When I was a graduate student at Boston University in the early 60s, I signed up for the period course in Music of the Romantic Era. And with great excitement I anticipated all I would be learning in this course about the great symphonic and operatic repertory that I would eventually be playing during my projected career as an oboist. I also believed I would be gaining some knowledge about the repertory of the great oboe soloists of that age.
I remember back to the day when Joe Dyer (now an important music historian) and I were leaving the final exam, both very disillusioned. Joe looked at me and dared to say: "Now I really don't know anything about Romantic Music. " He took the words right out of my mouth! There was so much we both needed to know but it obviously never came up in the course.
Now, 20 years later, I am sitting at a terminal connected to UMass's Cyber computer and trying to understand what was missing in that course that let Joe and me down. To be sure, the lives and pursuits of the great composers had all come up: Schumann and Florestan, Brahms and Frei aber Froh, Wagner and Gesamtkunstwerk. But missing was an understanding of structure. The architecture of the great symphonies, concerti and sonatas, was never discussed. Perhaps it was the very nature of Romanticism which was the cause of this.
I too, caught up in the problem presented by the instructor of that Romantic Survey, have always felt that I would be betraying the muses of the Romantic Age if I should have the audacity to discuss the underlying architecture of the solo repertory played by 19th Century oboists. I have, more or less, waited for a little push or at least some sort of sign indicating that it is now all right to go ahead. At this point I want to credit Laila Storch for giving me that go ahead signal through her recent article in The Double Reed which discussed the Concours Solos of Charles Colin. She ends that interesting discourse with the following words:
We can be grateful that a certain attitude of austerity in musical taste that prevailed some thirty years ago and tended to look down on all but the most august creations of the 19th century, has now lifted...
The oboe concerto is the first of two large areas that I will be exploring in this article. I was reminded that the great Leon Goossens was very outspoken when it came to the solo repertory of oboe players, as he spent his entire career playing all of what was available. Concerning the Romantic Era, he wrote in his book Oboe:
The neglect of the oboe as a concerto instrument in the nineteenth century is an unforgiveable oversight of FATE! Was it due to the size of the vast symphony orchestra and the difficult odds this presented for the nineteenth-century instrument? Or was it due to the temporarily limiting factors of the mechanized oboe? No-one can tell. It is simply a badge of historical injustice that oboists must wear.
When Goossens wrote this, the published repertory of the 19th century oboe concerto was indeed slim. But as of late, things are really picking up. Actually since 1962, beginning with the work of Josef Marx who published editions and also made facsimile photocopies of 19th century works, an increasing number of publications have become available. Now in the 1980s we have added to this the ever-expanding catalogues of Musica Rara, Nova Music and Gunther Joppig's Universal Oboe Edition. The oboe concerto, in particular, has profited from all of this activity. To be sure, there were a great number written in the 19th century, many by the oboists themselves; a glance through Miroslav Hosek's monumental Oboen Bibliographie I under the names of the oboists Gustave Vogt, Friedrich Thurner, Johann Luft, and Stanilas Verroust will clearly demonstrate this. The New Grove Dictionary of Music is also very helpful for learning about the output of such luminaries as Ludwig Spohr, Carl Maria von Weber, Carl Reinecke, Julius Rietz and others.
Under the heading of Concerto I am considering not only the standard three-movement type inherited from 18th century Classicism but also the modified varieties which were the specialty of the 19th century composers: the Concertino, the Konzertstueck, and the Opera Scene or Fantaisie. At the end of this article I have listed the contents of my personal repertory which is the basis of this study.
My repertory list (Repertoire by Genre) includes four 19th century concerti of the type evolved by the composers of the Classic Era such as Mozart and Beethoven. That is to say, the movements progress as follows:
1 st movement . . . fast . . . sonata-ritornello form
2nd movement . . . slow . . . sonata-ritornello form (usually in a related way)
3rd movement . . . fast . . . rondo
Even the rondo of the Classic concerto is affected by the sonata form concept with the contrasting B theme and closing themes appearing as episodes where there were once couplets:
Rondo:
The set-up of the first and second movements which combine ritornello and sonata form structures is more complex:
It is then to these Classic Structures that I have compared the 19th century concerti on my Repertoire List.
Of the four three-movement concerti, the Anonymous item (attributed to Wolfgang Amadeus Mozart in Albert Andraud's "Yellow Anthology": Southern B-107), is indicative of what was new in 19th century structuring. The first movement includes a slow dotted-rhythm introduction to the normal opening ritornello, an interesting touch that normally occurs in four beats per measure at the opening of some symphonies, a remnant of the Baroque French Overture. But here it is found in a concerto and in three-quarter time!
What follows is simply amazing: all is proceeding as per the sonata-ritornello plan until the end of the development when the expected recapitulation of the A and B themes in the solo episode simply does not occur, neither does the cadenza! The second movement follows a simpler plan than the sonata-ritornello format. But this is not unusual as many concerti of the Classic Age often follow along a less complicated path. In this case the formula is Intro - A/B/A/C/A. But... the final A is missing! Instead we are segued into the third movement, a rondo, the theme of which is strangely reminiscent of the A theme in the first movement. We have been waiting for the recap of the first movement all this time and here it is, quite modified, but nonetheless, here to complete the form!
