Frederick Meyer teaches oboe at the West Virginia Institute of Technology at Montgomery.
During a period which extended from about 1750-1825, the quartet was an unusually popular medium. Evidence of this popularity is demonstrated by the large number and variety of pieces. Quartets were composed for three strings plus flute, oboe, bassoon, clarinet, or french horn. Flute quartets were so popular that between the years 1762 and 1787, Breitkopf listed quartets by 29 composers in his catalog.(1)
The purpose of this project was to find as many works as possible for oboe quartet with the idea that a considerable number of worthwhile pieces might exist. So far the writer has located 28 oboe quartets by 16 different composers. These include published works as well as those in manuscript. A recent article by Jerold Sundet contains additional works which have not been included in this discussion.(2) The composers have been listed in chronological order and the approximate number of oboe quartets written follows the composer's name. The tempo and number of movements are indicated when the music was available. This list includes quartets which have been scored for oboe and different combinations of strings. For instance, several of the quartets are scored for oboe, two violas, and cello. Unless indicated, the work is scored for oboe, violin, viola, and cello. The publisher is given if known. Several articles by David Whitwell give sources for unpublished manuscripts.(3)
Danzi, Franz (1763-1826) 7
In examining the above list, it will be seen that the oboe quartet consisted of two to five movements, and it usually had three. As can be expected, the first movement was usually a sonata-allegro form, and the last movement was often a rondo or minuet.
The writer would like to discuss briefly the unique features of a few quartets from the above list.
The Quartet in D, op. 25, no. 3 by Giardini has a very demanding violin part, and the violin usually is the leading instrument. In one instance the violin plays up to an a3. Such a part might be expected since Giardini was a virtuoso who liked to demonstrate his ability on the instrument.
Florian Gassmann is perhaps the most prolific composer of oboe quartets, having composed about 15. Although only 6 are listed above, 6 others are located in the Austrian National Library and 2 are in the Gesellschaft der Musikfreunde. Most of his works have long quasi-fugal sections. For instance the Quartet in F begins with a viola solo (Example 1), and this melody is imitated in turn by the oboe and violin. His quartets are quite pleasant and feature solos on all instruments except the cello.
Some quartets, especially those by Mozart, Gatti, and Mica, are outstanding because of the soloistic treatment of the oboe, lyrical melodic line, and idiomatic handling of instrument range. Since many readers will be familiar with the Mozart Quartet in F, only the works by Gatti and Mica will be discussed.
Gatti had talent as an opera composer and this talent is revealed in the lyrical melodic line which is characteristic of this quartet. Although the violin begins with the theme in the first movement, the oboe is the dominating solo instrument (Example 2).
Although Mica composed as an amateur, his Quartet in C shows excellent craftsmanship. The oboe is the dominating solo instrument. The second movement is especially attractive (Example 3).
The Quartet in C, op. 7, no. 4 by Lidel has a rather demanding cello part compared to other quartets of the period. The range, C to c2, goes almost an octave higher than most quartets of the period. It is one of the few quartets where the second movement continues into the third without a pause.
The works by Hoffmeister are the only quartets discovered so far which have five movements. The writer received Xerox copies of three of Hoffmeister's quartets, and all are scored for oboe, two violas, and cello.
The medium for oboe quartet was quite popular during the Classic Era as demonstrated by the large body of literature. This popularity has continued into the 20th century. The playing of oboe quartets is especially suited to the talented and serious musician, and it helps to develop subtlety in performance skills rarely accomplished in large ensembles.
1 Karl Stamitz, Two Quartets, ed. Josef Marx (New York: McGinnis and Marx, 1958), 3. [back]
2 Jerold A. Sundet, 'Some Out-of-Print and Unpublished Compositions for Oboe with Small String Group," Woodwind World, Xl, No. 5 (December, 1972), 7-9. [back]
3 see The Instrumentalist October, 1970, p. 42; December, 1971, p. 33; and May, 1972, p. 41 for articles concerning unpublished oboe manuscripts. [back]