PARTITIONS GRATUITES : HAUTBOIS
- Above

(From the Renaissance to the Romantic Periods). Arranged by William Ryden. For Piano/Conductor, Oboe. Mixed Instruments - Flexible Instrumentation. Sacred Instrumental Ensembles for All. 24 pages. Published by Alfred Publishing.

(Oboe With Piano Accompaniment)

SKU: HL.48186530

Composed by Gabriel Pierne. Leduc. Classical. Softcover. 3 pages. Alphonse Leduc #AL7532. Published by Alphonse Leduc (HL.48186530).

UPC: 888680832018. 9.0x12.0x0.058 inches.

Piece in G minor, Op. 5 is a piece for Oboe and Piano accompaniment composed by Gabriel Pierne. Its medium difficulty will enable intermediate players and above levels to play it, and to appreciate its features. Really enjoyable, this early work, written in 1833, lasts approximately 2?30 and has been transcribed for many other instruments. It is perfect for recitals and concerts. The book contains the score and Oboe part. The score mentions the possibility of replacing the Oboe by a Violin or a Cello. Gabriel Pierne (1863-1937) won the Prix de Rome in 1882.The composer wrote many chamber compositions, Piano pieces, symphonic music and some oratorios..

Composed by Arvo Part (1935-). With Standard notation. Composed 1978. Duration 10 minutes. Universal Edition #UE33863. Published by Universal Edition

Oboe. By Philip Sparke. Anglo Music Press Play-Along. Play Along. Size 9x12 inches. 48 pages. Published by Anglo Music.

(Oboe)

SKU: HL.14003183

Composed by Ernest Baker. Music Sales America. Exam Material. Book [Softcover]. Composed 2002. 5 pages. Chester Music #CH00447. Published by Chester Music (HL.14003183).

ISBN 9781844499809. UPC: 884088433666. 8.25x11.75 inches.

First published in 1969, this tranquil and slow piece with it's gently undulating melody and soft chordal accompaniment is ideal for the repertoire of any Oboe player of grade four and above. The solo line is also suitable for performance on the Oboe, Clarinet, Horn and Cello.

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).