Recently (1981) a new edition of Studies for Oboe by Joseph Sellner was published by EMB in Budapest. Edited with a preface by Peter Pongracz, the set of studies is exactly the same as the earlier French edition of Part II (Articulation Studies) minus the interval exercises. Matters of articulation remain the same as in the French edition and the keys have been ordered in a progressive manner through the original four sharps and four flats. Notes are placed in the text explaining the use of left F, fork F, left E-flat and right A-flat. It is printed clearly with complete slurs and staccato marks which were often missing in the French edition. Signs for the use of regular key F and fork F are omitted. This edition might possibly be a cheaper one than the currently available French edition.
A new addition to the basic repertoire of oboe study material is the Method for oboe or saxophone written by Albert Debondue. Published by Billaudot in 1981 and available in the United States through Theodore Presser Co., this volume of articulation studies is a continuation of the excellent Method (Part II) of Joseph Sellner referred to above. As most teachers of the oboe know, the Sellner studies are basic to the development of finger pattern recognition and articulation in the young player. Unfortunately they were never carried beyond four sharps and four flats, unnecessary for most players at the time they were first written (1825). Mr. Debondue has successfully captured the flavor of the original Sellner studies and has carried the triplet and sixteenth studies through five, six and seven sharps and flats making them valuable for today's players. They certainly do provide the player with fingering situations more and more common to the music of today.
Another addition to the realm of study material is Technical Studies for Oboe by Miroslav Hosek, a name familiar to most oboists as the editor of Oboen Bibliographie I, a basic source list of music for the oboe. Published in 1981 by Brockmans and van Poppel in Amsterdam, this book of studies in all major keys through seven sharps and seven flats is basically a study of scales and chords. In his preface to the edition Han de Vries recommends the book "to those who are interested in playing the oboe with a solid technique." Essentially, the book is a series of exercises using the full range of the oboe to high A. A practice schedule is included giving six areas to concentrate on when working out each exercise. These areas consist of the following: rhythm, phrasing, melody, starting notes, dynamics, and tonguing. Although this is an excellent book on technique involving discipline in the areas of finger coordination and embouchure it is recommended only for advanced players, due to the extreme range and the relentless emphasis on technical perfection.
A new edition of an old favorite work for oboe and bassoon alone is the Duo Concertante of Joseph Fiala. Published in a fine, new edition in 1979 by Raymond Ojeda, the work is in three movements: allegro assai, adagio, allegro. As with most pieces using only two wind instruments one of the problems is coping with the breathing requirements. Although there are rests for breathing they must be observed well in order not to become fatigued by too much breath. Range and technique are no real problem and the piece could be effectively performed by college students or professional players alike. The elan and wit of late 18th century Bohemian music is evident throughout and it provides an altogether charming performance vehicle for the two double reeds. Other new editions of pieces written for this combination will be discussed in a future article.
A new work by Warren Cytron called Dances for Two Trebles was published by McGinnis and Marx in 1980. The dances are titled Symetradance and Tronner and the two parts may be played by any combination of flute, oboe or violin (either like or unlike instruments). Complete with rapidly changing meter, tempo and rhythmic gestures this two movement non-tonal work is not for the timid or novice performer. Both voices ascend to high F by articulated leap and there is a general tendency toward octave displacement in each voice. Slurring of wide leaps is generally avoided. Although the rhythmic figures themselves are not difficult, the change in meter and tempo flow make this work a challenging one.
A new edition of Six Sonatas, Op. 4 by G. B. Sammartini was edited by Fazi Dov and published by Nova Music in 1980. Originally intended for two flutes, these cheerful works can be played to good effect on two oboes as well. As has come to be accepted in works published by Nova Music, this is a 'clean' edition complete with editorial corrections and suggestions either in slashed slurs or brackets. All sonatas, except number six, are in the fast-slow-fast (or D.C. minuet) format so common to the time. Number six is an extended five movement form: Allegro, Adagio, Aria, Capriccio, Minuet. All six are in sharp keys (G, D, A) and are, with a few minor exceptions, in a two octave (low D to high D) range. These works can be used to good effect as sight-reading pieces in the studio or for intimate chamber music recitals. Due to the equality of parts it is recommended by this reviewer that they be played on like instruments for the best effect. It should be added in passing that, due to the strength of the dollar relative to the English pound at this writing, the purchase of music from England is a good bargain.
