GROVER SCHILTZ, English horn soloist of the Chicago Symphony, plays baroque oboe with the Chicago Early Music Ensemble, which is presenting a number of concerts in the Chicago area this season. Mr. Schiltz plays a copy of Jurg Schaeftlein's Paulhahn oboe made by Shuk of Vienna.
RANDALL COOK participated in many performances of Sir Donald Francis Tovey's Trio for Piano, Violin, and English Horn during a Music from Marlboro tour. He was assisted by Mieczyslaw Horszowski, pianist, and Isidore Cohen, violinist. Peter Davis, commenting on the February 3 performance in New York's Alice Tully Ha11 in the New York Times observes that "the work has an originality of a sort in its sweetly understated pastoral atmosphere, the individual exploitation of the three instruments' special timbrel characteristics and a rather unusual formal layout. What is lacking in this gentle piece is any sense of creative urgency. One is glad to have heard it merely out of curiosity without particularly wanting to repeat the experience."
Two recitals by versatile ladies within four days of each other came to my attention: VIRGINIA HOURIGAN presented a program in New York's Carnegie Recital Hall which included the Telemann A Minor Sonata for oboe as well as equally substantial works for flute, clarinet, and bassoon (February 7). VIRGINIA LOWREY included works of Nielsen and Telemann (the A Major Trio Sonata for oboe d'amore, violin and continuo); the Akimenko Eclogue (for -English horn and piano); the US premier of Jon Bauman's Incidents for solo oboe; as well as works for flute and bassoon. Mrs. Lowrey is on the faculty of Frostburg State College in Maryland (February 10).
A great deal of interest surrounded HEINZ
HOLLIGER's appearances in Toronto and Chicago in March, and though these
appearances were billed as his North American debut, I remember a performance of
the Henze Double Concerto in which his harpist wife, Ursula joined him,
with the Rochester Philharmonic in the early '70's. His performances in Toronto
included a chamber music concert featuring his own works, including the woodwind
quintet "h" and the Cardiophonie, as well as Berio's
Sequenza VII. John Fraser wrote in the Toronto Globe & Mail:
In the marvelous CBC concert he gave, he proved that his demanding instrument can be exciting, capable of remarkable subtleties and produce a rich, full expressive sound. We have all become so accustomed to the pinched and painful sonorities that seem to be the preferred approach by oboists over here, that Holliger seemed to be playing a different instrument altogether. I've heard Benjamin Britten's Six Metamorphoses after Ovid for oboe solo played several times, but last night was the first time that it didn't sound, well, constipated. The Britten was for me the highlight of the evening . . . the fact that he made it all seem so effortless was not as exciting as the beauty of the sound he produced It was one of those rare, magic moments you can live on for months . . . . Holliger is also a highly regarded musicologist, a fact which accounted for the presence in the concert of three composers whose names aren't exactly of the household variety: Bernhard Crusell, Johann Wenzel Kalliwoda, and Carlo Yvon. Kalliwoda's Morceau de Salon was the most rewarding. Holliger only recently discovered the piece in Prague and it has a wildly theatrical conclusion, calling for great digital dexterity and breath control, which was great fun to watch. Crusell's Divertimento for oboe and string quartet, a pleasant, academic composition allowed Holliger to introduce his own artistic and technical virtuosity in unflamboyant fashion. Carlo Yvon's Sonata in F Major for English horn and piano had only one redeeming feature: we got to hear how well Holliger can play this even more temperamental instrument The piece itself was a joke, with Holliger practically chirruping a mindless series of melodies on top of accompanist George Brough's onerous duties....
The program also included the Schumann Romances and the Mozart Quartet, K. 370, in the latter of which Holliger was assisted by some of Toronto's leading string players. Mr. Fraser comments:
They provided generally consistent playing and even managed several times {in the Mozart) to seem worthy of being on the same stage as Holliger.
This critic's testy comments about local oboists reminded me of another review in the March, 1975 issue of Music and Musicians - this one of a concert by the Netherlands Wind Ensemble at London's Elizabeth Hall. Leslie East writes:
Individuals, nevertheless still have a chance to shine, and the most striking playing comes from the Netherlands oboe and cor anglais players. In marked contrast to most British soloists one hears there was no bleat and whine or uncomfortable crowing from the double reeds but always glorious relaxed tone. One of our better young oboists, Sara Francis, showed just how different her instrument can be when she played Telemann's Concerto in E Minor with Contrapuncti on November 23 {Purcell Room). Her fruitier, reedier tone is not unpleasant, although it perhaps did not suit Telemann too well despite her apparent facility. This tone does, however, tend to "droop at the edges " a phenomenon not encountered with the Netherlands group.
