Diss.--Würzbourg, 1993. / Bibliogr. p. 529-549. Index.

Diss.--Berlin. / Includes bibliographical references.

Diss.--Berlin. / Includes bibliographical references.

Thesis (D.M.A.)--University of North Texas, 2002. / Accompanied by 4 recitals, recorded Nov. 13, 1995, Oct. 12, 1996, Mar. 9, 1998 and June 3, 2002. Includes bibliographical references (p. 44-46).

Inaugural-Dissertation-Erlangen. / Cover title. "Lebenslauf": p. [71]. "Literatur": p. 69.

Diss., 1987. / Bibliogr. p. 417-433. Index.

No description available.

Music written for oboe and orchestra in the nineteenth century falls into three categories: Classical Concerto, Opera Fantasy, and Concertino. The classical, or standard, three movement, sonata-ritornello format was only sparingly used. Instead, composers chose more the experimental forms of the Opera Fantasy and Concertino. The Opera Fantasy was used as a way for oboe players to play popular opera arias of the time, while showcasing their virtuosity and expression. It is in the Concertino where composers expanded the oboe repertoire to its highest form in the nineteenth century, experimenting with structure, and using the oboe to the height of its expressive powers. In addition to discussion on the Concertino in general, performance guides have been provided for two concertinos, Concertino for Oboe and Winds, by Carl Maria von Weber and Concertino for Oboe and Orchestra, Op. 18, by August Klughardt. Information is provided regarding composer biography, compositional/historical perspective, technical and stylistic considerations, and structure. By examining the two very different pieces, one from the beginning of the nineteenth century and one from the end, the evolution of the Concertino can be seen, as well as gaining an understanding of the wide variety of repertoire written for the oboe in the nineteenth century.