The Concerto for Oboe and String Orchestra, by the Norwegian composer Johan Kvandal, was published in 1980 by Norsk Musikforlag. His Op.46 is scored in a way that it could be performed with double string quartet and one double bass if a larger string orchestra is unavailable. The oboe range is from low B-flat to high F-sharp (F-sharp only in the short cadenza in the third movement). The Concerto, in fast, slow, fast movements, has no spectacularly daring writing for the oboe. In fact I would characterize it as a most inviting work for the professional as well as the talented student performer. The melodic writing is limitless and also holds interesting articulations. This is one of the favorite works played in the Scandinavian countries and especially in Norway. This editor found it a delightful work and would suggest it for better student and professional performers. The work is available through Magnamusic-Baton, Inc. in the U.S.A. Kvandal has also written a fine woodwind quintet which is also recommended for your use.
The next, Concerto for Oboe and Orchestra, by Bent Lorentzen is quite a different matter. Written also in 1980 and published by Win. Hansen in 1983, the orchestra utilizes one wind each of flute, English horn, B-flat clarinet, bassoon, trumpet, and trombone with a pair of horns. With the normal complement of strings (6,6,4,4,1), it also includes 3 percussionists (I tymp, plus 2 others each having a large assortment of instruments). A great deal of changing in writing occurs through its roughly 19 minute duration. The work appears to be written as performed straight through 10 varied sections, some referring back to others as well. Changes in mood, articulation, and flow keep the interest at a high level. The range for the oboe ascends to the highest A-sharp in section V (Gaio). Other than a facile technique, other more modern techniques include flutter tonguing gradually returning to normal tonguing, double tonguing (but usually repeated on the same pitch), multiphonics, and tone bending (some down a major 3rd, some a major 2nd), plus the normal use of harmonic tones. All multiphonic chords are keyed with a fingering in the score, but, as usual, experimentation is the best policy with your own instrument and reeds. This editor finds the work to be an exciting one and certainly looks well worth the effort to bring it off to a successful conclusion - highly recommended! It appears that orchestral parts are on rental and the score is also available to rent or purchase from the publisher or Magnamusic-Baton, Inc.
The work, Epitaph, was written by Witold Lutoslawski in 1979 as a memoriam for composer and pianist Alan Richardson (1904-1978), husband of the late oboist Janet Craxton. It was first performed by Janet Craxton in Wigmore Hall during 1980. Epitaph is a short work, in free style (no meter signatures), which reminds me in a small way of Mood Music by Rob du Bois (Donemus) for oboe and organ. There are minimum directions to the players with a few cues and several metronomic instructions hopefully providing for a rather free performance. The structure has four slow sections (quarter = 66) interspersed with faster sections and the piece ends with a slow section gradually ritarding to the end. This is a wonderful work demanding a prerequisite surefooted technique in both performers. It could be an effective piece if well placed on a recital program.
In May, 1985, 1 had the pleasant occasion to take a two week
business trip to England. My mission was to stop in at Howarth's,
to get a few things done on my wonderful S5 Howarth oboe, meet
with several oboists through the country, and finally visit with
some major English publishers to look at their latest new music
for oboe. Another major reason was to meet again my friend James
Ledward, oboist, owner and manager of Nova Music, and see his
new publications for oboe, etc. However, one of the most enjoyable
parts of the trip was spent during an afternoon at the firm June
Emerson, Wind Music located at Windmill Farm, High Street, Ampleforth,
Yorkshire. As they are primarily a mail order business and located
off the local rail line I was able to get to the small town of
Thirsk by rail where Geoffrey Emerson, a wonderful person and
a fine horn player, picked me up at the station for a short ride
to their home and store of music. They are situated almost all
alone on a hill in the beautiful Yorkshire hills. I must say,
without overstating the case, that on entering the business I
have never seen as much woodwind music in one place in all my
life! They stock music for all woodwinds with piano, all sorts
of small ensembles, and everything else up to the largest combinations.
