In New Music and The Oboist II I would like to discuss several works involving oboe and tape, which, with the advent of sophisticated recording, playback, and synthesizer techniques, have become a very viable medium for the oboist in which to perform.
The first work to be discussed is Vince Cole's LAMENTATION for oboe and tape, 1973 (avail. from Vince Cole, 16823 McKeever St., Granada Hills, CA 91344. Tape is 1/4 tr. stereo). It is in one movement, running approximately 8 minutes in length, during which time the oboist is called upon to perform a variety of techniques, including: multiphonics (fingerings are clearly given graphically, but require manipulation of embouchure since the composer expects different combinations of notes from the same fingering, see ex. A.; I would not recommend this particular piece to you if it's one's first adventure into multiphonics), microtones (fingerings given in most cases), see ex, B; wide lip tremolo, see ex. C; single note with multiple fingerings, in this case B. reminiscent of the Berio Sequenza; and reading of spatial notation (i.e. no bar lines; durations indicated in groupings by seconds), see ex. D.
Overall the piece is clearly laid out in its notation. The tape sounds are easily perceived in the score and should not require the use of a stopwatch in performance as the overall pacing comes rather easily once one is familiar with the tape. The piece is concise, so it doesn't wear on the listener. It therefore would make a good recital piece if one wanted to introduce one's listeners to some new oboe techniques. The only drawback is that there are several starts and stops on the tape, requiring a tape operator; however, the oboe alone passages could use timed leader tape if one were consistent in performance time, or a tape machine with remote control or optical shutoff could be used in combination with a foot switch. But this should not be a deterrent for anyone wishing to do the piece.
For the more adventuresome, an oboe tape piece by Elliot Schwartz called EXTENDED OBOE (1973-74), originally written for Joseph Celli, is well worth exploring. (Score and tape--either 1/4 tr. stereo or quad - is available from: Elliot Schwartz, Music Dept., Bowdoin College, Brunswick, Maine 04011.) Since this is a piece which is shaped improvisationally by the performer himself, within the composer-specified parameters, one can only outline the general concepts presented by the composer.
In the score the performer is given verbal directions in terms of "performance activities," which are given as parts A-E. The taped sounds are broken down similarly with specific timings for each section, which determines the overall pacing and compositional shape of the piece. The composition is started initially with a "tune" consisting of a 10 note sequence of a major scale plus a descending major tread. This "tune" then becomes the basic framework around which the oboist shapes the improvisations within the composer-specified parameters. It is also the basic material for the pre-composed tape as well.
To perform the piece effectively requires an intimate knowledge of the taped materials as well as being comfortable with theatrical elements. This is not a piece for the timid or introspective oboist as the composer asks at one point for the performer to go out into the audience to perform, even playing to specific persons or to the loudspeakers! However, it is still a piece that most any competent oboist can perform if one is willing to be open to new ideas; it also allows great freedom in personal expression as well as an opportunity to use multiphonics, flutter-tongue, etc. (which the composer specifies) as well as to play good, old long tones if you please! The piece lasts about 9 1/2 minutes, and again could make for an interesting musical adventure on an oboe recital.
In closing I would also mention several other oboe-tape pieces which may be of interest: my own FOUR DESULTORY EPISODES in oboe-tape version (see TTWO's No. I, '76 for publisher, etc.; it is not discussed here as it is quite similar in concept to the Cole piece, and besides you're being subjected to enough with my article, let alone my discussing my own music!); A. Dobrowolski MUSIC for Magnetic tape and oboe solo (1965), PWM - Music Publications, Warsaw Poland, c. $5 for score and practice record of tape, tape on rental. (Would appear to be a good piece, but extremely difficult to prepare for performance due to fact that practice record timings of tape material do not correspond to timings in printed score. Also loan tape is difficult to obtain for actual performance.); Peter Michael Braun, ESSAY for Oboe and Tape ad. Iib. (1960/69), Edition Gerig MCA Music in USA) $5.75 for score, tape on loan. (Can be done with or without tape, (tape again difficult to obtain) and also allows for electronic manipulation of the oboe sound if desired: using modulation, feedback, etc.; it's done in very simple, spatial notation that would not be difficult to prepare.)
As I gather more materials on oboe-tape pieces, I'll be writing more on this subject, especially where the oboist may prepare the tape himself as part of the performance. Although touched upon briefly in the Schwartz piece, the oboe in a theatrical situation will be the subject of my next article when I want to discuss pieces by Lawrence Moss, Christopher Rouse, and David Cope. Until then, I leave you with a general listing of pieces which may be of interest, which supplement some previous listings in TTWO's: Conventional pieces (regular notation, no new techniques, etc.)
Towards the new or "avant-garde" (new notation, new techniques, etc.)
* = Work to be discussed in a future article on oboe - theatre music
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= Work to be discussed in a future article on oboe - percussion