Perhaps the visitors will always make the oboe sound better than the home team, or do we put all this down to the vagaries of music critics?
An interesting evening of music for oboe ensembles was presented at Mount Allison University, at Sackville, New Brunswick on January 25. Oboists participating included ANNE LAPP (first oboe of the Atlantic Symphony Orchestra of Halifax), ELIZABETH RAUM (former first oboe of the ASO), BELINDA CODE (oboe instructor at Mount Allison), and RICHARD VAUGHAN (Mount Allison student). Their program included works of Telemann, JS Bach, Beethoven, and the first performance of James G. Code's Double, double, etc. (composed in 1974) for two oboes and two English horns.
JAMES CALDWELL, professor of oboe at the Oberlin Conservatory and director of the Oberlin Baroque Performance Institute, appeared with the Cleveland Baroque Soloists at Carnegie Recital Hall in New York on December 27, 1974. Mr. Caldwell performs on both the baroque oboe and the viola da gamba - his oboe is by Fehr, a 1973 reproduction after the instruments of Schlegel. Allen Hughes writing in the New York Times found the concert one "of substance, style and personality that told of knowledge, skill, industry, and most important, a bond of chamber-music cooperation that makes the difference between correct performances and distinguished ones."
ROBERT SPRENKLE, professor of oboe at the Eastman School of Music, appeared in a program of chamber music on the school's Great Performers Series. The March 18 program included Loeffler's Two Rhapsodies and the Villa-Lobos Trio (for oboe, clarinet and bassoon). Mr. Sprenkle was assisted by colleagues from the Eastman faculty.
RALPH GOMBERG also chose the Loeffler Rhapsodies for a January 27 performance in the faculty chamber music series at Boston University. He was assisted by Walter Trampler, violist, and Maria Clodes, pianist. Mr. Gomberg is first oboist of the Boston Symphony.
PATRICIA GRIGNET performed the Concerto for English Horn and Orchestra by Josef Fiala (1748-1816) with the Pennsylvania Orchestra under Maurice Kaplow at the Montezuma Hall of San Diego State University, San Diego, California on April 16. This work has been known here only through the Holliger recording and Miss Grignet's performance was billed as a US premiere.
HEINZ HOLLIGER appeared as soloist in the US premiere of his Siebengesang for oboe, orchestra, seven women's voices, and loudspeakers at Carnegie Hall in New York on May 1. The 1967 work was performed with the Contemporary Chamber Ensemble, Arthur Weisberg, director. Harold C. Schonberg wrote in the New York Times:
Heinz Holliger, considered by many the Heifetz of the oboe (though in his circles that might be considered an insult) put reed to mouth Thursday night . . . . As so many contemporary instrumentalists, Mr. Holliger has pushed technique to previously unimaginable lengths. His oboe acted in a way properly brought-up oboes would blush to imitate. There seem to be all kinds of notes above and below the normal registers; all kinds of timbres not previously associated with the instrument; double notes even. The man has an unparalleled grasp of the oboe. He also has lungs that enable him to take phrases in one breath from here to there. His Siebengesang runs nearly 20 minutes and is a compendium of avant-garde devices. The music is well-crafted, has some remarkable sound effects, inhabits the post-Webern world, and is a stunning piece for the solo instrument. If there is no great feeling of originality to the writing, there is at least sensitivity in the scoring. Mr. Holliger has a fine ear.
CHARLES LEHRER of the University of Massachusetts at Amherst presented a recital there last September which included works of JS Bach, Zelenka, Hindemith, and Poulenc. In an interesting letter he passes along this information: "I would like to recommend the organ Sonatas of J. S. Bach (BWV 525 through 530) to all oboists. These are trio sonatas and can of course be played in many possible versions. In all cases the oboist takes the upper of three voices as in the Bach sonatas for violin and harpsichord. Thus far I have played in recital three of the sonatas in the following versions: Sonata IV (e minor) oboe, viola, and continuo; Sonata V (C major) oboe and harpsichord; and Sonata I (E-flat major) oboe and organ.
5 recitals in April
JOHN SCOTT and assisting artists presented recitals at Oklahoma Baptist University and the University of Tulsa - his program included works of JS Bach, Sammartini, Jere Hutcheson, Howard Hanson, and the Loeffler Rhapsodies. Mr. Scott is first oboist of the Tulsa Philharmonic.
WARREN DeFREN and Ellen Weckler, pianist performed works of Matyas Seiber, Siegfried Borris, Darius Milhaud, Rudolf Kelterborn, and William Alwyn on April 6 at Kent State Univ., Kent, Ohio.