Both my hostess and host, June, a fine oboist and English horn
player, and Geoffrey, an excellent arranger, were most gracious
to me, leaving the entire afternoon and music open to my pleasure
and view. I enjoyed
looking at the vast store of music, some new, and some long out
of print. Some of the best of the latter have now come out in
Emerson Editions thus available for the present generation to
buy. I was plied with wonderful Yorkshire tea throughout the afternoon
and, after purchasing a large package of music to post back to
the U.S., had just time to catch my train from Thirsk back to
Harrogate. June was a superb driver and I just managed to catch
the train without a minute to spare.
Three Hill Songs, by Michael Head, were written just prior to his death in 1976. They were written at a suggestion by June Emerson expressly as easy but enjoyable oboe pieces. The first, On A Spring Day, has a range from low F to A above the staff and could be a first piece for an oboist. A Song of the Hills, also has the same range but with a nice modulation in the middle to A-flat Major and return to the beginning section for the closing. Out On An April Morning is a gentle Allegro, from E minor, then E Major and return to E minor for the close. The mixture of triple eighth notes, sixteenth dotted eighth, and duple sixteenths make for a nice mixture of rhythms to challenge the level two student. Three Hill Songs are #80 in the Emerson Edition.
Suite for Two Oboes and Cor Anglais, Op. 6 was written by the talented young oboist-composer Nicholas Blake who died suddenly in 1969 at age 20. This trio is a real find, in my opinion. It is in three movements, Bagatelle, Siciliana, and Rondino. There are no exceptional technical problems. The nicest part of this piece is the ever-changing mixed meters from 2/4, 3/4, 2/8, 3/8, 5/8, 6/8, and 9/8. It is fun to play and takes about 3 and 1/2 minutes, total, to perform. It would be a fine piece for an encore or one of a set of short pieces for this wonderful combination of double reeds. It is #35 in the Emerson Edition.
Wind Quintet in d minor, Op. 42 was originally written by F.J. Haydn as a string quartet standing on its own, not as others in groups of 6 or other sets. It was arranged by Geoffrey Emerson as #161 in the Emerson Edition and was published in 1980. Andante ed Innocentement, Menuetto-Allegretto, Adagio e cantabile, and Finale-Presto are the four movement titles and were written, by Haydn, as pure music, not idiomatically for strings. The arrangement fits these instruments perfectly in tessitura, articulation, and dynamics. This editor would suggest those of you playing in woodwind quintets take a look at this nice arrangement.
A light piece, Swansea Town for quintet, was written by Gordon Jacob, that friend of all woodwind players for his gift of composing so much good music for woodwinds. This work is a theme with eight variations, the last of which is a fugue. There is a town, Swansea, of course, on the coast of Wales (where we spent a delightful day!). I am not sure if there is a connection with this theme to the city but the piece is a delight to play. It is not too difficult and is #21 in the Emerson Edition.
Scherzo, from the String Quartet in D by Cesar Franck, has been set in a wonderful version for woodwind quintet by Geoffrey Emerson. It was raised 1/2 step from the original key of F-sharp minor to G minor and lies well for the winds. Written as a string quartet in 1889 it was first performed in 1890 and became his first unqualified success. It is a whirlwind of motion, this Scherzo, and is marked "Vivace", needing to flow like the wind from the beginning to the end. It would certainly make a fine ending with its light, fast, airy style. This is #108 in the Emerson Edition and is highly recommended.
The final piece in this set of reviews is a rollicking piece for woodwind quintet titled Beethoven's Fifth Bossa Nova by Terence Greaves. Using the famous motive of the Fifth Symphony it is a fun piece and could be a light moment in an especially heavy woodwind quintet program or as a good encore. It is a short work (one page) and is #42 in the Emerson Edition.
This set of reviews will begin with three books published in 1982 and 1983 by Universal Edition in Vienna and available in the U.S. by European-American Music. These volumes form a large collection of study material, orchestral excerpts, and ensemble literature for the oboe and English horn under the general title of Universal Oboe Edition, edited by Gunther Joppig. The editions are sturdy publications with bold type and easy-to-see notes, without the usual crowding on the page. I will discuss each book in order of publication.
