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abstract: The Concerto for Oboe and String by Ralph Vaughan Williams is often described as a pastoral work without any consideration for what makes that an accurate description. This paper outlines the connections to English folk song that create what are considered the pastoral qualities in the work. Vaughan Williams' relationship with English folk song, as collector and arranger, is well-documented, as is his advocacy for their use in compositions. By the time he wrote the Oboe Concerto at the end of his career, folk song elements had completely infused his compositional style. The Oboe Concerto shares many stylistic traits with English folk song. These stylistic elements: mode, melodic structure, form, and rhythm and meter are first analyzed in terms of English folk song, then how these features are utilized in the Oboe Concerto. Another connection to English folk song is in the manner of accompanying the Concerto. Vaughan Williams had firm opinions on how to accompany folk songs and wrote many sample accompaniments, which bear a marked resemblance to the accompaniment for the Oboe Concerto. The same is true for the accompaniment he wrote for a specifically folk song-inspired work, the Six Studies in English Folk Song for Violoncello and Pianoforte. Specific examples from both works are compared to the Concerto accompaniment. Finally, several motives and melodic figures found in folk songs included in the Penguin Book of English Folk Songs, which was edited by Vaughan Williams, are also found in the Oboe Concerto. An understanding of the use of English folk song elements and specific quotes in the Oboe Concerto, as well as the folk song-style treatment in accompaniment provide concrete evidence of the pastoral quality prevalent in many works of Vaughan Williams. Not only can this support a well-informed and more rewarding performance of the Oboe Concerto, but the same analysis can be applied to many of his other works as well, in addition to the works of a generation of English composers whose style he influenced. / Dissertation/Thesis / D.M.A. Music 2013

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Bohuslav Maritnů¡¦s Oboe Concerto, H. 353 is one of the most important oboe works in the twentieth century. This Concerto is composed in 1995, in Maritnů¡¦s later life period. There are numerous mistakes and controversies over the final published version. This has resulted various interpretation of the same piece by many performers throughout the decades. The main topic of this research concerns with the differences of the published editions and six recordings. This thesis is consisted of introduction, conclusion, and other three main chapters. The introduction includes research motivation, purpose, literature review and components definition. The first chapter is the introduction of Maritnů¡¦s life and music. Also, the important features of Oboe Concerto, H. 353 are briefly described in this chapter. The second chapter detailed described and the analyzed the Oboe Concerto, H. 353. The essential materials used in this piece are analyzed and organized in table charts. Nevertheless, for giving the instructions for practicing this piece, the play-skills and teaching-materials are suggested along with the difficult parts of the whole composition. Chapter three is the most important part of this thesis. This chapter mainly focuses on the comparison between scores and sound recordings, and discusses the accuracy of these versions. The scores including the piano version and the orchestra versions and those are expounded in the section one. Furthermore, according to the literatures, the correctness of musical notes and articulation are arranged in this section. I also mark the mistakes of each movement of Oboe Concerto, H. 353 in appendix for readers¡¦ references. Section two in chapter three is the comparison of different sound recordings of this piece. The six important and accomplished oboists¡¦ recordings are discussed in order to let readers realize these great oboists¡¦ music style and their characteristics. These most influential performers are Jiři Tancibudeck, Ingo Goritzki, Heinz Holliger, Lajos Lencsés, Thomas Indermühle, and Alex Klein. The last part is the conclusion of this thesis which concluded and analyzed the whole thesis.

This critical commentary investigates performance practice issues in Tomaso Giovanni Albinoni’s Concerto à cinque, op. 9 no. 5 (Amsterdam: Le Cène, 1722). It aims to stimulate players of the modern oboe to consider an historically informed approach towards the performance of this work through an assessment of relevant literature. Albinoni’s (1671–1750/51) professional career and the musical environment of Venice at this time form the backdrop for the study. The insularity of Albinoni’s life in Venice can be seen to have shaped certain original elements of his work. Furthermore, the increased availability of woodwind virtuosos in northern Italy during the early eighteenth century saw the composition of concertos for the oboe become an established part of Venetian musical life. This critical commentary includes a review of both historical treatises and modern literature that focus on the major performance practice parameters of tempo, dynamics, articulation and ornamentation. The historical treatises provide oboists with an understanding of the general practice during the baroque period, while the modern literature offers further discussion and analysis of these sources, alongside newer ideas for approaching the performance of Albinoni’s concerto. The resulting suggestions should not be regarded as rigid rules that contemporary performers must follow, but rather aim to give them more insight into the possible interpretation of the work. Thus the study provides both background information on the Concerto and guidelines on performance practice to assist oboists in generating their own ideas so that they can then develop their own interpretation of Albinoni’s concerto based on the evidence obtained from extensive research.

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Johann Friedrich Fasch's music displays a stylistic variability characteristic among some composers of the early eighteenth century, a time in which the mature Baroque style period of Western art music was beginning to show new elements of the Classical style. Opinions regarding Fasch's contribution vary from praise for his role as one of the most important pioneers to simple acknowledgment as merely one among many significant, forward-looking, transitional composers. During the early eighteenth century, a wealth of fine literature for solo oboe was produced. Current oboe repertoire includes many standard, mature Baroque concertos of the early eighteenth century; few works representative of evolutionary compositions hinting toward the development of a new historical style period are available. The primary purpose of the lecture recital is to introduce to the oboe repertoire an edition of a concerto by Fasch, one representative of the transition from Baroque to Classical eras.

Bohuslav Martinů's "Concerto for Oboe and Small Orchestra" is one of the most frequently played pieces in the oboe repertoire. For this reason, it is often played with the piano reduction instead of the orchestra in oboe recitals. However, the existing piano reductions include many errors and discrepancies from the orchestral score, misrepresent the orchestration, sometimes fail to make the oboe entries clear, and tend to be unplayable for pianists. Moreover, the scores were published after the composer's death without him supervising the final editing. I have prepared a new, playable piano reduction to represent the orchestration more faithfully and help pianists work with their soloists more easily. Based on the work of Martin Katz, a prominent collaborative-pianist, I establish four principles for creating a new piano reduction. After scrutiny of the deficiencies of existing piano reductions, I suggest solutions for making the passages in question practical and bringing out the leading voices clearly so that the soloist can join in as easily as playing with an orchestra. To aid in reflecting the orchestral texture that Martinů created, I include abbreviated instrument names in many passages to help pianists to understand how to create balance. I have changed some passages completely to make the sound closer to the orchestral texture. All changes and suggestions are based on the orchestral score and its layout. This simplified and practical piano reduction should help pianists have more enjoyable and more successful collaborations with their soloists.