Excerpted from M.Mus. Thesis, Rice University, 1983:
The Oboe d'amore in the Works of Georg Philipp Telemann with Critical Editions of Selected Unpublished Works
The alto member of the oboe family, the oboe d'amore, was most popular during the period from approximately 1720 to 1760. While no date for the invention of the instrument has been firmly established, compositions using the oboe d'amore can be dated from as early as 1717. Composition for the instrument seems to have been restricted to the German-speaking area of Europe bounded approximately by Hamburg, Münster, Vienna, and Berlin. The earliest known works to use the instrument were sacred vocal works. These compositions reflect an initial association of the instrument with alto and tenor voices, and also with texts dealing with the subject of love. The instrument gradually lost these specific associations, and filtered through every aspect of eighteenth-century musical society; works utilizing the oboe d'amore include cantatas, passions, operas, solo concerti, concerti grossi, orchestra suites, and chamber works.
Around 1760, composers ceased writing for the instrument, and it gradually fell out of use. The revival of the music of J.S. Bach was responsible for its modern reconstruction. Composers in the twentieth century have again begun to draw on the oboe d'amore as an orchestral resource, and most oboe makers now offer a modern version of the instrument. In addition, historical reproductions are also readily available. [1]
Current scholarship regarding the oboe d'amore has concentrated in three major areas: surveys of the repertoire available for the instrument, [2] catalogs of extant oboes d'amore from the eighteenth century, [3] and detailed studies of Bach's usage of the instrument. [4] Composers writing regularly for the oboe d'amore included Johann Sebastian Bach (1685-1750), Georg Philipp Telemann (1681-1767), Johann Gottlieb Graun (1703-1771), Karl Heinrich Graun (1704-1759), Gottfried Heinrich Stölzel (1690-1749), and Christoph Graupner (1683-1760).
Georg Philipp Telemann, one of the most prolific and respected composers of his time, wrote extensively for the oboe d'amore -- at least twenty-two works which use the instrument can be attributed to Telemann. One of the first to write for the instrument, Telemann, unlike his contemporaries, composed in every medium available, including the only known work for solo oboe d'amore and continuo. Through an examination of Telemann's works for oboe d'amore, which comprise a central part of the instrument's repertoire, it is possible to observe the development of composition for the oboe d'amore, the dissemination of the instrument through musical society, and the style of writing which brought the instrument to the peak of its popularity. The writing is particularly instructive in regard to utilization of the instrument's color, range, and technical ability. In addition, consideration of the instrument helps shape the form of each work. Published editions of Telemann's works which use the oboe d'amore consist primarily of concerti and sacred vocal works. As a result, an overview of Telemann's writing for the instrument has been unavailable.
No information is available on how or through whom the oboe d'amore was introduced to Telemann. Previously, the first known work by Telemann to use the instrument has been generally accepted as the opera Der Sieg der Schönheit. [5] However, the Overture-Suite in E Major for oboe d'amore and strings can be dated between the years the years of 1718 and 1720, [6] thus revising the date of Telemann's probable introduction to the instrument. At the time of the premier of Der Sieg der Schönheit in 1722, Telemann was already established in Hamburg. While it seems doubtful that he encountered the instrument in Sorau, Eisenach, or Frankfurt, it is possible that Telemann was introduced to the instrument in his correspondence with Leipzig prior to, or around the time of, his move to Hamburg. Johann Kuhnau (1660-1722), the cantor in the Leipzig Thomaskirche and Telemann's rival there, had written works using the oboe d'amore which pre-date those of Telemann.[7] The region surrounding Leipzig, one of the most important centers of woodwind instrument building, produced the greatest number of oboes d'amore which are still extant today. Hamburg, a center of wealth and culture at this time, also had the resources to cultivate a new instrument. It is not surprising that Telemann, always an advocate of musical innovation, would use the instrument soon after its invention.
The bulk of Telemann's writing for the oboe d'amore is comprised of instrumental music: concerti, an orchestral suite, and chamber works. One of his earliest works to use the instrument, Der Sieg der Schönheit, is a vocal work, but it seems that after this work, Telemann did not write in this medium until later in his life.
