range is narrow (low D to B-flat) and the rhythmic demands placed on the performers minimal. Carefully edited by Peter Holman, who also wrote the excellent preface to the edition, this work could easily be played by average high school performers with a bit of coaching. It is also worth mentioning that the editor offers the idea of descant or treble recorders as optional solo instruments. In my opinion this might very well be the best performance choice. We come next to Six Sonatinas for two oboes and continuo by Johann Pezel. Taken from his "Bicinia variorum instrumentum" of 1675, these works were chosen by the editor, Fazi Dov, as a representative sampling of the entire collection. Essentially short (32-62 meas.), one movement pieces, the six sonatinas are in three major and three minor keys. As stated by the editor, the term adagio at the beginning of each does not necessarily imply that it is to be played very slow. Rather each should be interpreted in an unhurried manner, adjusting the tempo to fit the music of each. Range is narrow (low B-high B-c) and rhythms are straightforward. Although basically slow moving, each has at least one interruptive flourish which provides a necessary contrast. This set of pieces could be very useful for younger players not yet possessing the range or technical fluency needed to play the more demanding duet literature. I find them musically interesting, a bit breathy, but certainly a worthy addition to the literature. There is a wealth of good pre-18th century music that could be adapted for use by multiple oboes. The editor, Mr. Dov, should be congratulated for bringing such a collection to our attention. The final work from Nova Music to be reviewed is Morceau de Salon, Op. 288 for oboe and piano by J. W. Kalliwoda. In a fine modern edition by Robin Canter this is a one movement work full of melodic charm and skillful variation. Prepared from two manuscript sources of the mid 19th century I find it to be one of the finest new editions on the market today. The range is from low B to high G and, although the technical demands placed on the performer are more than average, it is a very approachable work. The nuance of the melody, the flow of the line, the skillful use of articulation, and the wonderful contrasting dynamics and tempi all combine to make this a lovely piece worthy of the attention of all performing oboists. I would question notes in measures 152 and 308. It would appear that 152 should read F# for the seventh note in the oboe part and that 308 should read A for the final note in the oboe part. Other than those very minor corrections I find the edition excellent and enjoyable to perform. We used to think that the oboe was the forgotten stepchild of the 19th century with very few quality works written for it. However, with the addition of this work, as well as others in the past five years or so, the future is looking brighter. If the preceding seven works are any indication of the future level of releases by Nova Music we are indeed in for some wonderful additions to the literature for double reeds. James Ledward, oboist and publisher, is to be congratulated and encouraged for his publishing efforts in this regard. All the music from Nova Music can be obtained from the firm at 48 Franciscan Road, London S.W.17.

I would like to close this series of reviews with a discussion of the works of four American composers and editors. The first publication is a modern edition by Peter and Elizabeth Hedrick (Consort Music, Inc., 1977) of Thirty Progressive Studies for two recorders or oboes by J. F. Garnier. In the classical style of the late 18th century, they are easy to medium in difficulty. Carefully edited, these duets are certainly a welcome addition to the literature for beginning players. They are enjoyable to play with younger students as well as older beginners. The second publication, Solos for the English Horn Player with piano accompaniment, is a new book transcribed and edited by the English Horn player of the New York Philharmonic, Thomas Stacy. As stated by the editor, the arrangements "are intended to increase the repertoire available to the English Horn player." This they certainly do in fine style with music from Purcell to Satie tastefully arranged for the two instruments. I find the accompaniments to be especially well done. It is also nice to have a new arrangement of the Adagio, K. 580A by Mozart. This book is part of the Solo Series of G. Schirmer and was published in 1978. Two new releases of previously available concertos of Vivaldi have recently come out in Musica Rara editions. The D minor (F. VII/1) was published in 1978 and the F major (F VII/2) was published in 1979. Both are edited by Robert Block and are certainly worthy of study by all oboists and teachers. In general the manuscript source is quoted exactly and any corrections are made only where musically called for. There are many errors and oversights in earlier editions which have been corrected in the new publications. Editorial additions, with the exception of obvious errors, occur in brackets or as dotted lines -- an obvious aid to the performer. Like most Musica Rara publications, these come in a set with parts for oboe and piano and also in a set with score and parts. The accompaniment is a well conceived reduction of the string parts and flows in a stylistically pleasing manner in each. I find them pleasant new editions to the repertoire. The final work to be discussed, Dialog III by Jerry Owen, is for oboe and prepared piano and was published in 1979 by Pembroke Music Co., a division of Carl Fischer. The range for oboe is well within normal limits (low B-flat -- high F) and the technical demands are within the reach of good college players. There is a good mix between articulated and lyrical, legato playing. Rhythms are carefully notated and, with the exception of cross accents, should pose no problems for the careful player. The only slightly unusual effect is the glissando between high D and E-flat which should be easy enough. The work demands a very competent pianist with fluent technique and strong rhythm. The use of wide slurs throughout and crisp staccato are two attractive aspects of the piece. I have found this to be one of the most refreshing and expressive pieces in the literature today. I recommend it to all!

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