Graham Powning is principal oboist of the Elizabethan Sydney Orchestra and teacher of oboe at the N.S.W. Conservatorium. He has composed many works for woodwind, especially trios for two oboes and English horn.
In these trios I have endeavored to explore the full range of colour and nuance, that this pungent combination of instruments can offer. Each work is usually based on a particular interval so that the inherent overtures give a definite character immediately. The moods of the movements vary enormously from sombre to joyous; however brevity is always a key factor where playing in such a combination can easily become tiring for the listener, not to mention the performers.
The first trio, composed in 1972, begins with a fruity low C on the English horn, and close harmony ensues when the oboes enter.
The semiquaver figure becomes important later on after a more mellow theme has been announce on the first oboe.
The second movement, Lento e tranquillo, is mainly a cantilena for one instrument balanced by the other two.
The end is based on high atmospheric chord which are a good test for the ensemble's intonation.
The finale, Vivo, is a chirpy 5/8 frolic which is mainly 3+2 but sometimes reversed.
The movement builds up to a loud climax and fades away to a soft ending, leaving the performers fatigued after counting so long in a fast 5/8.
Trio No. 2 was composed in 1974, and starts with an agitated multi-tonal bar followed by a quieter, more dolce figure in the next two bars.
These two elements supply the material for the entire movement, whilst the second movement, Andante expressive features many individual solos.
The finale is a presto fugato, with the subject announced on the English horn. A particularly difficult passage occurs in the coda, where the utmost concentration is needed.
Trio No. 3 was composed in 1975, and the barriers of related tonality are immediately broken down in the first bars.
Later on a cantabile theme is announced on the English horn, under a staccato quaver accompaniment from the two oboes.
The slow movement has a very tranquil atmosphere evoked by the solo English horn at the beginning.
Several solo statements by each member of the trio give this movement a feeling of space, and it is only towards the end that all the parts join in volatile harmony.
The finale is marked "barbaro" and the opening bars show that this movement is completely contrasted in mood to the previous one.
A theme in the fruity low register of the English horn presents itself under spasmodic punctuation from the oboes.
Irregular rhythm is a strong feature of this movement, and it is not until the last bar that the relentless urge comes to rest.
Trio No. 4, composed in 1977, deals mainly in 2nds and 7ths. At the outset the 1st oboe announces a theme over a staccato accompaniment.
A contrasting melody is heard on the English horn under 7ths on the two oboes.
The slow movement shows chords built upon 7ths converging onto chords built on 4ths-- this gives a quality of peace which persists throughout.
The finale commences with loud punctuated chords, and a semiquaver figure is announced on the English horn, which is used for imitation throughout the movement
The entire movement has a racy quality, and when the semiquaver runs are well connected, a brilliant result can be guaranteed.
Trio No. 5 was composed in 1978, and by nature is a more gentle affair. The opening material could almost be described as waltz-like with a Viennese lilt.
Perfect intervals are employed throughout in order to give a nebulous effect, and to avoid obvious tonality.
The slow movement consists of a simple melody on the first oboe over a piquant accompaniment made up of 7ths.
The finale is a fast fugato consisting of a lively subject announced on the first oboe.
This is imitated by the 2nd oboe and English horn. Later, a smooth semiquaver passage is announced on the 1st oboe above a spiked accompaniment.
The movement moves rapidly to a close with relentless runs being passed joyously from one player to another.
Trio No. 6 has recently been written in 1979, and commences rather statically with simple chords.
A more majestic figure occurs later in the movement.
Basically the movement is quite innocuous. The slow movement consists of a simple melody on 1st oboe over a quaver accompaniment. The cross rhythms are important, and should be played strictly in time.
The finale is quite buoyant, commencing with a figure which lends itself to fugato treatment later on.
As can be seen, each trio has a character of its own, and each movement is purposely contrasted to surrounding ones. In an ensemble like this, where the pungent tone quality can soon become monotonous, harmony based on other intervals apart from 3rds and 6ths has been used to maintain interest. I sincerely hope that these six trios will become a worthwhile contribution to the repertoire for two oboes and English horn.