ESSENTIAL REPERTOIRE was published in 1982 and edited
by Han de Vries and Alan Boustead. The main premise of the collection,
(state the editors), is the idea that most prospective oboe and
English horn players will perform in an orchestra as well as in
several types of chamber groups. There are 26 excerpts forming
a basic repertoire (say the editors) of some of the works necessary
for this type of playing. Along with many of these, some have
excellent piano accompaniments. The pieces run the gamut from
the Baroque to the Classic and into the 19th century. The book
is designed in a format from easier to more difficult pieces and
each one is headed by a few suggestions ("directions")
by the editors. It is an excellent book of excerpts and accompanied
passages
10 0 EASY CIASSICAL STUDIES FOR THE OBOE was also published in 1982 and was edited by Gunther Joppig and Anthony McColl. This collection contains a representative survey of teaching and etude material taken from three centuries of music for the oboe. The editors intended that this volume be studied as the need arises in each student and not studied straight through page by page. Each period - Baroque, Classical, and 19th century - is represented by several pieces, each showing its importance in the history of the development of the oboe. Eight major composers for the oboe (Freillon- Poncein, Hotteterre, Prelleur, Roy, Blatt, Vitzthum, Pietzsch, and Heinze) are represented and each is discussed in the preface. As the foreword states, priority for the selection of this collection was given to those works which were out of print or not available in up-to-date editions. I find the collection a good one for several reasons. It seems to be progressive in difficulty, not all the same level. The background information for many of the composers is highly informative. Finally, the details such as articulation, phrasing, fingerings, and placement of page turns are very carefully worked out. It is a wonderful addition to the repertoire!
50 CLASSICAL STUDIES FOR THE OBOE was edited and collected by the same authors mentioned above and published in 1983. The format is the same as before and only uses the works of four composers (Blatt, Ferling, Parma, and Schmitt) the final three being oboists as well. Once again the editing and page turns are excellent.
For the price you can not beat these three volumes from Universal Edition. The entire series, Universal Oboe Editions, under the supervision of Gunther Joppig, is putting out well conceived editions and has more than 30 titles in its collection. If you do not know of this edition you should look it over. It is well worth your time!
A new series in the Oxford Instrumental Music format, titled 100 TUNES TO PLAY, was recently published (in 1985). Oxford University Press planned for 10 separate books, each devoted to one composer and arranged for oboe and piano or bassoon and piano by Kenneth Pont. In actuality, there are three instrumental parts furnished with each; Treble Clef in C (recorder, flute, oboe and violin), Treble Clef in B-flat (clarinet and trumpet), and Bass Clef (bassoon). The list of composers include: 1. Mendelssohn, 2. Grieg, 3. Brahms, 4. Han
del, 5. Schubert, 6. Beethoven, 7. Haydn, 8. Bach, 9. Tchaikovsky, and 10. Mozart. Each book consists of favorite tunes or well known melodies tastefully arranged for each instrument (or part). There are elementary arrangements for each solo part and include nicely done, rather easy, piano arrangements. There could never be enough good books of tunes for elementary and early intermediate level oboists to suit this reviewer. This is the material that we begin and hold the attention of beginners for their entire life with music. This is a fine set to use when working with early students on phrasing and expressive playing. Try one volume and see if it is of interest to your students!
LAMBERT'S CLAVICHORD, 12 pieces for the clavichord, Op. 41 (late 19th or early 20th century, was a group of pieces dedicated to H. Lambert (an artist maker of keyboards), set originally for clavichord by Herbert Howells (1892-1983) and published separately by Oxford University Press. In a new version for oboe and piano, arranged by Patrick Shannon, it is titled Six Pieces from Lambert's Clavichord, Op. 41. Published in this newest format (by Oxford University Press), and dedicated in 1984 to Leon Goossens, it has the following movements: Lambert's Fireside (very slow in 3/2 time with d, d, d, and 0 note values and a range from low c to top line f), Fellowes's Delight (light easy movement with changing meters - 3/2, 4/4, 7/4, 3/4 - and limited range from low c to g on top of the staff), Hughe's Ballet (quick tempo in basic 3/4 meter with again a limited range from low f to high a), My Lord Sandwich's Dreame (slow and expressive in 3/2 meter throughout and a very narrow range), De La Mare's Payane (very slow and somber in 4/2 meter and also narrow in range), and Sir Hugh's Galliard (fast and quick, narrow in range, and with mixed articulations). After all this wordiness it is really a lovely setting. The easy writing belies a difficult piece to perform in its true stylistic manner. This reviewer finds it to be a beautiful new addition to the repertoire.
