Written the year before his death, and dedicated to the memory of Sergey Prokofiev, this piece is the last of Poulenc's wind sonatas and is a work of profound poignancy and delicacy. Poulenc would not live to see the piece to fruition, as the work was published posthumously. This is the 2004 updated and revised version, edited by Millan Sachania.
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When kids learn to play an instrument, they want to play the songs they know and love! This collection of 50 songs allows them to do just that! It includes 50 contemporary favorites, including: Believer • Don't Stop Believin' • Happy • High Hopes • Let's Get It Started • Ocean Eyes • Perfect • Rewrite the Stars • A Thousand Miles • You Will Be Found • and more.
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Arranged for Oboe (or Bb Clarinet) and Piano by Arthur Benjamin.
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Contents: Adagio (Mozart) • Gymnopedie No. 2 (Satie) • Intermezzo (Granados) • Theme from New World Symphony (Dvorák) • Notturno (Borodin) • Sicilienne (Fauré) • Sonata (Marcello) • Sonata (Telemann) • The Swan (Le Cygne) • The Swan of Tuonela (Sibelius) • Tristan and Isolde Theme (Wagner) • When I Am Laid in Earth (Purcell) • Where E'er You Walk (Handel).
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Oboe and Piano
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Master oboist Delia Montenegro teams up with MMO veteran Harriet Wingreen to bring you a wide-ranging collection of concert pieces for the oboe. These explore a diversity of musical styles and levels of difficulty, and are technically suitable for most oboists. Includes a book of oboe music with access to online audio featuring a complete performance with soloist; then a second version with the piano accompaniment, minus the soloist. This edition features music by Bach, Bizet, Debussy, Fasch, Handel, Liszt, Rachmaninoff, Schumann, Wanger, and more.
Performed by Delia Montenegro, oboe • Accompaniment: Harriet Wingreen, piano
The audio is accessed online using the unique code inside each book and can be streamed or downloaded. The audio files include PLAYBACK+, a multi-functional audio player that allows you to slow down audio without changing pitch, set loop points, change keys, and pan left or right.
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The Oboe Sonata op. 166 was the first of three wind sonatas that Saint-Saëns wrote in his final year. Throughout his life he had been more familiar with keyboard and stringed instruments, so the composer this time found himself in rather unfamiliar territory. Yet he instantly hit upon the inflections and special characteristics of these instruments. To ensure that the parts reflected the technical and tonal idiosyncrasies of each instrument, he asked advice of wind soloists of his acquaintance before publication. His Sonata op. 166 met with the highest approval of the oboist; a passage in a letter bears witness to this: “It went like clockwork.” Henle was able to consult the autograph for the first time for this Urtext edition.
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Joseph Robinson of The Double Reed says of Elaine Douvas in this recording: “Eschewing overt expression in favor of implication and subtlety, she offers performances that are stylish and full of passion and conviction to be sure, but which, like all great art, withstand and reward the most careful scrutiny...Expert phrasing and articulation by Elaine Douvas in this album demonstrate persuasively that the pieces she has chosen are sufficient to challenge the finest player's imagination, discipline and instrumental skill.” This book is a delight for any oboist and again contains a rich collection of music from many periods, from Telemann to Hindemith. Includes a complete solo part, annotated with performance suggestions, and audio files with complete versions (with soloist) followed by recorded piano accompaniments to each piece, minus the soloist.
Performed by Elaine Douvas, oboe
Accompaniment: Erik Nielsen, piano
Audio is accessed online using the unique code inside the book and can be streamed or downloaded. The audio files include PLAYBACK+, a multi-functional audio player that allows you to slow down audio without changing pitch, set loop points, change keys, and pan left or right.
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Composed in 1938.
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“Oboe Concerto 1945, inspired by an American soldier, (an oboist from Chicago)” – was what Richard Strauss noted down. And the oboist and soldier with the American occupation John de Lancie had indeed asked Richard Strauss in May 1945 whether he had ever thought of writing an oboe concerto. Strauss answered in the negative, but soon got to work anyway. In October 1945, he had completed the score in Swiss exile; the premiere took place in Zurich in 1946. Not until 1948 did the first edition appear in London, presumably for the most part without the composer's involvement, for both the printed score and the orchestral parts exhibit numerous errors. Some of these have been known for a while, though others have only now been discovered by Hansjörg Schellenberger through his exact reconciliation of the autograph full score with the autograph particella. The world-class oboist thus presents this concerto for the first time in a Henle Urtext edition in both full score and piano reduction!
