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.

Par EWAZEN ERIC. Originally composed for Trumpet and Piano, A Song from the Heart is one of those rare new works that immediately captures performers and listeners in a wide range of settings. A beautiful melodic solo sings over a lush piano accompaniment, with passages that stick in the mind well after the performance. A Song from the Heart will be at home on any program, whether memorials, recitals, or weddings. For intermediate to advanced performers./ Répertoire / Hautbois et Piano

A quick and playful Rondo withy a soaring melody and energetic Piano accompaniment by Thomas Pitfield. Suitable for the confident Oboe soloist.

Created in 1947 as part of the four exam pieces for the Paris Conservatoire this Sonate for Oboe and Piano is one of the early works of Henri Dutilleux (1916-2013) a French Composer following the paths of Maurice Ravel and Claude Debussy with an idiosyncratic way of writing. Sonate was part of the compositions that were later disowned by the composer who considered them as being not mature enough compared to his main work even though they were played and enjoyed regularly all over the world. This duet integrates a variety of contrapuntal procedures which were highly appreciated by the composer. Composed of threemovements the first one begins with an austere canon while the latter two comprise more texture. Henri Dutilleux was internationally acclaimed for his work winning prizes such as the Gold Medal of the Royal Philharmonic Society and the UNESCO's International Rostrum of Composers among many others. His work also includes a Piano sonata two symphonies the Cello concerto Tout un monde lointain (A whole distant world) the Violin concerto L'arbre des songes (The tree of dreams) and the string quartet Ainsi la nuit (Thus the night).

Par BARNES LARRY. Cloud Breathing by Larry Barnes, for Oboe and Piano. Cloud breathing is a technique in Chinese martial arts involving short, sharp inhaling breaths and a slow exhale to oxygenate the body in preparation for fighting, meditation and healing. In this work, the piano begins in the upper register with tones like wind chimes, with the oboe entering beneath. This meditative first section leads to sudden shifts in harmony under a quiet oboe melody. Activity increases, leading to an oboe cadenza and a fast section based on rapid repeated notes in the oboe with the piano accompanying with contrapuntal lines. A brief piano solo leads to fragments of melody from the slow opening, now transformed. After a fortissimo climax, the quiet wind chime opening suddenly returns. The music gradually regains momentum to break into a bright Lydian climax and a strong close. / Date parution : 2022-11-29/ Répertoire / Hautbois et Piano

Born in Toulouse Marcel Bitsch (1921-2011) went on to study at the Paris Conservatoire before becoming a professor of counterpoint at the institution. As an exceptionally versatile musician Bitsch has composed orchestral works chamber works and numerous popular pieces for wind instruments French Suite On Themes From The 17th Century for Oboe being no exception. suitable for advanced oboists Bitsch's French Suite On Themes From The 17th Centurywas published in 1964. With a typical performance lasting around 7 minutes and 45 seconds the Suite is made up of four movements;Pavane Gaillarde Gigue and Riguadon. Bitsch's French Suite On Themes From The 17th Century addresses many musical aspects from the 17th century and is an outstanding and necessary addition to the Oboe repertoire.

arranged for Oboe and Piano-The Oboe Quartet in F major K. 370/368b was written by Wolfgang Amadeus Mozart in early 1781. The quartet originally arranged for oboe violin viola and cello is presented in this edition for Oboe with Piano accompaniment. In 1780 Mozart was invited to Munich to visit Elector Karl Theodor who had commissioned the opera Idomeneo for a carnival celebration. While in Munich Mozart renewed an acquaintance with Friedrich Ramm a virtuoso oboist in the Munich orchestra. It was for Ramm that Mozart composed the quartet in order to show off his virtuosity and the improvements that had been made to the oboe at that time. One way that this piece showed off theinstrument was the use of the 'high F' above the staff a note rarely played in any repertoire previously written for the oboe. This piece is a work of chamber music but it has elements that harken to other musical genres and requires a fair amount of virtuosity. Because of its large amount of virtuosic playing on the part of the oboe and the large degree to which the strings simply accompany the oboist it almost resembles a concerto but with only with four players instead of an entire orchestra. Despite this there are also a number of places within the work that require ensemble playing for example the famous 13-bar passage in the finale in which the oboe plays in common time against a 6/8 accompaniment.

