I've talked to Dan, our editor, many times about a column on new music and new performance techniques for oboe, so . . . I've stopped talking and am now beginning to write what I hope will be a series of columns on new music available for oboe, particularly that which involves new performance techniques. It would seem that it is really incumbent upon us as oboists to constantly be aware of new music and new performance techniques and to make every effort we can to perform music of our own time in good balance with our tried and true "classics." It is only in this way that composers can try out and eventually feel secure in new techniques of composition and performance for oboe. It is in this spirit I begin this column - in the hopes that it can be an on-going dialogue about new music and ideas for all oboists. Certainly, I will always be interested in hearing from oboists and composers alike about new scores and new ideas for the oboe.
I would like to discuss Jere Hutcheson's Construction Set for oboe and piano (1973, Seesaw Music Corp., New York $6.) which was written for this author and so has a "first hand" relevancy in opening our discussion. While writing this composition, Jere was in almost constant touch, particularly to work out multiphonics and special trill effects. At that time, I had a limited number of multiphonics I could do accurately along with some very predictable and easily performed trill effects. He therefore built some sections of the piece around these . . . and herein, I think, should lie the appeal for any oboist - all special effects were done with regular embouchure and an American scrape reed, so the piece should be quite accessible. (Not having worked with other reed styles and embouchures, I cannot accurately predict the results there.) In a couple of instances, one may have to experiment slightly, but only slightly on the multiphonics, in terms of breath pressure or tension and relaxation in the embouchure; no radical changes in lip position on the reed should be necessary. So, the idea I tried to convey to Jere was that for the piece to have wide performance possibilities, it should be approachable from normal oboe playing technique. I believe the piece does succeed in doing this and should make a good composition with which to start if one is a player who's working with these new techniques for the first time.
In terms of the piece itself - it is in free form throughout (form and meter), only going into metrical organization in a few isolated spots. The harmonic/melodic organization ranges freely as well, utilizing tonal and atonal resources. Both performers play from score, and if both are well-prepared, the ensemble is easily accomplished. All tempi and special notational features are clearly marked in the score or are covered in preliminary notes. In fact, most all notations used fall within most normally accepted procedures found in many scores of the last ten years or so.
As previously mentioned, the main special effects for the oboist are multiphonics and trill effects (timbre trill, microtonal trills or however your ear may perceive them). (The piano part utilizes cluster technique, but does stay entirely on the keyboard.) In working out the multiphonics, I suggested to the composer that fingerings should be put in along with an "approximation" or "representation" of the notes (effects) to be obtained, fully realizing that results could vary from oboist to oboist (the composer realizes this too). (I have found in working on this piece and on one of my own pieces with similar effects with several colleagues and students, that results are consistent if the notated fingerings are followed only, without special help or explanation from myself.) It should be emphasized again that these multiphonics all can be obtained with minimal disruption, if any, to the normal playing embouchure. These are several that are employed in Construction Set: (The starred example is/should be the only temperamental one.)
Trill effects are of three kinds in the piece: 1) using an alternation of a normal fingering with "added keys" to the normal fingering like: (note that the approximate rhythm of the alternation is given.)
2) sustaining of a note while adding various extra keys at random:
and 3) the alternating trill (or "double trill") such as:
Each of these is rather easily learned and in many instances may already be in one's own technique.
There are several other effects used, namely, some pitch bending, which can be accomplished with relatively minor embouchure relaxation; harmonics, which are pretty much standard fare by now; and at one point, performing in an irregular rhythm (i.e., performer determines rhythm at random from pitches given) while the pianist is in strict meter (probably more of a psychological problem than a physical one).
The overall range is low B-flat to as high as you can go (at one point only, in the last movement, but a real "dazzler" if you want it to be!) but otherwise mainly up to high E. And one passage which looks like this:
but which can be played by just "rattling" the fingers at random, as fast as possible, over the keys with good, sustained blowing. (This has full composer approval by the way, but you people with razzle dazzle technique and fast tongues - well you probably could work up a passage in real notes, but it's really more of the spirit and effect that's needed for this passage! So, relax and enjoy it and don't sweat a lot of notes.)
I hope this has all piqued your curiosity to have a look at this piece or others in a similar vein, and that more oboists will seriously begin programming more works of their own time. (This piece has been programmed by myself on numerous occasions in company with such works as. the Loeffler Two Rhapsodies, Schumann Romances, and Schuller Sonata, so it needn't be saved for a one shot appearance on new music recitals.) This may not be the piece for you specifically, but please consider that new techniques can be assimilated and used right along with all the other fine qualities we all strive for in the older repertoire. It is 1976, and it's time oboists become Twentieth Century musicians. Many of you have, but let's get a few more interested.
Please be in touch with me if you have questions, discussion, etc. Thanks for the opportunity to chat with you. In future articles I'll talk about several pieces in which the oboist must deal with tape accompaniment (both composer prepared and oboist prepared), playing other instruments along with the oboe and/or being in a theatrical situation as a performer. Until then . . .
Here are some other pieces in which the performance problems and compositional style are similar to Jere's piece:
Bruce Levine -- COLOURS for oboe and piano, (1972) Manuscript Publications, 228 S.W. 28th Dr., No. 14, Pendleton, OR 97801 ($1)
Ann Silsbee -- PHANTASY for oboe and Harpsichord in MSS from composer (1972/73), 117 Northview Road, Ithaca, NY 14850
Greg Steinke -- MUSIC FOR THREE (ob., gtr., perc.) (1972), Music Corp., 177 E. 87th St., New York, NY 10028 ($4)
Greg Steinke -- FOUR DESULTORY EPISODES for Oboe Solo, Seesaw Music Corp. ($3)
Ann Tarvin -- ORIENT, OCCIDENT and SPACE IN-BETWEEN (ob. 2 perc.) (1975) in MSS from composer, c/o Music Dept., Indiana State University, Terre Haute, IN 47809
Gunther Tautenhahn -- EMOTIONS of a NOTE NR. 2 for oboe, trumpet, harp, triangle, violin, viola and cello (1972). Seesaw Music. (This uses Bartolozzi fingerings for multiphonics, but they are the simpler ones.)
About the Author . . . Greg Steinke is a graduate of Oberlin and Michigan State University. He has been a member of the Winnipeg Symphony and the National Gallery Orchestra in Washington, D.C. He has taught at the University of Maryland and at California State University, Northridge. He is presently a member of the faculty at the Evergreen State College, Olympia, Washington.