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Author: Teodora Pejasinovic Proud Publisher: ISBN: Category : Electronic dissertations Languages : en Pages : 41
Book Description
This project is a performance of three concertos for oboe by Richard Strauss, Jean Françaix, and Benjamin Lees. The recital took place on March 2, 2019, and the accompanying manuscript serves as program notes for the performance. John de Lancie was known for his tenure with both the Curtis Institute of Music, where he served as the Professor of Oboe from 1953 to 1985, and the Philadelphia Orchestra, where he was principal oboe from 1954 to 1977. He is responsible for all three of the concertos mentioned above; he commissioned the works by Françaix and Lees, and his chance meeting with Strauss led the composer to write his Oboe Concerto. His career and connection to these works will be discussed. The work by Lees becomes the focus of this research; it is a forgotten work that has only been performed a handful of times. This document will focus largely on the history of Lees's Concerto, its premiere, and other musical information about the piece.
Author: Teodora Pejasinovic Proud Publisher: ISBN: Category : Electronic dissertations Languages : en Pages : 41
Book Description
This project is a performance of three concertos for oboe by Richard Strauss, Jean Françaix, and Benjamin Lees. The recital took place on March 2, 2019, and the accompanying manuscript serves as program notes for the performance. John de Lancie was known for his tenure with both the Curtis Institute of Music, where he served as the Professor of Oboe from 1953 to 1985, and the Philadelphia Orchestra, where he was principal oboe from 1954 to 1977. He is responsible for all three of the concertos mentioned above; he commissioned the works by Françaix and Lees, and his chance meeting with Strauss led the composer to write his Oboe Concerto. His career and connection to these works will be discussed. The work by Lees becomes the focus of this research; it is a forgotten work that has only been performed a handful of times. This document will focus largely on the history of Lees's Concerto, its premiere, and other musical information about the piece.
Author: Jennifer Marie Wohlenhaus Bloomberg Publisher: ISBN: Category : Languages : en Pages : 103
Book Description
L'horloge de flore (The flower clock or Flora's clock) is an oboe concerto by Jean Françaix. It was commissioned by John de Lancie, former principal oboist of the Philadelphia Orchestra, in 1957. The piece was completed in 1959 and first performed by Mr. de Lancie and the Philadelphia Orchestra in 1961. Since that time, it has become a popular oboe concerto. When the piece is performed in a recital setting, the orchestral parts are played by the piano. The current piano part for L'horloge de flore is an extremely difficult accompaniment for a single pianist. There are more notes than physically possible for one person to play. Many oboists have expressed the need for a revised piano accompaniment to make the piece more accessible to pianists and, thus, enable the concerto to be studied and performed more frequently by oboists. The purpose of this document is to further facilitate performance of this work in a recital setting by both professional and student oboists. This work is an important part of the oboe repertoire from its time and style of composition. Revising the piano reduction will encourage student oboists to study it. In order to create an effective new reduction, it will be necessary to provide commentary and background on similar oboe works by Jean Françaix, provide a theoretical analysis of L'horloge de flore, offer performance suggestions of the work for the oboist, clearly discuss note choices in the revised piano reduction, and create a practical, two-hand piano accompaniment.
Author: Timothy Blake Johnson Publisher: ISBN: Category : Electronic dissertations Languages : en Pages : 0
Book Description
After making its way from France in the late seventeenth century, the oboe played a large role in London’s musical life. As the oboe was at this time a fairly new instrument, performers and composers alike were still questioning the instrument’s potential and exploring varying facets of its character. While previous studies have chronicled the arrival of the instrument and the stages of its assimilation into English music, they have largely overlooked the music. This thesis looks closely at the music written for the oboe between 1695 and 1737, tracking its acceptance by London composers, the evolution of how it was viewed and utilized in this music, and the influence of the foreign performers who brought the instrument to the city and largely held the monopoly on top positions throughout the city. The thesis first establishes the three principal types of performances in which oboists took part: those at court, in public and private concerts, and in the theaters. Tracking the tension between the use of the oboe’s ability to function as both martial and lyrical, chapter 2 analyzes music written between 1695 and 1725. Because of the massive influence of opera during the period covered, the focus is then narrowed to three performers for whom George Frideric Handel wrote solo parts in his operas: Johann Ernst Galliard, Jean Christian Kytch, and Giuseppe Sammartini. Through analyses of the parts written for these performers along with comparisons with their own compositions for the oboe, chapters 3-5 explore the ways in which Handel catered his writing to the performer at hand, expanding existing understanding of both Handel’s instrumental writing and performer-composer collaborations in the eighteenth century.
