I will begin part one of this series of reviews by mentioning that I have received wonderful cooperation from various publishers who kindly sent music for review. Due to the amount received I will continue with part two in the next issue.
An excellent new book, Music Speed reading for Melodic Instruments by David Hickman, was published in 1979 by Wimbledon Music, Inc.-1888 Century Park West, Century City, California. I mention it here as I believe it to be the only method book on the market today that attempts to teach music speed reading in a way similar to word speed reading. Part I (lessons 1 -10) uses a method for training the eye to pick up larger and larger groups of notes by using dot notes (no stems or beams), no clef, no bar lines, no meter signature or key signature. With this method it is said to be possible to learn to play in many different rhythms using different rhythmic groupings of notes an important part of sight reading. As we progress further into Part I accidentals are added to the dot notes and different rhythmic groups are assigned for practice purposes at the start of each lesson. Part II (lessons 11 -22) uses meter signatures, bar lines, rests, accidentals, etc. All of these additions help to form a sort of spatial notation of the rhythm between the bar lines. Dot notes are still employed. Part III consists of 10 etudes and 4 duets in conventional notation using no clef or key signature. The player is encouraged to perceive larger and larger groups of notes up to several measures at a time. Excellent directions and special exercises for practicing each part are included in the beginning of the book. I have found this to be an excellent book for use with the young student (Jr. high-early Sr. high) as the range is generally written within the staff to one line above. It has also worked well for that occasional older student who seems to have reading problems. It is a fresh approach to a problem which continues to confront a number of players. With careful study and practice it can add a certain freedom to the reading ability of players.
Nine Short Pieces from three centuries (17th, 18th, 19th), arranged for oboe and piano by Roy Thackray, was published by Oxford University Press in 1973. Composers include Locke, Corelli, Purcell, Handel, Vivaldi, Rameau, Tchaikovsky, Rheinberger, and Schumann. The collection has a limited range (low E to high C) and, with two exceptions, consists of slow pieces. Its greatest appeal, outside of some excellent editing for oboe, would appear to be that it provides a broad survey of music not only from three centuries but by widely diverse composers as well: Italian and English 17th Century; German, Italian and French 18th Century; and Russian and German 19th Century. This collection could well serve as an introduction to the music of different periods for the more advanced beginner and intermediate level student.
A recent two volume set of Oboe Solos, edited by James Brown, was published by J . W. Chester in 1976. According to the preface by the editor his aim was "to find pieces suitable for the instrument, of varying difficulty, that have real musical worth and interest for the oboist." In my personal opinion I feel his aim has been fulfilled very well! Volume I contains nine pieces by seven different composers: Danzi, Buchner, Thurner, Poessinger, Rossini, Satie and Ferlendis. They are all within the intermediate level and only rarely ascend to the high D. All, with one exception, are slow in tempo and display the finest ideals of phrasing. They have been edited very well with suggested metronome indications and phrasing and articulation marks. The accompaniments have been somewhat simplified making them easily playable by most pianists. Volume II also contains nine pieces but by eight composers: Eichner, Danzi , Wiederkehr, Righini, Cherubini, Verroust, Saint-Saëns and Fargues. As with Volume I, the composers represented were mostly well acquainted with wind instruments in general and the oboe in particular. Similar to Volume I, the range only occasionally rises to high D. However, the technical level is more demanding than Volume I, not only with faster tempos but with greater leaps and longer phrases. Many of the pieces in these two volumes are movements of larger works. I find all of them musically very interesting in and of themselves. I also have a desire to see the larger works of which they form such an interesting part. Both these volumes fill a very important function of providing excellent music for students in the middle playing levels.