Giovanni Boni is a little known Italian composer from – presumably – the first half of the 18th century. Multiple records of composers with identical or similar names from that period can be found whocould indeed have been one and the same person and the Giovanni Boni at hand could have been any or none of them! Evelyn Rothwell edited and arranged four pieces from the Walsh edition of the “Solos for a GermanFlute Hoboy or Violin compos’d by Sigr. Giovanni Boni” into the Oboe Sonata In G for Oboe with Piano accompaniment.This hidden gem of Italian Baroque music should not be dismissed as the charmingly melodic sonata is a particular delight for musicians and audiences alike. The four movements (Preludio – Largo Allegro Alla Siciliana Allegro) can be played separatelyor together their total performance time is approximately 8:30 minutes.Boni’s Sonata In G is well within the capabilities of the average student or amateur Oboe player and aunique addition to the solo player’s repertoire!

Description Solos For The Oboe Player Selected and edited by Whitney Tustin. Fifteen pieces offer the player a variety of period and styles. Songlist Andante And Allegro (Sonata No.15) [Loeillet, Jean-baptiste] Aria (St. Matthew Passion) [Bach, Johann Sebastian] Concerto No. 8 In B Flat [Handel, George Frideric] Kuruka-kuruka [Yamada, Koscak] Largo [Fausch, Johann Friedrich] Mazurka [Debussy, Claude] Romance No.1 (Three Romances) [Schumann, Robert] Sonata In A Minor [Telemann, George Philipp] Song (Two Pieces) [Gliere, Reinhold] Theme (Symphony In C, 2nd Movement) [Bizet, Georges] Toadinha (A Little Song) [Berger, Jean] Traume [Wagner, Richard] Two Arabian Dances [Laurischkus, Max] Two Songs [Liszt, Franz] Vocalise Op.34 No.14 [Rachmaninov, Sergei]

Part of the Anglo Music Play-along Series Philip Sparke's 15 Easy Classical Solos is aimed at the young instrumentalist who can play just over an octave. Specifically tailored to suit the individual instrument this book introduces the beginning player to the world of the classics by using simple yet attractive melodies that fit their limited range.The carefully selected pieces include music from the 16th to the 20th century and cover a wide variety of styles from Bach to Grieg and from Purcell to Satie.This book will provide invaluable additional material to complement any teaching method and includes both piano accompaniment and a demo/play-along CD.

This title is taken from Dvorak. However. The models from which the songs are derived are clearly identifiable as are the composers from whose language they have been derived. The piece appears to be in one movement though it is in fact two with a coda. The first is French in style a sort of Waltz. It is quick and harks upon the likes of Françaix and where its idiom becomes more advanced Messaien. The other is Germanic a slow movement with echoes of German expressionism - perhaps Richard Strauss perhaps Mahler. The two movements are partly complete; the cod reconciles their differences and completes them. I see the piece as my own version of En blanc et noir.

A conversation for Oboe and Piano by Geoffrey Bush commissioned by the Hampton Music Club and first performed in London in March 1960. The piece is written in three contasting movements and is suitable for the accomplished Oboe soloist.

More than 25 pieces for oboe and piano-Over 25 pieces for Oboe and Piano. The pieces in Bravo! Oboe take the student progressively through the early grades. These pieces encourage the student to 'perform' rather than merely 'play' and make the learning process fun with attractive keyboard accompaniments.

A set of three short dances by one of the central composers of the Baroque French style. Characterised by the stately but subtle syncopations of the French Baroque sound heard most famously in the opening Sinfonia of Handel'sMessiah these dances are ideal repertoire for the intermediate Oboe soloist and are perfect for festivals chamber performances and all manner of smaller concerts.