To be sure this Anonymous concerto has many other earmarks of the Romantic Age especially In its incessant use of relationships of the third in its thematic and harmonic outlay. Cadenza lead-in ritornelli are missing in all three movements, but Andraud has modified the ending of the final movement, so perhaps there was at one time a spot for improvising an extended cadenza.
Of course the question remains as to who the composer was of this excellent work. Was it Louis Spohr or one of the great oboists of the early 19th century like Friedrich Thurner? In any case it is the deletion of the recapitulation of the first movement which is significant here for I have found this idea again and again throughout the repertory I have examined: in Kalliwoda's Concertino the first movement proceeds as usual until the time when the development should begin. At that point the composer leads into the second movement: no development or cadenza here, not to mention total loss of the recapitulation.
The other two concerti on my list keep very close to the Classic plan. The Kramar is very interesting in its middle movement where it presents five themes back to back in third relationships; this as an alternative to the sonata-ritornello plan. Marie Grandval's Concerto for Georges Gillet is very grand: Both the first and third movements are sonata form structures. The slow movement of the Grandval reminds me of the structure of Robert Schumann's Piano Concerto where a main section AABA alternates with a trio.
The modified group of concerti in my repertory delete or simplify the opening sonata-ritornello form. Many of these works use the designation Concertino, simply meaning a diminutive concerto (not to be confused with the Baroque meaning of the word). The Bellini work lacks this opening movement but retains the designation "Concerto". The Konzertstueck of Rietz lacks the opening movement but makes up for this by inserting a scherzo with two trios between the slow and final movements. Molique's Concertino begins with what promises to be a genuine sonata-ritornello form first movement, but never gets beyond the A theme in both the ritornello and solo episode. A second movement (slow) follows in basically an AAB structure which then leads into a full-fledged sonata-ritornello form using a modified version of the A theme of the truncated first movement as part of its A theme! This oboe concerto is clearly modeled after Louis Spohr's Violin Concerto, No. 8 of 1816, the so-called "Gesangsszene."
The Guilhaud Concertino replaces the normal Classic sonata-ritornello form opening movement with much simpler materials. There is no orchestral ritornello as in the Molique and I have even come to suspect that this work may have never reached the orchestration stage under Monsieur Guilhaud. The Verroust 4th Solo de Concert, which is scored for oboe and strings rather than full orchestra, begins like Kalliwoda's Concertino insofar as the first movement is concerned. But it lacks a B theme in this truncated movement.
I should like to mention that within this modified group of concerti there is a definite trend to construct the final movement as a polacca (Polonaise) in rondo format. This is true for the following: Weber Concertino, Bellini Concerto, Verroust Fourth Solo de Concert, and Guilhaud Concertino. (Although perhaps in the Guilhaud we are closer to the Bolero!) The last movement of the Guilhaud is very truncated: A-B-closing theme and therefore lacks the rondo format.
The modifications made by 19th century composers to the format of the Classical concerto are often so far removed that I want to shout back over the decades: "C'mon fellas, you can't do that!" The idea that the format ABC can replace the grandeur of a sonata-ritornello form structure is often baffling to me. But there is of course the fact that the Romantics were obviously searching for new ways to express music.
It is apparent as early as the Weber (c. 1813) and Donizetti (1816) concertini that materials from the opera were spilling over into the content of the concerto: Donizetti's slow movement is a theme and variations on a very operatic tune and is delivered with all the fascinating turns of the Bel Canto style. Carl Maria von Weber ends with a polacca, again lifted from the opera as the polacca was one of the major kinds of bravura music in that age.
Some composers on my list lifted complete scenes from operas by other composers for their new version of the concerto; for example Henri Brod the greatest oboe wonder of the Early Romantic Age (performer, teacher, composer, instrument maker, inventor of the reed shaper and gouging machine), simply arranged the Mad Scene from Lucia di Lammermoor by Donizetti as a work for oboe. Pasculli in his Concerto, derived two arias from Donizetti's La Favorita to create his work in this genre but went beyond Brod by writing a set of incredible Bel Canto variations on the second aria. Antoine Reicha calls his music for English Horn and Orchestra Scene pour le Cor Anglais as if the Cor Anglais was actually a character in one of his operas! Reicha's two movements consist of a Recitativo and an Aria in the form of a rondo. Here it appears that we have simply a concerto without a first allegro movement with the recitativo acting as a substitute for the slow movement.
The idea of the Concerto/Opera Scene ending with a set of variations was practiced by Hummel, Z'wyssig, Daelli, and Rimsky-Korsakov. All but the last-mentioned precede the variations with a slow introductory movement, in which case it appears that we have a concerto with a missing opening sonata-ritornello form.
