PARTITIONS GRATUITES : 3 HAUTBOIS (TRIO)
- Sting

By Gordon Jacob (1895-1986). For Oboe and piano. Pieces and Studies. ABRSM Exam: Grade 2. 16 pages. Published by Oxford University Press

(For Double Reed Ensemble). By Johann Sebastian Bach (1685-1750). Arranged by David Marlatt. For For Double Reed Ensemble. Masterworks; Part(s); Score; Woodwind - Mixed Ensemble. Eighth Note Publications. Baroque; Masterwork Arrangement. 10 pages. Published by Eighth Note Publications

Chamber Music & Piano Accompaniment 1 Oboe 1 Piano - Grade 3

SKU: FL.FX074295

Composed by Pascal Proust. Original Composition. Classical, Educational. Score and Set of Parts. FLEX Editions #FX074295. Published by FLEX Editions (FL.FX074295).

This piece must be played very freely, almost like a cadence, by a young wizard-musician casting his spells! From 4 years of practice. - Pascal PROUST ; Instruments: 1 Oboe 1 Piano; Difficuly Level: Grade 3; Duration: 2 mn 20 s; Musical Style: Classical, Educational; Category: Original Composition; Composer: Pascal PROUST.

By Various. Edited by Frans Hanssen. For Oboe and Piano. Educational. Instrumental Collection. Classical. Level: Easy. Book and Solo Part. 24 12 pages. Duration 24 minutes. Published by Digital Music Print (Belgian import).

By Wolfgang Amadeus Mozart. Arranged by Harry R. Gee. For Flute, Oboe (Flute, Bb Clarinet, And Bassoon/Optional Bb Bass Clarinet. Woodwind Quartet. Level: Grade 3. Published by Kendor Music Inc.

Oboe(s) solo

SKU: BR.EB-9240

For Solo Oboe. Composed by Jorg Birkenkotter. Solo instruments; stapled. Edition Breitkopf. Solo concerto; Music post-1945; New music (post-2000). Score. Composed 2013/14. 16 pages. Duration 13'30. Breitkopf and Haertel #EB 9240. Published by Breitkopf and Haertel (BR.EB-9240).

ISBN 9790004185407. 9 x 12 inches.

Belcanto is a term for the Italian art of singing which took its development from the richly ornamented solo vocalism of the early 17th century (nobile maniera di cantare) and dominated European operatic singing until the first half of the 19th century. Complete control over the voice meant not only legato and messa di voce, but also appoggiatura and portamento, as well as virtuoso ornamentation by means of coloratura (canto fiorito). This development towards utmost virtuosity, emulating instrumental playing techniques, led to a mannered, artificial style on the one hand, but on the other also emphasized the physical aspects of interpretation (castrati were considered the ideal belcanto singers). And today? In his essay The Grain of the Voice, Roland Barthes writes: The grain is the body in the voice as it sings, the hand as it writes and the limb as it performs. Initially, he refers to the friction between language and voice in singing, but then transfers his thoughts to the physicality of instrumental music. In this spirit, I went in search of beautiful singing, a beauty which perhaps results in the very place where the grain, the roughness, meaning also physical resistance, are not smoothed over. The oboe seemed very suitable to me for singing with such a physical expressivity, as a very unruly instrument! The backbone of my piece is one single, quasi endless melodic line, consisting of intervals that are constantly pulled apart and contracted again (breathing). Many different actions attach themselves to these notes: coloratura, trills, chords (multiphonics), double flageolets. However, there are not only sound types, but also impulses, repetitions, rhythmic figures and other elements: composed elements of belcanto. In the opera tradition described above, these were improvised ornaments or additions; here they become composed figures which originate with the notes of the melody, but also pull on them, bend them, and charge them with physicality. (Jorg Birkenkotter).

By Henri Brod. For flute, oboe, clarinet, horn and bassoon (wind quintet). Winds. Worthy companion pieces to Reicha quintets. Classical. Set of parts