Ursula Mamlok was born in Berlin in 1923, but was forced to emigrate via Ecuador to New York in 1939 because of her Jewish descent. In 2006 she returned to the city where she was born.In about three minutes, the small and charming two-part piece Kontraste [Contrasts] for oboe and harp captivates with clarity and limitation to the essentials. The name says it all: A lively humoresque is followed by a rather delicate, even almost melancholy second movement which is headed 'largo e mesto'. The composition was written in 2009/10 as a birthday present for the Swiss oboist - and this work's dedicatee - Heinz Holliger (and his wife, the harpist Ursula Holliger). / Hautbois Et Piano

Par HEATH DAVID. This short piece for oboe and piano was inspired by the music of Miles Davis and John Coltrane. Lasting around six minutes, a laid-back blues-infected introduction gives way to a more rhythmic central section before a reprise of the opening music. The composer writes ?Out of the Cool was written to be enjoyed, so have fun with it!? / Date parution : 2022-04-26/ Répertoire / Hautbois et Piano

Par POGSON STEVE. If your students love rock music, why not use it. Now you can, with Steve Pogson's imaginative and enjoyable Way to Rock. 14 pieces written in rock 'n' roll, blues, reggae, ballad and other contemporary styles which come complete with keyboard accompaniments and chord symbols. Optional solos and themes for improvisation are also included, so you can mix and match them with the original music./ Répertoire / Hautbois et Piano

Mit dem dritten Band der Reihe ?Brandenburgisches Notenbuch' wollen der Landesverband der Musikschulen Brandenburg e. V. als Herausgeber und die sieben Autoren der neuen Stücke, das schmale Repertoire an pädagogisch geeigneter Literatur für Oboe und Klavier zu erweitern und so bereits in den ersten Unterrichtsjahren einen Zugang zur zeitgenössischen Musik zu schaffen. Die neuen Vortragsstücke besitzen unterschiedliche musikalische Charaktere, technische Schwierigkeitsgrade und kompositorische Hand- schriften, die von traditioneller Schreibweise bis zu neuen Spieltechniken und Notationsformen reichen. / Hautbois Et Piano

Or Organ-Born in Geneva of a jeweller father (and excellent flautist) and singer mother Marguerite Roesgen-Champion (1894-1976) was one of those rare women who reconciled family life (in 1926 she settled in Paris with her husband a philately merchant) with a professional activity devoted to music. Her abundant output graced all genres with a predilection for sacred pieces the art song the Piano and chamber music. Published respectively in 1950 and 1953 the two Nocturnes for Oboe and Piano (or Organ) have their place in the glorious tradition of French music from the between-the-wars period. The first Nocturne subtitled 'Noël' is dedicated to Pierre Bajeux(1899-1961) who taught the oboe class at the Paris Conservatoire as of 1941. Of classic ABA construction this piece as simple as it is expressive is in the form of a pastorale: here the gentle opening recitative unfolds its dreamy melancholic volutes of which the modal character would have appealed to Charles Koechlin. The second Nocturne presents subtle modulations that give it a refined elegance. In both cases this tastefully polished music invites us to stroll in an Arcadian landscape bathed in azure: 'There all is order and beauty / Luxury calm and voluptuousness'.

Composer's NoteSecond Meeting was written in January 1992. The first performance took place in Stockholm in February (Bengt Rosengren oboe and Stefan Bojsten piano). The work belongs to a planned series of virtuosoduos 'meetings'. The first one (from 1982) is written for clarinet and harpsichord.Formally Second Meeting is very close to a familiar 'theme and variations' category although there are seven themes or melodies all quiteclosely related.In the autumn of the same year I decided to write a version of the piece for oboe and a small orchestra trying to remain reasonably faithful to the original (a la Ravel perhaps). The orchestral version iscalled Mimo 1).Esa-Pekka Salonen

This is an updated edition of Francis Poulenc's 1962 work Sonata For Oboe And Piano, edited by Millan Sachania. Featuring the full score and a separate Oboe part, this exclusive edition also includes a download card, giving you instant online access to demonstration and accompaniment tracks.Originally completed in 1962, Poulenc's Sonata For Oboe And Piano had been brewing in his mind for at least five years. The last of Poulenc's trio of sonatas for woodwind instruments, he tragically passed away before it could be definitively engraved, leaving behind a work with a number of ambiguous notational marks that resulted in an incomplete first edition, published posthumously. A number of revisions have taken place, but this, expertly edited by Millan Sachania, aims to provide a playable, legible, precise and authoritative score that reflect closest Poulenc's intentions.This new edition revises many minor details, including Piano chords, tied notes, the correction of various bars throughout as well as his crescendos during the third movement. At all points, Sachania has aimed to reproduce an authoritative and accurate score that is at once playable and a reflection of what Poulenc himself may have intended. This is a most exciting prospect considering the reputation that this work has garnered as a piece of profound poignancy. Dedicated to Sergey Prokofiev, it has been said that the mournful final movement, Déploration, is something of an obituary. What makes this edition of Sonata For Clarinet And Piano really special is the unique download card that provides exclusive online access to demonstration and accompaniment audio tracks. Professionally-recorded by renowned oboist Christopher Cowie and pianist Huw Watkins, the demonstration track allows you to hear exactly how the piece as a whole should sound, before the independent Piano-only track lets you take the place of the Oboe in your very own performance. This is a unique opportunity for oboists to learn from an authoritative score, and play along to a special backing track, with a work that's one of the finest for the instrument ever composed.For oboist fans of Francis Poulenc, lovers of Les Six, or just players with a proclivity for beautiful music, this edition of Sonata For Oboe And Piano has been long-awaited, and now it's available in this unique edition with accompanying download card. / Hautbois Et Piano