I still ask, how could it come to this, the magnificent shape of the Classical concerto reduced to the bel canto aria! Perhaps this is why the greatest composers stayed away from composing such works for the oboe. The opera composers had their hands full with the real thing (we just lucked in with Bellini and Donizetti): can we imagine oboe works in the operatic styles of Verdi and Puccini? And the symphonic composers like Schumann, Brahms, and Dvorak must have found the operatic version of the concerto too frivolous. Still that does not explain why these last three did not treat the oboe as the piano, violin, and cello were being treated, that is, In a Classic- Romantic manner.
Also it does not explain why such naturals as George Bizet living in Rome with the oboist Charles Colin during their Grand Prix days, couldn't have come up with a really gorgeous modified concerto for oboe: he had the knowledge to construct a concerto either like the Grandval example or in the operatic style like the Rimsky-Korsakov Variations. O Fate! It isn't fair, is it Mr. Goossens?
At this point I will begin to discuss the second major subdivision of the repertory of oboists living in the 19th century. This will include works for chamber ensembles, sonatas, modified sonatas, character pieces, and finally what we in Academe would refer to as jury solos. The basic structure for this kind of music derives from the following over-all structure established by the late 1700s and present in the chamber works including the oboe composed by Mozart and Beethoven.
1st movement -- fast -- sonata-form
2nd movement -- slow -- sonata-form or ABA(related key)
3rd movement -- scherzo -- binary form w/trio
4th movement -- fast -- sonata form or rondo sonata form
The structure of sonata-form in this kind of music is closely aligned with its forerunner, binary form:
In this structure the exposition usually repeats, less often the second half is marked with repeat sign.
The rondo-sonata form version has been delineated already in the discussion of the concerto. On the other hand, the scherzo is not usually found in the concerto, (although we found it in the Rietz composition!). The structure is as follows:
A A /BA BA
C C /DC DC (trio)
A / BA (the so-called da capo)
In the works for chamber ensemble contained in my repertory, the over-all structure tends to be followed exactly. The Reicha Oboe Quintet, like his woodwind quintets, contains all four movements as does the Reinecke Trio. The Taffanel Quintet omits the scherzo. Both the Reinecke and Taffanel works contain outstanding final movements in the sonata-form structure.
Sellner sticks to three movements for his 12 Duos, omitting the scherzo. But he has another peculiarity of omitting the A theme from the recapitulation of his sonata forms. I imagine that this is because theoretically the A theme is the basis for the development and is given such a workout that there is no need to hear any more of it: Schubert does this to the first part of his A theme in the first movement of his 8th Symphony!
Of the Thurner and Spohr chamber works I own only a single movement from each, so it is difficult to speculate on the placement of these items in the overall setting of the complete works. Only to say that the theme and variations movement of the Spohr is beautiful writing and that I hope in the near future to acquire for my repertory the complete Notturno, which is scored for a wind band of the standard Classic octet to which has been added flute (doubling piccolo), contrabassoon, two trumpets, trombone, posthorn, and percussion.
Of the sonatas only the Widerkehr contains the entire four movements. The Barret and Brod works omit the scherzo but other than that, seem to be tightly controlled by the Classical structure. In Carlo Yvon's gorgeous English horn Sonata everything is going just fine until the final movement reaches the end of the exposition. At that point the piano takes over the greater part of the development which in fact is a greatly modified recapitulation: but it works! Bravo Carlo!
Just as we found many modified concerti lacking the usual fast opening movement, the same is true of the sonata. Of course Beethoven had presented an outstanding example in his socalled Moonlight Sonata for piano: in this work the order is slow movement, scherzo, fast sonata-form. Omit the scherzo and we then have the structure of the modified sonatas by Donizetti, Froehlich, Verroust, Nielsen, and Lefebvre.
Kalliwoda inverts a really fantastic structure for his Morceau: the first movement is actually a truncated sonata form; only the exposition of the A, B and C themes is given. He then proceeds to reverse the order of the slow movement and scherzo (a waltz) which is a common practice; but then for the fourth movement we get the recapitulation of the first movement, even with the correct key relationships!
With Pedro Soler in the Souvenir de Madrid, we begin to move in the direction of a composer looking for a new version of the sonata. Like Kalliwoda he has reversed the slow and scherzo movements. The scherzo is a waltz with two variations! The final rondo also interpolates a waltz as one of the episodes of what otherwise is a movement in two beats per measure! But there is more: the opening fast movement is present but the form is simply AA/BB, therefore, there is no sonata form for any of the four movements.
Perhaps it is the idea of finding a new kind of sonata that led to the joining of small-form movements into cycles akin to the Lied Cycle. If only Robert Schumann had gone all the way and produced a Carnaval for oboe! But I suppose we must be happy with a single offering of three binary form pieces, two with trios, the Drei Romanzen. Both Godard (Scenes Ecossaises) and Boisdeffre (Scenes Villageoises) wrote their works in this three movement set-up as well. The Lickl Serenata for English horn stands as a single movement; too bad he did not write more. And perhaps the same could be said for Sibelius' famous Swan of Tuonela, but of course this is attached to an orchestral cycle of symphonic poems.