Taken from Rameau's Nouvelles Suites de Clavecin of about 1735, La Poule is one of a number of character pieces which were intended as gentle musical jokes. This new edition for oboe and piano by Fritz Spiegl, published by Oxford University Press in 1980, would make a charming encore piece after a recital of 'heavy' oboe literature. The notation "co - co - co - co - co -cocodai" (call of the hen) printed under the opening notes of the oboe is original. Range is basically two octaves (low D to high D) and the rhythm is straightforward throughout. A good staccato tongue is essential to bring off the 'fowl' character throughout. The piano accompaniment is supportive and not very difficult.
Nocturne and Dance for oboe and piano was written by Thomas Schnudel, a bassoonist-composer who teaches at the University of Regina, Regina, Saskatchewan, Canada. Published in 1980 by Shawnee Press, Inc., this little two movement work in contrasting styles is not difficult. With the exception of two long sixteen measure phrases in the second movement there are no breathing problems in the piece. (Even these phrases are easily worked around.) Range is no problem, ascending to high D only once at the very end of the piece. In the opinion of this reviewer Nocturne and Dance would be an excellent piece for a student to develop a flowing legato style as well as some nice mixed articulation.
Variations, based on "so ben mi ch'a bon tempo," by Vecchi (1550-1605) was written by Vittorio Rieti in 1978. Published by General Music Publishing Co., Inc. in 1980, Variations is scored for English horn and piano. Consisting of the theme (set first in the piano and answered later by the English horn) and five variations, the work keeps expanding contrapuntally through variation four and concludes with a spirited finale variation with coda. During the entire piece the English horn is called on to play in a non legato, staccato, marcato style of articulation. I find this to be an attractive, moderately challenging addition to the repertoire for the instrument.
Two Interludes, arranged for oboe and piano by Eric Fenby, was published by Boosey and Hawkes in 1980. It is also available for oboe and string quartet on rental from the publisher. Based on Delius' last opera Fennimore and Gerda this short, lovely setting is gently pastoral and flowing in nature. Although the technical demands are minimal, extreme care is needed to project the legato flow of the line. Breath control and dynamic nuance are at the very core of this work with the "exquisite ebb and flow of Leon Goossen's playing" in mind. This piece would make a lovely encore or even a quiet opening work on an oboe recital.
A 1980 contest piece for oboe and piano at the Paris Conservatoire was recently published by Billaudot in Paris (available through Theodore Presser Co., Elkan-Vogel, Inc., in the United States). Appearing in the Pierre Pierlot Collection "Classical and Modern Works for Oboe," Prelude et Danse by Georges Delerue is a difficult work. Using many rhythmic changes from simple to compound meters, various tempo changes, constantly changing articulations, a range from low C to high G, and wide slurs, the work is a challenging one demanding a most flexible reed, facile tongue, sure breath control over long phrases, and expressive sensitivity. In the opinion of this reviewer the piece is well written for the oboe and would be an excellent one to show off the technical brilliance of an advanced player.
Another new work from France, this time from the firm Henry Lemoine (Theodore Presser Co., Elkan-Vogel, Inc.), is Meandres by Jean-Michel Damase. This difficult work was written originally for oboe and string orchestra but is published with a piano reduction. Having an extended range from low B-flat to high G, much flexibility in slurring, articulation, and rhythmic subdivision is required of the performer. Infrequently changing dynamics do not appear to pose much of a problem with the musical line. Developing smoothness of line would seem to be the most difficult underlying problem to the player. In the opinion of this reviewer the work is a good addition to the technical repertoire for the oboe player of advanced abilities.