Nova Music (London) has been especially busy of late publishing some very worthwhile pieces for oboe. In the area of oboe and piano, four works should be brought to the attention of the readers.
The Concerto in Bb by Josef Fiala is, to my knowledge, the second concerto of this late 18th Century Bohemian composer to published in a modern performing edition; the first being Concerto in D edited by Laila Storch. The editor of the present work, Himie Voxman, includes an interesting preface on the life of Fiala and his wind compositions. This concerto consists of the usual three movements; Allegro assai, Adagio, and Rondo Allegretto. The range is primarily from low D to high Eb with one high F in the first movement at a strong cadence point. The first movement is very melodic with interesting and varied themes throughout. Primarily scalic in nature, the running figures fit the oboe well. The slow movement is one of the most beautifully lyric and expressive movements I have heard. Rhythms are varied to produce a movement of rare grace and charm! The third movement is also quite interesting with varying treatments of the rondo theme during each playing. The cadenzas, I assume by the editor, are pleasant additions to the main text and fit the general mood of each movement very well. Editing, inserted clearly in brackets or broken slurs, is useful to the performer. The excellent piano reduction is by Robert Block.
Sonatina, Op. 51 by Alan Richardson was written in 1965 and consists of three movements; Allegro Moderato, Lento, and Molto Vivace. Tempi in the outer movements are brisk (especially the Molto Vivace) and the range rarely exceeds high D. There is good rhythmic and stylistic variation and the harmonies are pleasant. The use of mixed rhythms and articulations makes for an interesting and fresh sound. The piece is of moderate difficulty.
Concertino in C by C. M. von Weber is an interesting piece from the early 19th Century. The range is basically to high C with an occasional high D and one high E in the final cadenza. The piece is in two sections; Adagio (C) and Polacca (3/4). The opening section is slow and lyrical with the melodic material leading to a short cadenza. Following a one measure leading the Polacca begins in a manner very reminiscent of the clarinet piece of the same composer. This section uses melodic and rhythmic variation of the main theme to provide the necessary contrast. The piece closes with a short cadenza and a restatement of the principal theme. The edition is a definite addition to the 19th Century repertoire and could be effectively used as a teaching piece.
The final work for oboe and piano by Nova Music is the Concerto #2 in F by J. C. Bach. The piece is edited by Himie Voxman who states in the preface "The extant parts, however, include a basso ripieno part but no basso part. Presumably the latter is lost, assuming that ripieno parts were most often used to reinforce the string sonority in tutti or other louder sections of the composition. Such appears to have been the intended use of Bach's basso ripieno part in this case, as it is scored for only when the solo instrument rests". Thus we find some sections where additional chord tones and/or bass tones have been added to complete the piano reduction. The reduction is excellent and was done by Robert Block. The additions appear very clearly in brackets allowing us to view the part as it existed. The concerto is in three movements; Allegro, Larghetto, and Tempo di minuetto. The range is to high C and D with one high Eb in the lengthy first movement cadenza, which was added by Richard Hervig. The first movement is melodic in nature and includes very playable figuration in triplet eighth-notes and sixteenths. The larghetto is a beautifully melodic and lyrical movement ending with another added cadenza. The third movement is a straightforward minuet with excellent editorial articulations and ornaments. This is an excellent addition to the repertoire and certainly can stand well in comparison to the other published concerto of J. C. Bach.
An interesting new collection for the young player in the Exploring Music Series, edited by Peter Wastall, is titled Baroque Music for Oboe and was published by Boosey and Hawkes in 1981. It contains six movements from larger works for oboe and continuo and two unaccompanied movements for two oboes alone. Interesting comments on each composer along with suggestions for performance preface each work. Composers include Sammartini, Telemann, Albinoni, Babell, Loeillet Besozzi Geminiani, and Chedeville. Editorial suggestions are clearly indicated. The excellent keyboard realizations are by Derek Hyde. This would be an ideal book to use with the student who has played for two years or so and needs to be introduced to carefully chosen music from this period.
Another collection of interest to younger students who have played one or two years is Classical and Romantic Pieces, published by Oxford University Press in 1980. Arranged for oboe and piano by Watson Forbes, the collection consists of two books of pieces arranged from a wide range of composers and styles. Book I contains fourteen short pieces (about half Baroque and half later) arranged with range and endurance as prime requisites. None exceeds high Bb and the longest is six lines. Book two contains eight pieces primarily by 19th Century composers and continues to stress limited range and endurance.
The Besozzi family of doublereed players was well known throughout Europe in the middle and late 18th Century. Thus, the newly published Sonata in C by Carlo Besozzi for oboe and bassoon alone should be especially interesting to members of the I.D.R.S. Published by Nova Music, this sonata consists of three movements; Allegro, Adagio, and Allegro. It is obvious that great care has been taken by the Editor (Himie Voxman) to present articulations. dynamics, and other patterns of importance to the performer in a clear and concise manner. As one might expect, knowing the virtuosic nature of the Besozzi family, this work is best suited to well prepared players. It is replete with difficult articulation patterns, lots of notes, and very few places to breathe. This is true of both parts. However, once these obstacles are overcome the piece holds a great deal of musical interest for both the performers and the audience!
Robert Probasco, I.D.R.S member from the University of Idaho, has edited a new performing edition of the Krebs Fantasia for oboe and organ. Published by Nova Music in 1980, this would appear at first glance to be nothing more than a transposed version of the earlier edition of Breitkopf to one in an easier key for both instruments. According to the preface, however, the extant autograph edition gives the oboe part in G minor and the organ part in F minor, a usual occurrence in that time due to considerations of Kammerton. The editor chose to leave the oboe in G minor, a much easier key for both Baroque and modern oboes, and transpose the organ part to G minor, an act which will undoubtedly please many organists! It is a pleasure to perform from a clean edition uncluttered by added slurs, dots under slurs, etc. This is a definite improvement over the earlier edition. The editor is to be commended for his efforts!