Few composers, if any, managed to better explore the coloristic qualities of the oboe d'amore than did Telemann. Exhibited in his works is a wide diversity of styles and developments in writing for the oboe d'amore. These works stand out among his output because of Telemann's sense of the characteristic qualities of the oboe d'amore, and also because these works were written specifically for the oboe d'amore rather than for any treble instrument as are many of Telemann's other compositions. As such, these works are examples of some of Telemann's most idiomatic and successfully orchestrated writing for winds. In addition, the diversity of these works provides an instructive insight into the musical practices of the late Baroque while providing an understanding of the oboe d'amore in the context of the period of use from its invention to its virtual demise.
The list of works below was compiled from several sources: existing partial catalogues of Telemann's works, catalogues of holdings of European libraries, citations in scholarly works, and correspondence with European libraries known to have holdings of any Telemann works. In compiling a list of sources of works of Telemann utilizing the oboe d'amore, several difficulties were encountered. The most hindering of these is the lack of any single comprehensive thematic index of works by Telemann. Extant cataloging by genre overlooks those works which do not fall into a specific category. [8] The process was further complicated by the relocation and reorganization of collections since the war. In addition, some manuscripts either no longer can be located, or were destroyed at that time.
Collections which contain works of Telemann which in some way use the oboe d'amore are housed primarily in five libraries:
Universitätsbibliothek
Postfach 8029
D- 4400 Münster
**Five works, all formerly housed in Rheda.Hessiche Landes- und Hochschulebibliothek
Schloss
D-6100 Darmstadt
**Four works, part of a large collection of works by Telemann, catalog available from the library.Sächsische Landesbibliothek
Marienalle 12
Postfach 467/468
DDR-806 Dresden
**Five works, part of a collection numbering 313 works by Telemann currently being catalogued.Wissenschaftliche Allgemeinbibliothek des Bezirkes Schwerin
DDR-2750 Schwerin
**Most recent catalog by Otto Kade published in 1893, reprinted in 1974.Universitätsbibliothek
Fachgebiet Musik
Universitätsplatz 5
DDR-25 Rostock
**No information available, although four works using oboe d'amore are thought to be in the collection.
In addition, the following libraries contain autographs or manuscripts of works using the oboe d'amore:
Staatsbibliothek der Stiftung Preussischer Kulturbesitz
Musikabteilung
Postfach 59
D-1 BerlinConservatoire Royal de Musique
Bibliothéque
Rue de la Regence 30
B-1000 Brussels
Correspondence with these libraries uncovered works which are not mentioned in other general lists of repertoire for the oboe d'amore or catalogs of works by Telemann. Comparison of microfilms obtained also revealed that some works thought previously to be the only extant manuscript are duplicated in other collections. The discrepancy exists because the use of key signatures in reference to these works is not standardized as written pitch or sounding pitch of the transposing oboe d'amore.
Correspondence with the library in Rostock was not answered at this time. It is entirely possible that citings below for Rostock which appear to be unique may actually be duplications of other works. It is also uncertain that these works are still housed there. Other researchers trying to obtain similar materials and/or information from the university have either received negative replies, or no reply at all. [9]
Works are listed below by genre. Each entry details instrumentation, location of source(s), method in which the oboe d'amore part is notated in the manuscript, and published editions, if available. Brief descriptions are included for those works which are not currently available in published editions. [10] Microfilms are available at very reasonable costs from the libraries listed above, and permission for performance is usually granted with the condition that a tape be sent to the library. These works, especially the chamber works, are a welcome addition to the repertoire of the oboe d'amore. Many of these works are also easily accessible for performance on the oboe.
Concerto in D major. Flute or oboe d'amore, strings, basso continuo. Schwerin, #297. parts; oboe d'amore notated in treble clef a minor third higher than sounding. Three untitled movements. Published by Leuckart, ed. F. Schroeder, 1967.
