PARTITIONS GRATUITES : HAUTBOIS
- Body

(What every oboe player needs to know about the body). By Stephen Caplan. For oboe. Method book/text book

Arranged by Jerome Naulais. For Oboe and Bassoon. Swiss import. Level: Grade 3. Published by Editions Marc Reift. (EMR 8320)

Oboe, Piano - Grade 3

SKU: FL.FX072354

Composed by Alain Lopez. Classical, Educational. Score and Set of Parts. FLEX Editions #FX072354. Published by FLEX Editions (FL.FX072354).

This composition was created for young musicians (mostly teenagers), and will be played as a pop song. Indeed, its texture (silky and polished) is related to the use of triplets and harmonic series built on the principle of 'verse / chorus'. Its tempo (close to the human body beat) and duration (3 minutes) will make it the hit of the summer!

Oboe

SKU: GI.G-9636INST

Composed by Ephrem Feeley. This edition: Instrument edition. Sacred. Instrumental part(s). 2 pages. GIA Publications #9636INST. Published by GIA Publications (GI.G-9636INST).

Oboe and Orchestra

SKU: HL.14028041

Composed by Poul Ruders. Music Sales America. Classical. Score. Composed 2002. 76 pages. Edition Wilhelm Hansen #WH30497. Published by Edition Wilhelm Hansen (HL.14028041).

ISBN 9788759810682. 12.0x16.5x0.533 inches.

The Small concerto for solo oboe and chamber orchestra was commissioned by The Royal Library of Copenhagen for the inauguration of a concert hall located at the new library annex, the so-called Black Diamond, September 1999. The work as such focuses more on the contemplative and sonorously introvert, rather than more virtuosity; it is in four movements, what could be called four little tone-poems on (and inspired by) the names of the four moon craters known as: Lake of Dream - Ocean of Storms - Sea of Tranquillity - Lake of Death, four enigmatic and deeply fascinating ancient conceptions of the landscape on this our closest, but at the same time most legendary and myth-shrouded celestial body. The work was composed in 1998 for Athelas-Sinfonietta Copenhagen and Swedish obo virtuoso Helen Jahren. The work was dedicated to Helen Jahren.

By Jack Curtis Dubowsky. Duet. For Oboe, Bassoon. Contemporary. Sheet music. Composed 2005. Duration 12:00. Published by De Stijl Music

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).