Few fine pieces come along for oboe and harp in a duo setting.
The Bagatelles, Op. 112, by Alun Hoddinott, is such a work.
Published by Oxford University Press in 1986, the piece has five
movements (the 3rd movement being a cadenza for the oboe, forming
a prologue to the 4th movement). Allegro con brio (the first movement)
has a great deal of dialog between both instruments along with
a certain amount of repetitive articulation and legato in the
oboe. The second, Presto, also has back and forth dialog between
both instruments almost exclu-
sively, with wonderfully written staccato passages contrasting
with flowing legato lines. It is a whirlwind of motion! The long
third movement is a cadenza with contrasting movement for oboe
alone and a great deal of expressive writing which sets up the
beautifully long, flowing, 4th movement, Andante. Movement five,
Vivace, is in 6/8 meter that doesn't stop during the entire length,
with both performers driving relentlessly to the end. This is
a fine, new work in this genre but is certainly not for anyone
but the best of players.
This set of reviews will conclude with several pieces for two oboes, three oboes, and two oboes and cor anglais. An easy piece for 2 oboes (or flutes or other equal wind instruments), titled CANTO III by C.G. Sparre Olsen, was published by Norsk Musikforlag in 1981 and can be obtained in the U.S. through Magnamusic-Baton, Inc. This short duo (40 measures) uses simple meters and minimal range (low c to top line 0. The style is legato with tempos of slow, piu mosso, and meno mosso. It could be used as the first duet for two beginner (level 1-2) oboists.
Three works, published in 1983 by Editions Robert Martin (Boite postale 502, 71009 Macon Cedex, France) come from the Collection Jouons Ensemble. The first, titled Accord Tripartite (written by Laurent Delbecq), consists of four movements; Triade, Trianon, Triplette, and Troika. Each of the four movements uses the same meter without change throughout and all three oboe parts are written within a small range (low d to high a). Although not difficult it is a challenge to have three oboes try to play in tune and with good style. It is fun playing!
The second, written by Raoul Barthalay (arranged for three oboes) and after Louis-Claude Daquin, (1684-1772), is titled Quatre Pastorales pour la nuit de Noel. There are four movements (Modern March, quarter note = 108 - Andante, quarter note = 54 - Allegretto, quarter note = 66 - and Moderato, quarter note = 80) and all fall in the low d to high c range - a bit wider range than the piece above. It is also more difficult than the first because of mixed articulations and changing dynamic ranges.
The third, written by Jean Bouvard, is titled Variations sur quatre chansons populaires and consists of two French, one Russian, and one Swiss popular songs. The ranges are expanded (low c to f above high c) and these pieces are the most difficult. Each piece starts with a theme followed by 2, 3, or 4 variations for three oboes. Nevertheless, none are more difficult than grade 3 or 4.
The entire set of 3 volumes have a great deal to recommend them to students or teachers. Maintaining good ensemble (tempo, attack, release, dynamics, and articulations), including style and taste, and the challenge of intonation for three oboes, could be a welcome attribute for three budding young oboists. They are highly recommended!
A fine work called Two Pieces for two oboes and cor
anglais was published by Stainer and Bell Ltd. in 1954. This is
a wonderful work written by Gordon Jacob who has left many works
for our enjoyment to perform. For awhile the piece was out of
print but it's good to now see it back in a new printing and cover.
The first movement is a beautiful largo, marked Adagio doloroso.
All three parts participate in the intensity of the expressive
dynamics, to the climax in measures 14-18, as well as working
to the poignant pp closing. The second movement is in an ABA form
with a fast, articulate, driving motion in the A section. The
B section is called Trio and maintains the motion but in a very
cantabile, legato style. Returning again to the A section closes
the movement and piece. My main reason in mentioning this piece
is to call it to the attention of many players who have not yet
experienced it. I feel you will not be disappointed!