La référence EFM2281 de l'éditeur Billaudot dont l'auteur célèbre est Sauguet Henri, qui a pour titre THE GARDEN'S CONCERTO, a été écrite et composée pour Hautbois et plus particulièrement pour Hautbois Et Piano. Cette partition musicale appartient à la catégorie Classique. / Hautbois Et Piano / Partition

Par DAMASE JEAN-MICHEL. / Niveau : Elémentaire / classique / Date parution : 1948-06-01/ Répertoire / Hautbois et Piano

Par DAMASE JEAN-MICHEL. / Niveau : Intermédiaire / classique / Répertoire / Hautbois et Piano

An Evening in the Village was composed in 1908 as no. 5 of the Ten Easy Piano Pieces. It has become one of Bartók's favorite works which the composer himself was fond of playing at recitals. As he explained in an American interview it was ''an original composition that is ... with themes of my own invention but ... the themes are in the style of the Hungarian-Transylvanian folk tunes. There are two themes. The first one is a parlando-rubato-rhythm and the second one is more in a dance-like rhythm. The second one is more or less the imitation of a peasant flute playing.'' Bartók also orchestrated the piece in 1931 as no. 1 of HungarianSketches. In 2015 we are launching a series entitled Bartók Transcriptions for Music Students to mark the 70th anniversary of the composer’s death. This involves reissuing our tried publications and publishing some further new transcriptions that fulfill in every respect the strict aesthetic demands of the earlier ones. We trust these publications will allow us to introduce still more music students to the realm of one of the great geniuses of 20th-century music.

Klavierauszug-Cette ?dition Urtext de Henle est ? la recherche de sa pareille en mati?re de fonctionnalit? et de pr?cision. La presse sp?cialis?e ?Rohrblatt? a d?clar? peu apr?s sa parution (2004): ?Un trait de g?nie ?ditorial ... Chaque hautbo?ste qui se risque ? ce concerto doit confronter son interpr?tation ? cette ?dition?. Cet ?loge honore avant tout l??diteur le c?l?bre hautbo?ste Ingo Goritzki. Son id?e fut d?offrir outre la partie s?par?e un cahier pr?sentant simultan?ment les deux sources de l??uvre ? probl?matiques l?une et l?autre pour diverses raisons. Gr?ce au choix de l?agencement de la partition l?interpr?te distingue du premier coup d??il toutes les divergences etpeut ainsi justifier ses propres choix d?interpr?tation. Des passages particuli?rement probl?matiques et abondamment discut?s ont ?t? exhaustivement comment?s par le professeur Goritzki. Le ?trait de g?nie ?ditorial? vise tout autant le pianiste et expert mozartien Robert Levin qui a compos? pour ce concerto pour hautbois de Mozart de fantastiques cadences dans le style du ma?tre: tout ? fait dans l?esprit d?improvisation attendu pour toute cadence l?interpr?te pourra pr?cis?ment ? divers passages du texte gr?ce ? un simple syst?me de renvois num?riques vers d?autres endroits bricoler ainsi sa ?propre? cadence. Un mot enfin ? propos de l?excellente r?duction pour piano de cette ?dition. Elle est de la plume de Siegfried Petrenz un profond connaisseur de Mozart et illustre sp?cialiste de la basse continue. Son ambition est celle d?une r?duction sonnant bien d?ex?cution relativement ais?e et qui se distingue nettement de toutes celles qui s?en tiennent ? la partition orchestrale. Voil? qui vient ?galement au secours des conditions d?enseignement qui privent parfois le hautbo?ste d?un r?p?titeur professionnel.

paperbound-Carl Nielsen?s Fantasy Pieces for Oboe and Piano were composed in 1889/90. Having just gained a position as a violinist in the Royal Danish Orchestra Nielsen had already experienced successwith his String Suite Op. 1 both as a composer and as a conductor. Several sketches and autographs bear witness to his intensive work on these contrasting pieces for Oboe which were to appear in 1890 as his Opus 2.The twomovements Romance and Humoreske are dedicated to the oboist Olivo Krause who played in the royal orchestra. His beautiful tone and virtuosic technique probably played no small part in the fact that these miniatures by the?young talented composer? took the public and critics by storm at their first performance in March 1891.

Concerto In C Minor for Oboe Strings and Basso Continuo composed by Matthäus Nikolaus Stulick [or Georg Friedrich Händel or Johann David Heinichen]. Piano reduction. There are three versions of this concerto with different assignments: Source A: In the library Schwerin [D-SWl] as „de Sing. Stulick' [Mus.5337]. Source B: In the collection Rheda [D-RH] as „Del Sing. Heinichen' [Ms 389]. Source C: In the univesity library Upsala [S-Uu]als „Dell Sing. Hendell' [i hs. 19:28]. The distribution of a baroque composition under various composers names was not uncommon and usually meant that it was aworthy work of high compositional quality. This Concerto for Oboe Strings and Basso continuo can serve in any case as evidence for this thesis. The question which of the three composers mentioned was the creator of the concert can not be answered conclusively. Two arguments suggest however that Matthäus Nikolaus Stulick (c.1700-1732) is the most likely of the three candidates: - The Schwerin manuscript [Source A] that names Stulick as the composer is the best by far; it contains far fewer errors and inconsistencies than the other two. - The designation of a work by a foreign composer name makes only sense if an unknown composer publishes under a name of a much more prominent composer not vice versa. Why should a work of Handel or at his time well-known Heinichen be played under the name of someone less known? We do not know much about the life of Matthäus Nikolaus Stulick. He was born around 1700 in Bohemia and worked in the 1730s as concertmaster at the court in Mainz where he died in 1732. Besides two Oboe concertos he composed a concerti à 4 for three wind instruments and BC.