Twenty Four Duets for Treble Clef Instruments by Florian Mueller were published in 1981 by Shawnee Press, Inc. Edited by Charles Lehrer, this volume contains some interesting duets in the twelve major and parallel minor keys. I believe these duets are in a class of their own due to the harmonic idiom and phrase structure. They are very fresh sounding, progressing in ways new to the ear of the player who is used to duets of Telemann, Sellner, or Ferling. In my opinion, they serve a very useful purpose in training the ear to accept and tune intervals which we use every day but often fail to take the necessary time to really listen to. Articulation marks and breathing spots are carefully added to make them read as easily as possible. These are not technically difficult at all in the usual sense. But they are demanding in the sense that they force us to listen carefully. My one criticism is that for some reason half of the duets contain page turns in the middle. I would hope that in future printings the publisher might try to arrange them in such a way that each could be read without interruption.
Also new from Nova Music are Five Suites for Oboe and Basso Continuo by Jacques Hotteterre. The first of three volumes contains the Suite in D, Op. 2/1. The second contains two Suites in G, Op. 2/2a & 2b. The third contains two Suites in E minor, Op. 2/3a & 3b. The entire set is edited by David Lasocki whose English edition of "Principles of the Flute, Recorder and Oboe" by Jacques Hotteterre is a standard reference work to guide modern performers in the "correct" (my quotes) performance of early 18th Century French music. Each volume contains an extensive preface with directions on ornaments, rhythmic problems, and general comments on the works. The excellent basso continuo realizations are by John Madden (Vol. I) and Peter Holman (Vol. 11 & 111). A performer who has never had the opportunity to really experience the music of this period will find these editions a pleasant way to begin. The performance suggestions in the preface of each as well as editorial comments in the parts themselves make these volumes most useful.
Speaking of Hotteterre, I must also include some passing comments on the Six Trio Sonatas, Op. 3 in two volumes: Vol. I (13), Vol. II (46), also by Nova Music. Once the French style has been worked into the performing mind of the player it would be the next logical step to get two oboists together and attempt the trio sonatas just to see if two can really think this music in similar ways. They are most enjoyable to play, but only after the style has become second nature to the performers. The editor is David Lasocki and basso continuo realizations are by Dr. Robert Block. It is educationally very useful for the keyboard player to read the realizations of all three persons responsible for these volumes of the works of Hotteterre. In this way it might be possible to see that they need not be exactly the same to work out and the style of one might better suite the taste than another.
A new publishing company has recently been established. Directed by Kermit Peters, 1550 So. 90th Street, Omaha, Nebraska 68124, the organization has two new works for oboe and piano. The first, Essays by Richard Faith, was written in 1980. Consisting of three movements, the piece is in a modest contemporary style with a difficult final movement. The first movement, Sonata, is primarily flowing and lyrical with a middle section of articulated passage work. Meter changes, from 3/4 to 2/4 to 7/8 to 4/4 occurring throughout, serve to convey the well defined phrase structure. Range is from low Cb to high Eb. The movement is quite playable by a performer with four or five years experience. The second movement is a slow legato with a faster middle section separating the beginning from the end. Range is from low Db to high C#. The movement is playable with three or four years experience. The final movement, with its meter changes from 10/8 to 7/8 and a brisk, running eighth-note motion (10/8 mm.42) is a challenge for both performers. Range is between low C and high D and the melodic line is basically stepwise with few leaps. This movement requires experienced players to perform it well. Fantasy for oboe and piano, by James Peterson, is a three movement piece which uses imitative techniques as the basis for the first and last movements. The range of movement one is from low D to high E. Dynamic variation is, for the most part, left to the performers. The second movement alternates between a 4/4 opening 6/8 middle section, and repeated opening section. Range is from low B to high E. Dynamic shadings are once again left mainly to the performers. The third movement is not only imitative buy relies on syncopated figures to reinforce the strong rhythmic drive. Tempo is brisk (3/4mm.69) and the range is two octaves (low E to high E). Technical difficulties are minimized with basically eighth and quarter-note notation. Of the two pieces mentioned, the first is very interesting and programmable. The second would make a wonderful teaching piece but I find it less interesting than the first. Both editions feature 8 1/2 x 11 paper and clean, clear printing.
Two other works published by Nova Music should be mentioned due to the unusual nature of the instrumental forces. The first, Two Sonatas (G minor and F) by G. Finger, is edited by Peter Holman and is scored for 2 recorders, 2 oboes and B.C. They are both short sonatas and, as was the custom during the late 17th Century are played straight through, the "movements" (my quotes) being played in varying tempt and style but connected. The sound produced by such a combination of instruments is unique and I find it a most enjoyable diversion. The second work is Trio Sonata in Bb for recorder oboe and B.C. by G. Keller. The edition is by David Lasocki and the basso continuo realization is by Peter Holman. This sonata consists of four separate movements; slow, fast, slow, fast. The first movement maintains a bit of the old style with alternation between slow, fast, slow, fast, and slow sections to be played straight through. Both of these sonatas have no range problems or technical obstacles and could easily be played by student performers after three or four years of study. They could also be played as a quartet of oboes and B.C. in the first instance and two oboes in the case of the second trio sonata.