Vincent d'Indy's Fantaisie is a remarkable work, treating the oboe more as a concertante instrument (the Baroque terminology here). Perhaps his idea sprang from the interest in early music which he was exploring through the Schola Cantorum in Paris. On the other hand, d'Indy presents us with three little French folk tunes with he (like Bartok and Kodaly would do for Hungarian music in the 20th century) has collected from the backwaters. After a Wagnerian-like introduction, (he worshipped Wagner), tunes follow one upon another harmonized much like Percy Grainger's British Isles tunes. He then presented the three tunes once again one after the other with different harmonizations and new counterpoint. A coda with fragments from the introduction and first folk tune bring the work to an end.
At this point in my discourse we enter upon what might be termed the "Twilight Zone" of the oboist's repertory: Solos de Concours, or in American Academese, Jury Solos. As an oboist who has spent 20 years of my life working in Academe, nothing, I mean nothing, is less looked forward to than the juries that occur in our institution at the end of the second semester.
All students must appear before their respective areas and be examined as performers. And some must appear before the full music faculty in order to get permission to give a recital. In any case, I can usually figure on three full days of the most exquisite torture known to any performer: hearing fledgling sax, flute, oboe, clarinet, and bassoon players "find" their way through what prior to this day was some of the most magnificent music ever composed for these instruments. Every year I count myself as a survivor of the umteenth performance of the Mozart Clarinet Concerto and other such works.
Now that I've gotten that off my chest, I Must say that we academic types have actually got it easy in comparison to our compatriots in the Romantic Era. I say this because in addition to listening to students play their examination solos, several of the 19th century teachers actually made it part of their job to write the solos!
Laila Storch, in her recent Double Reed article, beautifully described the procedure of Charles Colin at the Paris Conservatoire in the third quarter of the 19th century. I looked at two of his Solos de Concert and found the First Solo to be typical: the first movement proceeds like a sonata-form but ends after presenting the exposition. The second movement, slow, proceeds in the same manner: that is, an exposition without development or recapitulation is presented. Both of these movements use wonderful little cadenzas to segue into the following movement. And finally a rounded out form is presented: in the case of Colin's First Solo it is a polacca. We have met the polacca in the concerto as a vehicle for bravura playing and here it is presented for the same reason, to see if the student can make the keys on his Triebert Systeme 5 really smoke!
Prior to the age when oboists composed concours solos, other composers at the Paris Conservatoire occasionally did this. Cherubini's two little pieces, Andantino and Polonaise, were designed for this purpose. On the other hand, the Reicha Air seems to have been originally designed for use in a pedagogical work in composition according to the New Groves. And, in addition, it is designated as being suitable for oboe or soprano. But what a strange way of proceeding: there are nine sections all in the same key and all of different lengths. There is some motivic carry-over but not in all sections. I think we might have an avant garde 19th century work on our hands here!
Laila Storch mentions in her Colin article that the Paladihle Solo was used for examinations at the Paris Conservatoire in which case I have made it qualify under this jury category. Like Charles Colin's Solos it is in three diminutive movements. The first of these movements involves the use of recitativo acting as an introductory to the Faure-like second movement. And like Colin, cadenzas are used to bind the movements together, in this case the 2nd to the 3rd.
Colin was quite humorous in his Third Solo: perhaps he wanted to brighten-up what might have been drudgery for his colleagues, for he includes a quote from the third act of Tristan immediately before the recap of the A theme in the final movement!
The main reason I sat down and wrote this discourse is to encourage oboists to begin to explore what is the most neglected part of our solo repertory, the 19th century. Of course there are hundreds of works from the Romantic Age which have not yet become available again to all oboists. My friend Michael Finkelman brought me several xeroxes of interesting English horn works back from European libraries. Also, I heard several wonderful 19th century works played by Ron Richards and Dan Stolper at t he IDRS Convention in Tallahassee which are available only by getting xeroxes of the 19th century publications. My list of repertoire includes, with the exception of four works, music which is readily available. Therefore, I have included the publishers for those oboists whose interests are now piqued.
I ran my Repertoire List through the UMass Cyber computer two ways, by genre and also in historical order. In addition, I have listed, by quarter century, the oboists who were active when the music was composed. Of course, many of these men were actually the composers. A discography was derived from my extensive record collection, and I found it to be the smallest part of what I own. The Baroque and 20th century oboe recordings overwhelm the minuscule 19th century!
I should like at this point to make a few value judgments on the compositions written by oboe players in the 19th century. First of all, not every oboist had the requisite keyboard skills for writing first-rate sonatas for oboe or English horn and piano. This lack of keyboard expertise often slowed down a clear understanding of the harmonic possibilities of the day. Josef Sellner is a good case in point: his 12 Duos demonstrate contrapuntal mastery but harmonically these Duos are bland.