Warlike Musik (Kriegsmusik, 1760), edited by Philip Ledger, was published in 1974 by Oxford University Press. The set of 17 marches and one serenade, for flute or oboe or violin and B.C., have been taken from a larger set, in four volumes, published in 1760 by John Walsh. Each of the pieces attempts to reflect the mood of the period, a military time in both Europe and America. The range never exceeds low D to high D with several of the pieces lying within the staff. Since there are very few slurs of any length the set would provide excellent practice in firm tonguing for the intermediate level student. The continuo parts have been realized by the editor and work very well with the solo line. The pieces are well edited, well printed, and are enjoyable to play!
The Young Oboist, a series of graded pieces for oboe and piano, was edited by Sidney Lawton and was first published by Oxford University Press in 1964; volumes I and II were revised in 1971. Consisting of three volumes, each has been carefully edited with breath marks and articulations. Volume I consists of 18 traditional melodies of the British Isles such as "Drink to me only," "Annie Laurie," "Greensleeves" and others. They are all set within the range of low B to high B-flat, include new notes at the head of each piece, and indicate fork F by an asterisk. The only prerequisite to beginning the book is a knowledge of the fingering of the D major scale without the C-sharp. The piano parts are very well done. Volume II includes eight arrangements of pieces of a more advanced level, but certainly playable by a student having a good year of playing experience. Composers include Bach, Handel, Gluck, Purcell and Jeremiah Clark. The range is extended to high D, breath marks and articulations are carefully shown, and the accompaniments are well done and playable by any competent pianist. The first two volumes of the series have enough variety and interest to be useful with the very young beginning student. Volume III consists of five pieces by Purcell, Handel, Bach and Rameau. Although well edited this volume seems to lack the musical interest of the others in the series.
8 Bel Canto Songs for Solo Winds, compiled and edited by Harry Phillips, was published by Shawnee Press in 1967. This collection of 17th and 18th Century Italian songs is playable by any wind instrument with piano accompaniment. The range in the oboe book is entirely within the staff and the metronome indications range from quarter note equals 60 to 92. Each piece emphasizes a singing style so very necessary to develop in the young player. Composers represented include Scarlatti, Caldara, Bononcini, Caccini, Durante, Pergolesi, Stradella and Marcello, certainly some of the finest song writers of the period. Although few rests are present, the editor has carefully chosen breathing places and indicated them with commas. Endurance is a bit of a problem, but with careful placing of "out" and "in" breath marks they should cause few problems. I find them attractive to play and would not hesitate to use them with younger students who have studied for a year or so. The Cor Anglais book has a minor problem having to do with range. Since the book is to be used by French Horn as well there are several spots calling for low A# and A. It would appear that, with careful transposition of certain passages, the problem can be solved. It is entirely possible that the solution to this problem might be at the expense of a beautifully flowing musical line.
Oboe Duos for Beginners edited by Tibor Szeszler, was published in 1965 by Editio Musica Budapest. It is currently available from Boosey and Hawkes, Inc. Included are 18 duets that certainly would have to be classified as intermediate to advanced intermediate if for no other reason than the keys chosen (to four flats and seven sharps!). Composers include such well known names as Bach with arrangements of pieces of Handel, Mozart (both L. and W.A.), Pergolesi and Rameau by Szekely and Szeszlev. Also included are pieces by composers whose names are relatively unknown to most non-Hungarian musicians: Frigyes, Sugar, Szekely, and Szervansky. In the opinion of this reviewer the duos by the latter come off as the better. Their melodic contours, rhythmic drive and interesting harmonies far surpass those of the former. Throughout, attention has been given to phrasing and articulation. Dynamics are sparse and appear to be lacking in detail. Range is basically to high D with an occasional E being called for. There are a few errors in accidentals as well as missing bar lines but generally the printing is excellent. At this writing the book sells for $6.00, a rather large price to pay for eight excellent duos out of a total of eighteen.