DANIEL STOLPER performed sonatas of Kirnberger and Gunther Schuller and works of JS Bach, Holliger, and Rossini on April 20. He was assisted by Ralph Votapek, pianist and other artists. (Michigan State University, East Lansing).
HOWARD NIBLOCK performed with other faculty artists of Luther College at Decorah, Iowa on April 27. His program included works of Sammartini, Bartok, Verne Reynolds, Richard Rodney Bennett, and Handel.
Here are just a few of the most significant performances in England by oboists in the past several months.
JENNIFER PORCAS appeared as a soloist in L'Horloge
de Flore by Jean Francaix in London last October 18. In a letter
she remarks that the work is becoming known in England "thanks to John de
Lancie's beautiful recording." She continues: " I play oboe with the
orchestra of the D'Oyly Carte Opera Company which tours around England, Wales,
and Scotland for 48 weeks every year performing the operas of Gilbert and
Sullivan. So the occasional opportunity of performing other music comes as a
refreshing change! I am pleased to say the D'Oyly Carte centenary celebrations
kicked off to a good start yesterday (March 26) with my genuine 100-yr-old "A"
! It was the anniversary of the first performance of Trail by Jury, so
this week and next will see performances of each of the operas in the order in
which they were first produced. We broadcast Mikado next week."
November 6 and 7 EVELYN BARBIROLLI with the Bournemouth Sinfonietta. Concerti of Strauss and Corelli Barbirolli. Westbury and Winchester Cathedral.
November 24 and 25 HAN de VRIES with the Scottish Chamber Orchestra, Szymon Goldberg conducting. Mozart Concerto, K. 314. Glasgow and Perth City Halls
December 3 NIGEL TREHERNE with Hiroko Maruko pianist. Bach Sonata in G Minor, BWV 1020; Marin Marais Les Folies d'Espagne; Berio Sequenza VII; and Grovlez Sarabande and Allegro. Wigmore Hall, London.
December 4 ANTHONY CAMDEN with Jane Ryan, viola da gamba, and Nicholas Kramer, harpsichord. Works of Handel, Bach, Loeillet, and Britten. Wigmore Hall, London.
December 4, 5, and 6 JOHN WILLIAMS with the Bournemouth Symphony Orchestra. Vaughan Williams Concerto. Bristol, Bournemouth, and Exeter University.
January 4 DEREK WICKENS with the Royal Philharmonic under Lennox Berkeley. Berkeley Sinfonia Concertante for Oboe. Institute of Contemporary Art, London.
February 4 ANTHONY CAMDEN with the London Virtuosi Chamber Ensemble. Bellini Concerto. Elizabeth Hall, London.
February 7 SARA FRANCIS with the Chanticleer Orchestra. Strauss Concerto. Elizabeth Hall, London.
February 8 TESS MILLER with the London Bach Orchestra and David Butts, flutist. Holst Fugal Concerto.
February 15 NEIL BLACK with the London Mozart Players. Mozart Concerto, K. 314. Southgate Technical College Theatre.
March 1 GRAHAM SALTER with Carlos Bonell, guitarist and the London Senior Orchestra. Michael Blake Watkins Double Concerto for Oboe and Guitar. Smith Square, London.
March 13 NEIL BLACK with Elizabeth Werry, harpsichord. Works of Dieupart, Couperin, Marin Marais, Rameau, and Loeillet. Smith Square, London.
March 15 CELIA NICKLIN with the London Mozart Players. Gordon Jacob Concerto. Esplanade Theatre, Bognor Regis.
March 19 HEINZ HOLLIGER with the Bornemouth Sinfonietta. Strauss Concerto. Elizabeth Hall, London.
April 3 DUO BARBIROLLI (EVELYN BARBIROLLI and Iris Loveridge, pianist) Works of Loeillet, Britten, Donizetti, Mendelssohn, Ibert, Falla, Walmisley, Nicholas, and Dandrieu. Purcell Room, London.
April 12 LEON GOOSSENS with David Lloyd, pianist. Works of Scarlatti-Bryan, Bach, Fiocco, Marcello, Poulenc, Thomas Pitfield, Alan Richardson, Alec Templeton, and Franz Reizenstein. Sir Nicholas Sekers Theatre, Rosehill.
May 7 FUMIAKI MIYAMOTO with Clifford Benson, pianist. Works of Donizetti, Bach, Britten, Schumann, and Saint-Saens. Wigmore Hall, London.
June 16 HEINZ HOLLIGER with the Munich Chamber Orchestra, Hans Stadlmair conducting. Bach Concerto in A for Oboe d'Amore, BWV 1055, and Vivaldi Concerto in C. Elizabeth Hall, London.