It is entirely possible that this work is not by Telemann at all. The manuscript from which Schroeder has made the modern edition is an anonymous one. Schroeder has ascribed the work to Telemann because of similarities with the Musique de table of 1733. However, he has overlooked the fact that a second copy of the same work can be found in the Schwerin library with the signature "Kuntze." Kross does not include this work in his index of Telemann's concerti. [11]
Concerto in E minor. Oboe d'amore, strings basso continuo. Münster, Rheda must ms. 771. parts; oboe d'amore notated in treble clef a minor third higher than sounding. Three untitled movements. Published by Hinnenthal, available in ozalid copies from McGinnis and Marx. [12] An edition is also contained in Blake, "The Baroque Oboe d'amore." [13]
Concerto in G major. Oboe d'amore, strings, basso continuo. Darmstadt, 1033/46. score; oboe d'amore notated in French violin clef a minor third higher than sounding. Soave - Allegro - Adagio - Vivace. Published by Sikorski, ed. Tottcher, #568.
Concerto in A major. Oboe d'amore, strings, basso continuo. Schwerin, 5400/10. parts; oboe d'amore notated in French violin clef a minor third higher than sounding. Siciliano - Allegro - Largo - Vivace. Published by Eulenburg, ed. Schroeder, #1241.
Concerto in D major. Solo cello, two oboes d'amore, strings, basso continuo. Münster, Rheda must ms. 772. Münster, Rheda must ms. 773. Both manuscripts consist of parts with the oboe d'amore notated in treble clef a minor third higher than sounding. Darmstadt, 1033/40. Score; oboe d'amore in treble clef a minor third higher than sounding. (Allegro) - Dolce - Allegro. Published by Sikorski, ed. Winschermann.
Concerto in E major. Flute, oboe d'amore, viola d'amore, strings, basso continuo. Darmstadt 1033/43. Darmstadt, 1033/46. Dresden 2392/0-55. All sources are scores with the oboe d'amore and flute notated a minor third higher than sounding in French violin clef. The viola d'amore is notated in F major with scordatura. (Andante) - Allegro - Siciliano - Vivace. Published by Peters, ed. Stein #5884.
Concerto a 5 in A major. Two oboes d'amore, two violins, basso continuo. Rostock Mus. saec. XVII.18.45 7'. No microfilm was received. Andante - Vivace - Siciliano - Allegro.
This work was unavailable for study at the time of this writing. The only secondary source that mentions the work states that the oboes d'amore play in thirds almost throughout. [14]
Sonata in D major. Two oboes d'amore strings, basso continuo. Not located.
Incipit from the Breitkopf catalog: [15]
Sonata in A minor. Two oboes d'amore strings, basso continuo. Not located.
Incipit from the Breitkopf catalog: [16]
Overture a 5 in D major. Two oboes d'amore, two horns, bassoon, and alternate cello part in F major. Münster, Rheda must ms. 778. Parts; oboes d'amore notated in treble clef a minor third above sounding pitch. Grave - Vivace - Loure - Les Paysans - Menuet - Paspied - Gigue. Published by Hinnenthal in parts in an arrangement for woodwind quintet. Edition for original instrumentation in: Collins, "The Oboe d'amore in the Works of Georg Philipp Telemann."
The cover sheet of the manuscript of this work designates the work as an "Ouverture" by Melante, a pseudonym frequently used by Telemann which is simply a rearrangement of the letters of his name. Contained in the folio of the manuscript are two 'Hautbois' parts in F major, two horn parts in C major, a bassoon part in D major, and a cello part in F major. The instrumentation given on the cover sheet is for two oboes d'amore, two horns, and bassoon. A reasonable explanation of the cello part which duplicates the bassoon part at the transposition of a minor third, would be that two versions of performing the work exist. If two oboes d'amore are used, with the F major parts a minor third higher than sounding pitch, two horns in D and bassoon complete the ensemble. If played on the oboe rather than oboe d'amore, two horns in F and the alternate cello part would comprise the rest of the ensemble. The work in its original instrumentation -- either using oboes or oboes d'amore -- seems far more successful than the available quintet arrangement. Telemann exploits the timbre and various combinations of the ensemble with an ingenious understanding of the instrumental colors.
Concerto à 5 in D major. Two oboes d'amore, two horns, bassoon. Münster, Rheda must ms. 776. Schwerin, 5400/11. Parts; oboes d'amore notated in treble clef a minor third higher than sounding. Microfilm from Schwerin not received at this time. Andante - Allegro - Siciliano - Presto. Edition based on the Münster manuscript in: Collins, "The Oboe d'amore in the Works of Georg Philipp Telemann." Edition based on the Schwerin manuscript in: Blake, "The Baroque Oboe d'amore." [17]
In the Concerto à 5, as in the Overture à 5 Telemann is concerned with options of instrumental combination. Between the two works, he uses almost every available combination of the instruments of the ensemble. The character and form of the various movements are reflected and reinforced through his instrumentation. In these works, Telemann displays two approaches to form in chamber music: the four movement form favored in many of his concerti, and the collection of dance movements in a suite. The orchestration displays both similarities and contrasts in the two works.