Charles Colin, on the other hand, had excellent keyboard skills. But his taste, judging by the Solos de Concert, runs more towards the style of music found in the lighter kinds of Romantic repertory, namely the opera comique or operetta. The structural ideas behind the Solos are well thought out, even brilliant: Colin has found ways to compress a sonata for oboe and piano into a small time space in order that the total information needed to be judged on an exam may be quickly heard. Therefore, quick movements cover agility, while the slow ones are good for demonstrating beauty of tone and phrasing. Then there are the cadenzas and polaccas for bravura.
Another point that must be considered in judging the merit of oboists' compositions in the Romantic Age is that most of these men spent a good part of their lives in the opera pit. For instance, we have Carlo Yvon and Giovanni Daelli at La Scala, Henri Brod and Stanislas Verroust at the Paris Opera, and Apollon Barret scratching out a lifetime of reeds for the operas of Rossini, Donizetti, and Bellini in his position at Covent Garden. This then accounts for the proliferation of operatic ideas in the Romantic oboe concerto with structures like the opera fantasia or scene replacing the threemovement classically constructed concerto.
There is, however, a more positive way to look at the situation in the 19th century. With so many oboists in that age making composition an adjunct part of their art, there was obviously a healthier attitude than exists today, insofar as oboists having a more intimate contact with the art. Today, we consider it extraordinary that oboists like Heinz Holliger, Larry Singer, and Greg Steinke should be composers to boot! But in earlier times it was simply part of the oboist's commitment to the profession. Hence, we find that many oboists excelled as composers: Carlo Yvon, Apollon Barret, and especially Stanislas Verroust (the Chopin of the oboe.)
In the fall of 1984, about the time this article appears, I will be presenting an entire recital of 19th century works for oboe or English horn and piano at UMass. The projected program is as follows:
Stanislas Verroust: 4th Solo de Concert
Ludwig Spohr: Notturno: Andante con Variationi
Carl Nielsen: Fantasistykker
Apollon Barret: Five Etudes
Carlo Yvon: English Horn Sonata
I would hope that you, my colleagues, might follow suit and devise one of your solo programs to survey the Romantic Age. To be sure, the concert following my Romantic venture will more than make up for the Baroque and 20th century loss as I will create a recital devoted to some of the favorite works of Josef Marx.
1805 Frantisek Vincenc Kramar Oboe Concerto in Fa Maggiore, Op. 52
c. 1800-1825 Anonymous (K. Anhang 294b) Oboe Concerto in Eb Major
1844 Johannes Kalliwoda Concertino, Op. 110
1885 Marie
Comtesse de Grandval Oboe Concerto, Op. 7
c. 1805-1813 Carl Maria von Weber Concertino in C for Oboe and Winds
1816 Gaetano Donizetti Concertino per Corno Inglese
1823
Vincenzo Bellini Concerto per Oboe and Orchestra
1829 Bernard
Molique Concertino for Oboe and Orchestra
c. 1840 Gustave Vogt
Concertino in F Major
c. 1846 Julius Rietz Konzertstueck,
Op. 33
c. 1856 Stanislas Verroust Fourth Solo de Concert
1883 Georges Guilhaud First Concertino
1811 Antoine-Joseph Reicha Scene pour le Cor Anglais
1825
Johann Nepomuk Hummel Variations per l'oboe, Op. 102
1835 Henri
Brod Fantaisie dans Lucia di Lammermoor de Donizetti, Op. 57
c.
1835 Joseph Z'wyssig Fantaisie un Air Tyrolier, Op. 127
c. 1840
Gustave Vogt Priere de Zingarelli
1855 Giovanni Daelli Rigoletto
Fantasia
c. 1875-1900 Antonio Pasculli Concerto
1878
Nikolai Rimsky-Korsakov Variations for Oboe and Military Band
1815 Ludwig Spohr Notturno in C Major, Op. 34
c. 1821
Antoine-Joseph Reicha Oboe Quintet in F Major, Op. 107
c. 1825
Friedrich Eugene Thurner Trio for Oboe and 2 Horns, Op. 56
c.
1825 Josef Sellner 12 Duos for 2 Oboes
c. 1880 Paul Taffanel
Quintet
1887 Carl Reinecke Trio Op. 188, fur Klavier, Oboe
und Horn
1817 Jacques Widerkehr Duo in E Minor pour Piano et Hautbois
1836 Henri Brod Six Grandes Sonatas
1840 Carlo Yvon Sonata
per Corno Inglese e Piano-forte
1850 Apollon Marie-Rose Barret Four
Sonatas
1817 Gaetano Donizetti Suonata per Oboe e Pianoforte
1824
Theodor Froehlich Divertimento in F Major
c. 1850 Pedro Soler
Souvenir de Madrid, Op. 13
c. 1856 Stanislas Verroust Souvenir
of Old Quebec
c. 1858 Johannes Kalliwoda Morceau de Salon, Op.
