Sonata in C minor for oboe and basso continuo / A. Vivaldi -- Sonata for oboe and piano / K. Hoover -- Sonata for solo oboe / Heinz Holliger -- Concerto for oboe and orchestra / E. Goossens. / text

Sonata in G minor / J. S. Bach -- Sonata for English horn / P. Hindemith -- Three romances / C. Schumann -- 3 diversions for 2 oboes / J. Rathbun / text

<p>Inspelningen är ännu ej inlämnad.</p>

abstract: This document is an expansion of the information presented at a lecture-recital on March 24, 2017, at Arizona State University. The program consisted of ten arias selected from the cantatas and oratorios of Johann Sebastian Bach (1685-1750), all for soprano with oboe, oboe d'amore, or oboe da caccia obbligato. The document first discusses the place and importance of oboe obbligatos in Bach's vocal works. In all, there are 173 arias with oboe obbligatos from the sacred and secular cantatas, oratorios, and the passions. Of these, 56 are arias for soprano. The ten selected for this document are intended to illustrate the rich variety of this repertoire and especially the ways in which Bach interprets and conveys the meaning of their texts. Most of Bach's arias that feature the oboe, or the short-lived oboe d'amore or the oboe da caccia, come from his early years in Leipzig (1723-1726). The document examines the circumstances there that led to so much music for these instruments, discussing Bach's connection with instrument-makers and musicians, notably the oboist Johann Caspar Gleditsch (1684-1747). The body of the document describes individually the ten arias performed on the May of 2017 recital, which come from BWV 1, 21, 74, 94, 98, 144, 187, 199, 202, and 248. Texts and translations are provided, and background information is given for each. The da capo structures and any distinctive features are discussed. Each description focuses on the meaning of the text, the musical character that conveys the overall affect, and specific devices of mood- and word-painting. In all cases, the close affinity of the voice and the oboe is a central concern. / Dissertation/Thesis / BWV 202 / Lecture, Introduction / BWV 21 / Lecture, BWV 199 / BWV 199 / Lecture, BWV 1 / BWV 1 / Lecture, BWV 74 / BWV 74 / Lecture, BWV 144 / BWV 144 / Lecture, BWV 94 / BWV 94 / Lecture, BWV 98 / BWV 98 / Lecture, BWV 187 / BWV 187 / Lecture, BWV 248 / BWV 248 / Doctoral Dissertation Performance 2017

This document serves as a guide for college oboists who wish to improve their playing by targeting technical and musical challenges with annotated excerpts from orchestral and solo oboe repertoire. The contents of this essay are categorized by eighteen different performance challenges such as intonation, little-finger agility, dynamic contrast through the full range of the oboe, half-hole technique, phrasing, and rapid tonguing. Each chapter begins by identifying technical or musical difficulties and provides advice on how to overcome it using excerpts from the oboe repertoire. Each chapter presents two annotated orchestral excerpts and one solo oboe excerpt that targets the technical or musical difficulty. The orchestral excerpts are selected from standard orchestral repertoire from the eighteenth to the twentieth century. The oboe solo excerpts are selected from the repertoire that is widely taught in most universities. In conjunction with professional instruction, this guide may aid in improving an oboe student's performance abilities. My goal in writing this guide is two-fold: to give aspiring oboists a task-specific tool to use as they struggle with musical and technical impediments, and at the same time, to familiarize them with orchestral and solo oboe repertoire.

No description available.

Thesis (D.M.A.)--University of Maryland, College Park, 2006. / Compact discs.

Oboe concerto in G minor, no.3 / George Frideric Handel -- Trio for flute, oboe, piano / Madeleine Dring -- Snake / D. H. Lawrence -- Snake / Michael Berkeley -- Sextet for piano and woodwind quintet, op.6 / Ludwig Thuille. / text

This essay explores current methods, procedures and philosophies surrounding oboe reed-making via a survey conducted in 2009 amongst college-level oboe professors. By relying on the results of the survey, it seeks to identify a unifying approach to American reed-making pedagogy by establishing common concerns and experiences of educators and presenting a snapshot of the development of oboe reed design in American universities and colleges with particular attention given to developments during the tenure of those surveyed ending with 2009.

This essay describes basic preparation techniques for oboe auditions through examples demonstrated in selected oboe excerpts. The application of these methods in the selected oboe excerpts will help to reinforce the objective of each outlined preparation technique. Three aspects regarding preparation techniques are discussed. Technical Preparation describes different practice methods intended to increase technical performance consistency for an audition. Performance Internalization details the mental approach to accurately prepare a solo audition before an audition committee. Critical Factors Involving Reed Preparation describes effective processes in reed preparation through the analysis of reed-making sources. Basic Preparation for Oboe Auditions by Using Selected Oboe Excerpts is intended as an audition preparation source for amateur oboists. This essay can additionally serve as a basic and fundamental reference for higher level performers who are preparing to play auditions.