Trio Sonata in A major. Oboe d'amore, violin, basso continuo. Schwerin 5403. Microfilm was not available at this time for study. Largo - Allegro - Siciliano - Allegro. Published by Sikorski, ed. Lauschmann, #319.
Concerto in G major. Flute, oboe d'amore, basso continuo. Dresden, 2392/Q 32. Parts; oboe d'amore in treble clef a minor third higher than sounding. Rostock, Sign XVII- 45.23. No microfilm available at this time. Vivace - Grave - Vivace. Published by Peters, ed. Havemann, #8057.
This work exists in four versions. Two of the manuscripts (contained in collections in Berlin and Brussels) attribute the work to Lotti as does the Breitkopf catalog of 1766. [18] The two manuscripts listed above attribute the work to Telemann. Only slight differences, such as those between tempo and key, exist between the manuscripts. It is difficult to make a judgement as to whether the work should be ascribed to Lotti or Telemann. If the work is indeed by Telemann, it appears to be one of his earlier works for oboe d'amore.
Napolitana. Oboe d'amore, basso continuo. Originally published in Der Getreue MusikMeister. Oboe d'amore notated at sounding pitch. (One-movement, binary dance form). Published in Hortus Musicus, ed. Degan, #7.
This is the only known work by Telemann, and possibly the only work by any Baroque composer, for solo oboe d'amore and continuo.
Overture -- Suite in E major. Oboe d'amore, strings, basso continuo. Darmstadt 1034/96. Parts; oboe d'amore notated in treble clef a minor third higher than sounding. Ouverture - Entre - Riguadon I - Rigaudon II - Air Rondeau Hanaquoise - Harliquinade - Menuet I - Menuet II - Menuet III. Edition: Collins, "The Oboe d'amore in the Works of Georg Philipp Telemann."
This is the only extant orchestra suite by Telemann known to use the oboe d'amore. Because the majority of these works was written before the time of the advent of the oboe d'amore, this is understandable. This suite, which Hoffman has dated as being composed between 1718 and 1720, is quite important in terms of Telemann's introduction to the oboe d'amore. It predates Der Sieg der Schönheit, previously thought to be Telemann's earliest use of the instrument. Contrary to its categorization by Buttner and Hoffman as a solo-suite for oboe d'amore and strings, the instrument does not actually act in a solo role. [19] Because the existing manuscript is in parts, this is not revealed until a score of the composition is made. Throughout the work, the oboe d'amore is reinforcing one of the string parts and never exhibits an individual line of its own. The fact that the part for the oboe d'amore exists is significant, however. Frequently in practice, suites for strings alone were doubled by oboes or other winds in performance. By writing a part for oboe d'amore in this orchestra suite, Telemann has specified both the color of the doubling wind instrument and the fact that not all lines are to be doubled continuously. The result also displays the versatility of the oboe d'amore. Whenever the basso continuo rests, the oboe d'amore doubles the lowest-sounding viola line, reinforcing harmonic function. Variety of texture is provided by some movements for strings alone. It is also possible that the oboe d'amore was added to an earlier composition for strings alone. All movements of the Overture-suite are in the key of E major, another reason that Telemann may have opted for the oboe d'amore.
Der Herr is König. SATB, oboe, oboe d'amore, strings, clarino, tympani, basso continuo. Dresden, Mus. 2392/E 612. Score; oboe d'amore at sounding pitch. Dresden, Mus. 2392/E 612a. Parts, oboe d'amore in treble clef, a minor third higher than sounding. One aria, "Zion liegt zu deinen Füssen" uses oboe d'amore. Edition based on parts from the Dresden collection in: Collins, "The Oboe d'amore in the Works of Georg Philipp Telemann. "
This beautiful aria is the central aria of the cantata. Scored for soprano, violin, oboe d'amore, and continuo, it utilizes with great success the combination of violin and oboe d'amore and alternates the use of the two instruments as an obbligato with the voice. A usable edition is available only through using both the score and the parts, but is not difficult to make because of the brevity of the aria. [20] This aria is a welcome addition to the already rich repertoire of Bach arias which use the oboe d'amore.