Author: Ann Fronckowiak Publisher: ISBN: Category : Artistic collaboration Languages : en Pages : 141
Book Description
Abstract: Oboists are extremely fortunate to have a twentieth-century concerto written by John Harbison, a highly sought after, award-winning, and prolific American composer, in their repertory. Unfortunately, this significant work has not yet been fully integrated into the standard repertoire due to its complexities and a lack of thorough scholarly documentation. I hope to change this by being the first to complete such documentation. The project includes proper analysis of the work and a study of the collaboration between John Harbison and William Bennett, the oboist for whom the piece was written, to identify how much the performer influenced the composition. In addition, performance concerns and difficulties, along with their subsequent suggestions for interpretation and execution, are contained in the text. Harbison, former composer-in-residence with the Pittsburgh Symphony and the Los Angeles Philharmonic, is a Pulitzer Prize winner. He wrote his Oboe Concerto in 1990-1991 for William Bennett, principal oboist of the San Francisco Symphony. This study utilized many different methods. I have collected biographical information on Harbison and Bennett and documented the historical context of the concerto, including its conception, collaborative process, and premiere. A detailed structural analysis is also included, containing form charts for each movement. In addition, I interviewed both Harbison and Bennett and had an oboe lesson with Bennett on this concerto. Transcripts of these interactions are included in the document. Finally, I have practiced and performed this work. The three-movement concerto is unique in its employment of traditional baroque forms, jazz, and blues. The first movement is based on a Gregorian chant-like theme and is composed in sonata form. The second movement is a two-voice passacaglia, and the third is a fantasia designed to sound like a 1920s big band. Bennett collaborated extensively with Harbison, and Bennett's suggestions, personality, and playing style influenced the concerto. These conclusions are extremely significant because valuable interpretive and technical insights are presented from two primary sources, John Harbison and William Bennett. From these insights, this work will become more comprehendible for scholars and more accessible for oboists and become an enduring piece in the oboe repertoire.
Author: Geoffrey Vernon Burgess Publisher: Yale University Press ISBN: 9780300093179 Category : Music Languages : en Pages : 444
Book Description
The oboe, including its earlier forms the shawm and the hautboy, is an instrument with a long and rich history. In this book two distinguished oboist-musicologists trace that history from its beginnings to the present time, discussing how and why the oboe evolved, what music was written for it, and which players were prominent. Geoffrey Burgess and Bruce Haynes begin by describing the oboe’s prehistory and subsequent development out of the shawm in the mid-seventeenth century. They then examine later stages of the instrument, from the classical hautboy to the transition to a keyed oboe and eventually the Conservatoire-system oboe. The authors consider the instrument’s place in Romantic and Modernist music and analyze traditional and avant-garde developments after World War II. Noting the oboe’s appearance in paintings and other iconography, as well as in distinctive musical contexts, they examine what this reveals about the instrument’s social function in different eras. Throughout the book they discuss the great performers, from the pioneers of the seventeenth century to the traveling virtuosi of the eighteenth, the masters of the romantic period and the legends of the twentieth century such as Gillet, Goossens, Tabuteau, and Holliger. With its extensive illustrations, useful technical appendices, and discography, this is a comprehensive and authoritative volume that will be the essential companion for every woodwind student and performer.
Author: Teodora Pejasinovic Proud
Author: Teodora Pejasinovic Proud
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Author: Jennifer Marie Wohlenhaus Bloomberg
Author: Timothy Blake Johnson
Author: Ann Fronckowiak
Author: Geoffrey Vernon Burgess
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Author: Roy Hemming