228
1889 Carl Nielsen Fantasistykker, Op. 2
c. 1896
Charles Lefebvre Andante et Allegro, Op. 102
c. 1835 Ferdinand Carlo Lickl Serenata per Corno Inglese e
Pianoforte, Op. 58
1849 Robert Schumann Drei Romanzen, Op. 94
1888 Vincent d'Indy Fantaisie, Op. 31
1893 jean Sibelius
Swan of Tuonela
c. 1895 Benjamin Godard Scenes Ecossaises,
Op. 138
c. 1900 Rene de Boisdeffre Scenes Villageoises, Op. 86
c. 1818 Antoine-Joseph Reicha Air for Oboe and Piano
c.
1822 Luigi Cherubini Andantino and Polonaise
1868 Charles
Colin Firs! Solo de Concert
c. 1870 Charles Colin Third
Solo de Concert
c. 1891 Henri Dallier Fantaisie Caprice
1898 Emile Paladihle Solo pour Hautbois
Period of Beethoven, Schubert, von Weber, and Rossini; and of the oboists Friedrich Thurner, Antoine Sallantin, Josef Sellner, Alessandro Ferlendis, Carl Anton Philipp Braun, William Parke and Joseph Francois Garnier.
1805 Frantisek Vincenc Kramar Oboe Concerto in Fa Maggiore, Op. 52
c. 1805-1813 Carl Maria von Weber Concertino in C for Oboe and Winds
c. 1800-1825 Anonymous (K. Anhang 294b) Oboe Concerto in Eb Major
1811 Antoine-Joseph Reicha Scene pour le Cor Anglais
1815
Ludwig Spohr Notturno in C Major, Op. 34
1816 Gaetano Donizetti
Concertino per Corno Inglese
1817 Gaetano Donizetti Suonata
per Oboe e Pianoforte
1817 Jacques Widerkehr Duo in E Minor
pour Piano et Hautbois
c. 1818 Antoine-Joseph Reicha Air for
Oboe andPiano
c. 1821 Antoine-Joseph Reicha Oboe Quintet in F
Major, Op. 107
c. 1822 Luigi Cherubini Andantino and Polonaise
1823 Vincenzo Bellini Concerto per Oboe and Orchestra
1824
Theodor Froehlich Divertimento in F Major
1825 Johann Nepomuk
Hummel Variations per l'oboe, Op. 102
c. 1825 Friedrich Eugene Thurner
Trio for Oboe and 2 Horns, Op. 56
c. 1825 Josef Sellner 12
Duos for 2 Oboes
Period of Mendelssohn, Berlioz, Schumann, Chopin, Bellini, and Donizetti; and of the oboists Franz Ferling, Henri Brod, Carlo Yvon, Auguste Veny, Apollon Barret, Pedro Soler, Charles-Louis Triebert, Carlo Paessier, Gustave Vogt, and Friedrich Ruthardt.
1829 Bernhard Molique Concertino for Oboe and Orchestra
1835 Henri Brod Fantaisie dans Lucia di Lammermoor de Donizetti, Op. 57
c. 1835 Joseph Z'wyssig Fantaisie un Air Tyrolien, Op. 127
c.
1835 Ferdinand Carlo Lickl Serenata per Corno Inglese e Pianoforte
1836 Henri Brod Six Grandes Sonates
c. 1840 Gustave Vogt
Concertino in F Major
c. 1840 Gustave Vogt Priere de
Zingarelli
1840 Carlo Yvon Sonata per Corno Inglese e
Piano-forte
1844 Johannes Kalliwoda Concertino, Op. 110
c. 1846 Julius Rietz Konzertstueck, Op. 33
1849 Robert
Schumann Drei Romanzen, Op. 94
1850 Apollon Marie-Rose Barret
Four Sonatas
c. 1850 Pedro Soler Souvenir de Madrid, Op.
13
Period of Brahms, Wagner, Verdi, Smetana, and Bizet; and of the oboists Johann Luft, Stanislas Verroust, Giovanni Daelli, Felix Berthelemy, Charles Colin, and Antoine Lavigne.
1855 Giovanni Daelli Rigoletto Fantasia
c. 1856 Stanislas
Verroust Fourth Solo de Concert
c. 1856 Stanislas Verroust
Souvenir of Old Quebec
c. 1858 Johannes Kalliwoda Morceau
de Salon, Op. 228
1868 Charles Colin First Solo de Concert
c. 1870 Charles Colin Third Solo de Concert
Period of Tschaikowsky, Strauss, Saint-Saens, Dvorak, Rimsky Korsakov, Franck, Faure, and Debussy; and of the oboists Antonio Pasculli, Georges Gillet, Guillaume Guide, William Malsch, Disere Alfred Lalande, and Charles Reynolds.