So gehst du nun, mein Jesu, hint SATB, two oboes d'amore, strings, basso continuo. Dresden, Mus. 2392/E 606. Parts; oboe d'amore notated in treble clef a minor third higher than sounding. Oboes d'amore used in solo arias and larger sections.
In-this cantata, two oboes d'amore are used and, unlike Telemann's other cantatas, function extensively throughout the work. They are used singly in arias, and to supplement the vocal lines in the chorale.
Das Befreite Israel. SATB, two flutes, two oboes, oboe d'amore, bassoon, horn, three trumpets, timpani, strings, basso continuo. Berlin, must ms. 26. Berlin, must ms. 21 700. Oboe d'amore is used in the fourth aria. Published in MusicalischeWerke, 22, 1971, ed. Hobohm.
die Donnderode. SATB, two flutes, two oboes, oboe d'amore, two bassoons, two horns, three trumpets, timpani, strings, basso continuo. Berlin, must ms. 21 743/90. Berlin, must ms. 21 745. Berlin, must ms. 21 728 2. Berlin, must ms. 21 743/95. Berlin, must ms. 21 783/5. Schwerin, 5388. Brussels, 6967. Dresden, 2392/D/1. Oboe d'amore used in the third aria of Part I. Published in Musikalische Werke, 22, 1971, ed. Hobohm.
Der Sieg der Schönheit. Not located.
Miriways. Not located.
Microfilms were unavailable at this time of the two operas in which Telemann used the oboe d'amore. Felix Schroeder has commented that in both works the two oboes d'amore represent love. No other observations can be made about these works at this time. [21]
St. Luke Passion. Schwerin, 5377/1. Berlin, Mus. ms. 18. Oboe d'amore use in three arias. Published in Musikalische Werke, 15, 1964, ed. Homer and Runhke.
Telemann's concertos and single orchestra suite for the oboe d'amore clearly show a development of compositional technique not visible in the works of any other single composer. The early works utilize a limited range and use of expressive devices within the three-movement concerto format. Concern for the instrument's characteristic color, so evident in later works is more difficult to discern. The progression of writing is most evident in changes of formal approach: Telemann adopts four-movement forms which allow two slow movements in which to display the oboe d'amore's color, and which also contain particularly expressive writing. Both high and low extremes of range are utilized effectively for distinctive tone color and technical writing is particularly idiomatic for the instrument. In addition, the works display concern for the relationship of the oboe d'amore and other parts. Telemann's oboe d'amore writing in these works shows a singular use of both rhythmic and structural experimentation to exploit the instrument's best features.
The chamber literature is important because it not only shows the demands and limitations placed on the oboe d'amore, but also its position in the musical society at the time. Concertos were often written for specific performers or occasions, but it is the chamber music that shows the dissemination of the oboe d'amore throughout musical society by the type of works written for it.
The lack of contrapuntally independent lines makes Telemann's trio sonatas for the oboe d'amore differ slightly from his other trio sonatas. This reflects his preoccupation with the possibilities of timbre provided by the oboe d'amore. Telemann's strength in chamber writing lies not in the trios, however, but rather in the two quintets for two oboes d'amore, two horns, and bassoon. These works explore every possible combination of the instruments, embody contrasts of form and texture, and display some of Telemann's most consistent and idiomatic writing for the oboe d'amore. While in many instances the pitch and rhythmic structure of these works may appear repetitious and to lack creativity, their genius lies in Telemann's grasp of the nuances of color available from the ensemble. This sonorous potential is used to induce structural boundaries. Through the "Napolitana" for oboe d'amore and continuo, Telemann attempts to align the instrument with the amateur rather than the court or church musician. He seems to have been the only composer to make such an attempt.