Volume I of Oboe Duets, edited by James Brown, was published in 1978 by Chester Music and is available in the U.S. from Magnamusic-Baton, Inc. Seventeen duos by eight composer-arrangers form the basis of this delightful volume of music for two oboes. Composers include Brod, Dietter, de Fesch, Garnier, Laubach, Pleyel, Telemann and Vanderhagen. The range is basically two octave (low C to high C) with an occasional high D to be found. I find all of them charming and entertaining to play as well as instructive in their detail (use of trills, coda signs, da capo, grace notes, dynamics, various types of articulation and styles). They have proven to be very popular with late elementary through intermediate level students. The duos of Dietter are interesting to me in the fact that they are arrangements, by a living contemporary, of pieces written by Haydn. The Vanderhagen are interesting in that I have previously come across these works only in a facsimile edition of his Tutor of 1972. All six duos certainly need to be brought out in modern edition as they form a natural link between the 18th Century Baroque duets for two oboes and those of Ferling, Sellner and others of the early and mid 19th Century. As is true of all the editing I have seen by Mr. Brown this is certainly done with attention given to dynamic detail and other essential markings to assist the performer.
Oboe Trios (Vol. I) was published in 1979 by Chester Music. This collection edited by James Brown and dedicated to the memory of Josef Marx, should prove to be very valuable for groups of oboes at the intermediate to advanced intermediate level. Range occasionally rises to high D but for the most part remains within the two octave (low C to high C) span. Tempos vary from adagio to allegro di molto giving ample room for both cantabile, singing style and technical skill and speed. As in the previous volume of duets, I personally find these trios enjoyable to perform as well as instructive in their detail. Students enjoy playing them! The editing is carefully and consistently done with attention called to dynamics, articulation and phrasing. I would highly recommend these two volumes (duets and trios) to your attention and look forward to seeing more in this series!
A new book of oboe duets, Grandfather's Duets (Book I) by J. M. Friedrichsen, was published in 1979 by Nova Music. Carefully edited by Robert Paul Block, these entertaining and challenging duets were written during the first quarter of the 19th Century. The editor feels that there is an influence of Haydn, Mozart, and also a certain "Baroqueness" (my quotes) quite clearly found throughout the set. There are 21 duos in all, each with its own varied phrase structure and tempo indication, the latter often providing a general mood or feeling for the piece. There are ample details concerning the manuscripts, the music, biographical data and editorial procedures in the preface. As has been the practice with all publications of Nova Music editorial markings are set in brackets or dashed slurs. Breath marks are carefully and appropriately placed. There are no dynamic markings to be found and if there is one fault with the edition that would be the only one. Fortunately, each seems to play itself at an appropriate dynamic level and, in fact, when playing them with students, this lack of dynamic marking often makes the student play the dynamics called for by the music itself. The range is basically two octave (low C to high C) with occasional high D's for added interest! I find all 21 of these duets excellent in many ways; melodically interesting and varied, harmonically diverse, rhythmically challenging and a joy to play. I have read these with first and second year players as well as doctoral students with the same result: they all enjoy them! I would highly recommend the duets as some of the "freshest" 150 year old pieces to emerge in a long time.
I recently received a copy of Inventions for Oboe and Piano along with a nice letter from the composer, John Addison, calling my attention to the fact that there are few if any copies currently available from the publisher, Oxford University Press. A few years ago two or three movements were published separately when used as examination pieces by the Associated Board of the Royal Schools of Music in England and Scotland. I was at that time fortunate to secure Prologue and Rhapsody and have played them several times. But it seems that even these are no longer in print. The Inventions consist of five movements: Prologue, Rhapsody, Caprice, Waltz, and Finale with Epilogue. I find the writing crisp, straightforward, and melodically beautiful (especially the slow waltz movement). They are still as fresh sounding today as when they were first performed in 1958. The range is rather conservative, according to today's demands, exceeding high D on only one occasion for a high E-flat. Articulation is challenging and tempos brisk (especially in Caprice and Finale). The entire set seem to fit the oboe very well indeed. I feel they are interesting and challenging enough to be performed on public recitals along with the "best" in the repertoire. I would hope that sufficient interest could be shown by the membership such that the publisher might entertain the thought of reprinting these fine pieces. It would be a shame for future players to not have access to them.