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Canzonetta, written in 1978, was intended to be the slow movement of an oboe concerto commissioned by the New York Philharmonic. No other movements were composed and the concerto was left unfinished at the time of Barber's death in 1981. The oboe and string orchestra version of Canzonetta was first performed in December, 1981, by Harold Gomberg, oboe, and the New York Philharmonic conducted by Zubin Mehta. Duration: c. 8 minutes.
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Commissioned by the Daily Telegraph for the Olympic Games in Melbourne in 1956, this edition is based on the autograph manuscript. Cadenza II has been reintroduced in the third movement. Advanced level.
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arranged for Oboe and Piano Reduction by Arthur Willner.
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Virtuoso Douvas of the Metropolitan Opera Orchestra continues the Oboe Classics series with these wonderful advanced-level solos on oboe. These cover the range from Baroque (Handel) to Twentieth Century Modernism (Hindemith), and includes two virtually unknown Romantic Era 'Solos de Concert' by Stanislas Verroust. A magnificent collection and a tremendous opportunity to advance to the highest levels of achievement. As a special bonus, this album includes a separate book containing the rare piano accompaniments to the Verroust 'Solos de Concert.' Includes a complete solo part printed on high-quality ivory paper, annotated with performance suggestions and a compact disc with complete versions (with soloist) followed by piano accompaniments to each piece, minus the soloist. Also includes a bonus book of piano accompaniments to the Verroust Solos de Concert.
Performed by by Elaine Douvas, oboe
Accompaniment: Erik Nielsen, piano
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Piano Reduction
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Performance sets for solo with orchestra are available (rental). Click here for information and to receive a quote.
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Available for the first time: easy to advanced solo works from the Rubank archives with online performance and accompaniment recordings, printable piano accompaniments, and PLAYBACK+ audio tools. This new collection of 14 Rubank solos includes many that have long been unavailable. All are suitable for contest and festival performance (grades 2-4). Purchase includes exceptional performance tracks (recorded by pro players), accompaniment tracks for practice, and PDF piano accompaniments for use at contest. Includes: Allegro Moderato from Trio No. 1 (Haydn) • Aria and Dance (Ostransky) • Bourrée and Menuet from Sonata III (Handel) • Chansonette (Barrett) • Crépuscule (Parès) • Danse Arabe from Nutcracker (Tchaikovsky) • First Concertino (Guilhaud) • Gavotte (Gossec) • Lamento/Nocturne (Bassi) • On Quiet Waters (Koepke) • Pastorale from Concerto for Oboe (Klemcke) • Sarabanda and Rigaudon (Corelli/Handel) • Siciliana (Pergolesi) • Solvejg's Song from Peer Gynt (Grieg)
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Movement Two from Three Pieces: Gavotte, Elegiac Dance, Presto
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Composed in 1941.
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| List | $8.99 |
| Price | $8.09 (Save: $0.90) |
This Henle Urtext edition is unrivalled in layout and precision. The professional journal “Rohrblatt” wrote shortly after its publication (in 2004): “An editorial stroke of genius... Every oboist who attempts this concerto must have his interpretation measured against this edition.” Such praise principally honors the editor, the famous oboist Ingo Goritzki. It was his idea to offer a supplement to the edited instrumental part that presents both sources of the work – each problematic in various ways – together with the edited part. Owing to this chosen arrangement of the score one can see all variants at a glance, and make one's own justified performance decisions. Particularly problematic and oft-debated passages are discussed in detail by Professor Goritzki. The above-cited praise for “an editorial stroke of genius” also applies to Mozart expert and pianist Robert Levin, who has composed idiosyncratic cadenzas in the master's style especially for Henle's edition of Mozart's oboe concerto; very much in the improvisatory spirit of a cadenza, one can jump from one place to another in the template thanks to a simple (numerical) cross-reference system, and thus craft one's “own” cadenzas. Finally, a word about the much-praised piano reduction for this edition, which comes from Mozart expert and renowned continuo specialist Siegfried Petrenz. He aims for a well-sounding and not too technically-challenging keyboard part that is clearly removed from those often-found piano reductions that orient themselves around an orchestral scoring. In so doing, he also takes account of the typical instructional situation in which a professional accompanist is not always available to the oboist.
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