Initially the music for the oboe d'amore was allied with the church cantata. Texts dealing with love and/or a pastoral setting were frequently linked with its use. The composer to most exploit this area of writing for the oboe d'amore was J.S. Bach. Bach's cantata writing is both challenging and particularly characteristic for the oboe d'amore. In his cantatas, Telemann's writing is conservative and his choice of oboe d'amore seems to reflect a preference for its color, its facility in sharp keys, and an aesthetic relationship to texts. While Bach's writing inadvertently extends the range of the instrument beyond its capabilities, Telemann always stays within the most comfortable part of the range.
The relationship of the oboe d'amore and love was carried by Telemann into the theaters in his two operas which are known to use oboe d'amore. The opera Der Sieg der Schönheit is indicative of the early date at which Telemann removes the oboe d'amore from the context of the church. From the opera house and the court through chamber music, the instrument began to find its way to the middle class, and by the end of the 1760s, had reached all levels of music.
Telemann's writing for the oboe d'amore displays a great deal of care and purpose in both the instrumental and vocal works. This care is verified in the idiomatic writing for the instrument and exploitation of its entire range. These works demonstrate a special understanding of aesthetic considerations applying to the instrument and the multiplicity of ways in which its color may be explored. When combined with other instruments, great care is taken to see that the colors interact suitably.
The twenty-two works by Telemann which use the oboe d'amore are a central part of the instrument's repertoire. Study and performance of these works will provide an insight into the development of the oboe d'amore as well as a better understanding of the entire repertoire for the instrument.
Bate, Philip. The Oboe. New York: W.W. Norton, 1975.
Bechler and Rahm. Die Oboe. Leipzig: Merseberger, 1914.
Becker, Heinz. "Oboe," MGG, X, 1809-1813.
Blake, Cavedra Marc. "The Baroque Oboe d'amore." Ph.D. dissertation, UCLA, 1981.
--------. "A Survey of the Instrumental Repertoire of the Oboe d'amore. " M.A. thesis, UCLA, 1975.
Brook, Barry, S., ed. The Breitkopf Thematic Catalog: 6 Parts and 16 Supplements, 1762-1787. New York: Dover, 1966.
Büttner, Horst. Das Konzert in den Orchestersuiten Georg Philipp Telemanns. Wolfenbüttel: Georg Kallmeyer Verlag, 1935.
Collins, Dana Cristle. "The Oboe d'amore in the Works of Georg Philipp Telemann with Critical Editions of Selected Unpublished Works. " M.Mus. thesis, Rice University, 1983.
Dahlqvist, Rheine. "Taille, Oboe da Caccia, and Corno Inglese," Galpin Society Journal, 26, 58-71.
Davis, William Jerryl. "A Study of the Solo and Chamber Literature for the Oboe d'amore from 1729-c.1760 with Modern Performance Editions of Selected Unpublished Works. " DMA dissertation, University of Rochester, 1977.
Denton, John William. "The Use of Oboes in the Church Cantatas of J.S. Bach." DMA dissertation, University of Rochester, 1977.
Eitner, Robert. Biographisch-bibliographisches QuellenLexicon der Musiker und Musikgelehrten der christlichen Zeitrechnung bis zur Mitte des neunzehnten Jahrhunderts. Leipzig: Breitkopf und Härtel, 1900- 1904.
Fitzpatrick, Horace. "Jacob Denner's Woodwinds for Gottweig Abbey," Galpin Society Journal, 21 1968, 81-87.
Funk, Floyd. "The Trio Sonatas of Georg Philipp Telemann," Ph.D. dissertation, George Peabody College, 1954.
Goosens, Leon and Roxburgh Edwin. Oboe. New York: Schirmer, 1977.
Grebe, Karl. Georg Philipp Telemann. Hamburg: Rowelt, 1970.
Halperin, Paul. "Three Oboes d'amore from the Time of Bach," Galpin Society Journal, 28, 1975, 26-36.
Hoffman, Adolf. Die Orchestersuitan Georg Philipp Telemanns TWV 55. Wolfenbüttel: Moseler Verlag, 1969.
Menke, Werner. Das Vokalwerk Georg Philipp Telemanns Kassel: Bärenreiter-Verlag, 1942.
Peckham, M.A. "The Operas of Georg Philipp Telemann," Ph.D. dissertation, Columbia University, 1969.
Petzoldt, Richard. Georg Philipp Telemann, trans. Horace Fitzpatrick. New York: Oxford University Press, 1974.