c. 1875-1900 Antonio Pasculli Concerto
1878 Nikolai
Rimsky-Korsakov Variations for Oboe and Military Band
c. 1880
Paul Taffanel Quintet
1883 Georges Guilhaud First
Concertino
1885 Marie Comtesse de Grandval Oboe Concerto, Op. 7
1887 Carl Reinecke Trio Op. 188, fur Klavier, Oboe und Horn
1888 Vincent d'Indy Fantaisie, Op. 31
1889 Carl Nielsen Fantasistykker,
Op. 2
c. 1891 Henri Dallier Fantaisie Caprice
1893
jean Sibelius Swan of Tuonela
c. 1895 Benjamin Godard Scenes
Ecossaises, Op. 138
c. 1896 Charles Lefebvre Andante et
Allegro, Op. 102
1898 Emile Paladihle Solo pour Hautbois
c. 1900 Rene de Boisdeffre Scenes Villogeoises, Op. 86
Kramer Concerto - Edito SHV Artia: MAB 27, Prague: 1964
Weber Concertino - Nova Music: NM 137, London: 1980
Anonymous
Concerto - Southern: B 107 (anthology), San Antonio
Reicha
Scene - McGinnis and Marx: No. 138, New York: 1976
Spohr Notturno
- Belwin/Mills: Kalmus 4519, Melville, NY
Donizetti Concertino
- Edition Peters: No. 4847, New York: 1966
Donizetti Suonata
- Edition Peters: No. 5919, New York: 1966
Widerkehr Duo -
Musica Rara: MR 1653, London: 1974
Reicha Air - Belwin/Mills:
Kalmus 4129, Melville, NY
Reicha Quintet - Musica Rara: MR
1173, London: 1969
Cherubini Solos - Chester: JWC 55098
(anthology), London: 1977
Bellini Concerto - Leuckart: No. 39,
Munich: 1969
Froelich Divertimento - Eulenberg: GM 143,
Zurich: 1974
Hummel Variations - Musica Rara: MR 1200, London:
1969
Thurner Trio - Chester: JWC 55087 (anthology), London:
1976
Sellner Duos - Billaudot: Costallat 2433-36, Paris
Molique Concertino - Belwin/Mills: Kalmus 4516, Melville, NY
Brod Fantaisie - Universal: UE 17502, Vienna: 1982
Z'wyssig
Fantaisie - not available
Lickl Serenata - not
available
Brod Sonates - Leduc: No. 20.753, Paris
Vogt
Concertino - Southern Music, San Antonio
Vogt Priere -
not available
Yvon Sonata - McGinnis and Marx: photocopy, New
York
Kalliwoda Concertino - Musica Rara: MR 1656, London: 1974
Rietz Konzertstueck - Musica Rara: MR 1829, London: 1975
Schumann Romanzen - Edition Breitkopf: No. 847, Leipzig
Barret
Sonatas - Boosey and Hawkes, London
Soler Souvenir -
Southern: B-106 (anthology), San Antonio
Daelli Fantasia -
Universal: UE 17501, Vienna: 1982
Verroust Solo - Southern:
B-106 (anthology), San Antonio
Verroust Souvenir - Southern:
B-106 (anthology), San Antonio
Kalliwoda Morceau - Nova Music:
NM 108, London: 1979
Colin First Solo - Southern: B-106
(anthology), San Antonio
Colin Third Solo - Southern: B-106
(anthology), San Antonio
Pasculli Concerto - Musica Rara: MR
1879, London: 1976
Rimsky-Korsakov - Variations McGinnis and
Marx: No. 58, New York: 1962
Taffanel Quintet - International:
No. 3028, New York
Guilhaud Concertino - Southern: B-107
(anthology), San Antonio
Grandval Concerto - Southern: B-106
(anthology), San Antonio
Reinecke Trio - Belwin/Mills: Kalmus
9417, Melville, NY
d'Indy Fantaisie - not available
Nielsen Fantasistykker - Southern: B-107, (anthology), San Antonio
Dallier Fantaisie - Southern: B-107 (anthology), San Antonio
Sibelius Swan - Schirmer No. 47409 (anthology), New York: 1978
Godard Scenes - Southern: B- 106 (anthology), San Antonio
Lefebvre Op.102 - Southern: B-107 (anthology), San Antonio
Paladihle
Solo - Southern: B-107 (anthology), San Antonio
Boisdeffre
Scenes - Southern: B- 106 (anthology), San Antonio
Antoine Sallantin (1754-1816) -- 4 keys -- Opera: Paris 1773-1813
Francois Garnier (1759-1825) -- Delusse -- Academie Royal: Paris 1786
William Parke (1762-1847) -- 2 keys -- Covent Garden: London c. 1800
Carlo Paessier (1774-1865) -- ??? -- Teatro Grande: Trieste 1828-1845
Gustave Vogt (1781-1870) -- 4 keys -- Opera: Paris 1812-1834
Alessandro
Ferlendis (1783-c. 1833) -- ??? -- European Tours: 1803-1816
Friedrich
Thurner (1785-1827) -- ??? -- Frankfurt with Spohr: 1818
Josef Sellner
(1787-1843) -- Koch: 13 keys -- Court Orchestra: Vienna 1821
Carl A.P.
Braun (1788-1835) .-- ??? -- Copenhagen
Franz Ferling (1796-1874)-- ??? -- ???