Rhea, Claude. "The Sacred Oratorios of Georg Philipp Telemann," Ph.D. dissertation, Florida State University, 1958.
Runhke, Martin. "Telemann," MGG, XIII.
--------. "Telemann, Georg Philipp," The New Grove, 10, 647-659.
Thom, Eitelfriedrich. "Die Oboe d'amore in Telemanns Werken, " Beitrage zu einem Neuen Telemann-Bild, Magdeburg, 1973.
Young, Philipp. "Woodwind Instruments by the Denners of Nurnburg, " Galpin Society Journal, 20, 1967.
[1] For a more detailed description and history of the instrument, the reader is referred to:
Cevedra Marc Blake, "The Baroque Oboe d'amore" (Ph.D. dissertation, UCLA, 1982).
William Jerryl Davis, "A Study of the Solo and Chamber Literature for the Oboe d'amore from 1720-c.1760" (DMA dissertation, University of Rochester, 1977). [return]
[2] Blake "The Baroque Oboe d'amore."
Davis, "A Study of the Solo and Chamber Literature for the Oboe d'amore."
Eitelfriedrich Thom, "Die Oboe d'amore in Telemanns Werken," Magdeburger Telemann Studien (Bagdeburg, 1973): 41-47. [return]
[3] Blake, "The Baroque Oboe d'amore."
Davis, "A Study of the Solo and Chamber Literature for the Oboe d'amore." [return]
[4] John William Denton, "The Use of Oboes in the Church Cantatas of J.S. Bach" (DMA dissertation, University of Rochester, 1977). [return]
[5] Philip Bate, The Oboe (New York: W.W. Norton, 1975), p. 100. [return]
[6] Adolf Hoffman, Die Orchestersuiten Georg Philipp Telemanns TWV55 (Wolfenbüttel: MoselerVerlag, 1969). [return]
[7] Rheine Dahlquist, "Taille, Oboe da Caccia, and Corno Inglese," The Galpin Society Journal, 26, 1973, p. 67. [return]
[8] A thematic index is in preparation in conjunction with the G.P. Telemann Musikalische Wake. However, no date for its completion has been projected. Catalogs by genre used in preparing this list include:
Horst buttner, Das Konzat in den Orchestersuitan Georg Philipp Telemanns (Wolfenbüttel: Georg Kallmeyer Verlag, 1935).
Floyd Funk, "The Trio Sonatas of G.P. Telemann" (Ph.D. dissertation, George Peabody College, 1954). [return]
[9] Blake, "The Baroque Oboe d'amore," 211. [return]
[10] For a detailed description and analysis of each of the works contained in this repertoire list, the reader is referred to:
Dana Cristle Collins, "The Oboe d'amore in the Works Georg Philipp Telemann, with Critical Editions of Selections Unpublished Works" (M.Mus. Thesis, Rice University, 1983), 41-86. [return]
[11] Thom, "Die Oboe d'amore in Telemanns Werken," 42-43. [return]
[12] The author was unable to obtain a copy of this edition at the time of this writing. It is cited in:
Davis, "A Study of the Solo and Chamber Literature for the Oboe d'amore." [return]
[13] The editions contained in Blake's dissertation are not contained in the typescript available from University Microfilms. These editions were not available to the author at the time of this writing, but may generally be obtained through the UCLA library. [return]
[14] Blake, "The Baroque Oboe d'amore," 59. [return]
[15] Brook, The Breitkopf Thematic Catalog, III, 30. [return]
[17] Please see note 13. [return]
[18] Brook, ed., The Breitkopf Thematic Catalog. [return]
[19] Büttner, Das Konzert in den Orchestersuiten Georg Philipp Telemanns, 80.
Hoffman, Die Orchestersuiten Georg Philipp Telemanns, 113. [return]
[20] The soprano part is missing for this aria from the extant parts. The edition in Collins, "The Oboe d'amore in the Works of Georg Philipp Telemann" is based primarily on the parts, but draws the soprano from the score.[return]
[21] Georg Philipp Telemann, The Cantatas: St. Luke Passion (1744), ed. Felix Schroeder (Neuhausen-Stuttgart: Hanssler-Verlag, 1975), 10, 210. [return]