Henri Brod (1799-1839) --
Brod Oboe -- Opera: Paris
Carlo Yvon (1799-1854) -- ??? -- La Scala: Milan
Friedrich Ruthardt (1800-1862) -- ??? -- Stuttgart
Auguste Veny (1801
-c. 1848) -- ??? -- Opera: Paris
Apollon Barret (1804-1879) -- ??? --
Barret-Triebert Covent Garden 1829-1874
Grattan-Cooke (1808-1889) -- 9
keys -- Covent Garden: London c. 1830
Pedro Soler (1810-1850) --
Buffet-Boehm -- Opera Comique: Paris 1836
Charles Triebert (1810-1867) --
Triebert Sys 4 -- Opera: Paris
Johann Luft (1813-1868) -- ??? -- St. Petersburg c. 1830
Stanislas
Verroust (1814-1863) -- ??? -- Opera: Paris
Giovanni Daelli (?-1860) --
??? -- La Scala: Milan
Antoine Lavigne (1816-1886) -- Buffet-Boehm --
Halle Orchestra: Manchester 1861
Felix Berthelemy (1829-1868) -- ??? --
Opera: Paris 1855-1868
Charles Colin (1832-1881) -- ??? -- Prof. Paris
Conservatoire 1868-81
Antonio Pasculli (1842-1924)-- ??? -- ???
Charles Reynolds
(1843-1916) -- ??? -- Halle Orchestra 1871-1916
Guillaume Guide (?-c.
1918) -- (Triebert) Sys 5 -- Prof. Brussels Conservatoire 1885
Georges
Gillet (1954-1934) -- Loree Sys A6 -- Opera: Paris 1887-1904
William
MaIsch (1955-1924) -- Loree Sys 5 -- Queen's Hall Orchestra: London 1893
Alfred Lalande (1866-1904) -- Loree Sys A6 -- England and Scotland
Philips 9500070 -- Bellini Concerto, Molique Concertino, Mocheles Concertante, and Rietz Konzertstueck with Oboist Heinz Holliger and the Frankfurt Radio Symphony Orchestra.
MPS 168.018 -- Froehlich Divertimento, Schumann Romanzen, Yvon Sonata, and Donizetti Suonata with Oboist Georg Meerwein and Pianist Karl Bergemann.
Philips 9500564 -- Reicha Scene and Donizetti Concertino with Oboist Heinz Holliger and the Concertgebouw Orchestra.
Telarc 5028 -- Paladihle Solo and Schumann Romanzen with Oboist John Mack and Pianist Eunice Podis.
RCA RL 25367 -- Pasculli Concerto with Oboist Malcolm Messiter and the National Philharmonic Orchestra.
Philips SAL3723 -- Hummel Variations with Oboist Heinz Holliger and the English Chamber Orchestra.
DGG 138974 -- Sibelius Swan of Tuonela with English Horn Player Gerhard Stempnik and the Berlin Philharmonic.
Golden Crest 7073 -- Guilhaud Concertino with Oboist Richard Rath.
Cornell University 15 -- Rimsky-Korsakov Variations with Oboist Robert Weiner and the Cornell University Wind Ensemble.
Supraphon 19371 Kramar Concerto
London CS6594 -- Dvorak Serenade for Winds with members of the London Symphony Orchestra.
Philips 9500395 -- Four Rossini Harmonic works by Wenzel Sedlak (1776-1851) performed by the Netherlands Wind Ensemble.
Philips 6500097 -- Strauss Serenade performed by the Netherlands Wind Ensemble: Oboists Werner Herbers and Carlo Ravelli.
Philips 9500740 -- Schumann Romanzen and several other works by Schumann for a solo instrument and piano with Oboist Heinz Holliger and Pianist Alfred Brendel.
Baines, Anthony. Woodwind Instruments and Their History. New York: W.W. Norton and Co., 1963
Bate, Philip. The Oboe (3rd ed.). New York: W.W. Norton and Co., 1975.
Carse, Adam. The History of Orchestration. New York: Dover Publications, 1964.
Eitner, Robert. Quellen-Lexicon der Musiker. Graz: Akademische Druck und Veriagsanstalf, 1959-1960. (reissue)
Fetis, Francois-Joseph. Biographic Universelle des Musiciens. Paris: Firmin-Didot; 2nd edition, 8 vol., 1860-1865.
Finkelman, Michael. A Study of the English Horn and the other Lower Oboes in the Classical and Early Romantic Eras. 1983. (Masters Thesis)
Goossens, Leon and Roxburgh, Edwin. Oboe. New York: Schirmer Books, 1977.
Groves Dictionary of Music, The New (ed. Stanley Sadie). London: MacMillin and Co., 1980 (20 vol.).
Hosek, Miroslav. Oboen Bibliographic I. Wilhelmshaven: Heinrichshofen, 1975.
International Double Reed Society Publications: Journal and The Double Reed. Daniel Stolper and Ron Klimko editors. East Lansing, Michigan.
Musik in Geschichle und Gegenwart, Die. (ed. Friedrich Blume). New York: Baerenreiter; 14 vol., 1952-1968.
Spohr, Louis. Autobiography. London: Longman and Green, 1865.
Ziegler, Gloria ed. The Writings of Josef Marx. New York: McGinnis and Marx, 1983