Concerto in F Major for Oboe Strings and Basso Continuo RV457

SKU: KU.OCT-10177

ISBN 9790206203947. Key: Eb major.

Oboe, Strings, Basso continuo (Score).

SKU: PR.11641373S

UPC: 680160680344.

The concerto has always seemed an especially attractive medium to me, not necessarily because of its expectations of virtuosity (although flaunting it when you've got it certainly has its place), and emphatically not because of the perception of a concerto as a contest, but because so much of what I write feels song-like; I'm very much at home with the age-old texture of melody and accompaniment. I hope, before I move on, to have the opportunity to write concertos for all the major instruments, and perhaps some of the rarer ones as well. The oboe is not only one of the major instruments, it is one of my favorite instruments. I've always loved its sound, but since moving to New York I have gotten to hear and, in some cases, know some extremely fine oboists who broadened my appreciation of the instrument's possibilities. I especially remember a concert, probably in the late 1960's, in which Humbert Lucarelli played a Handel concerto, filling out large melodic leaps with cascading scale passages in a way that raised the hair on the back of your neck, somewhat in the way that John Coltrane's sheets of sound did. The sweeping scales in the second movement of my concerto were definitely inspired by Bert Lucarelli's performance. The first, third and fifth movements of the Concerto for Oboe and Orchestra are song-like, whereas the second and fourth have strong scherzo and dance qualities, including a couple of sections that sound like out-and-out pirate dances to me. The hymn-like tune at the beginning of the middle movement was originally begun as a vocal piece to be sung by my wife, son and daughter at my brother's wedding, but I couldn't come up with good works for it, so it ended up as an instrumental chant. The opening and closing of the concerto make use of the oboe's uniquely soulful singing. I had not heard Pamela Woods Pecha's solo playing in person when she approached me about writing a concerto, but I had heard her fine recording of chamber music for oboe and strings by the three B's (English, that is: Bliss, Bax and Britten) with the Audubon Quartet. I actually already had some oboe concerto ideas in my sketchbooks; although I didn't end up using any of those earlier ideas, it's interesting that most of them tended to share the general feeling and tonality of the eventual opening of the concerto. The work was completed on October 13, 1994. I hate the compromises involved in making piano reductions -- perhaps I would feel differently if I were a more accomplished pianist -- so I often decide to make piano reductions for four hands rather than two. My good friend Jon Kimura Parker is a terrific sight-reader, and I roped him into coming over to my place on February 17, 1995, to help me accompany Pamela on the first read-through of the piece. The first performance of the work took place on July 21, 1995, at the American Music Festival in Duncan, Oklahoma, with Mark Parker conducting the Festival Orchestra.

SKU: PR.11641373L

UPC: 680160680337.

The concerto has always seemed an especially attractive medium to me, not necessarily because of its expectations of virtuosity (although flaunting it when you've got it certainly has its place), and emphatically not because of the perception of a concerto as a contest, but because so much of what I write feels song-like; I'm very much at home with the age-old texture of melody and accompaniment. I hope, before I move on, to have the opportunity to write concertos for all the major instruments, and perhaps some of the rarer ones as well. The oboe is not only one of the major instruments, it is one of my favorite instruments. I've always loved its sound, but since moving to New York I have gotten to hear and, in some cases, know some extremely fine oboists who broadened my appreciation of the instrument's possibilities. I especially remember a concert, probably in the late 1960's, in which Humbert Lucarelli played a Handel concerto, filling out large melodic leaps with cascading scale passages in a way that raised the hair on the back of your neck, somewhat in the way that John Coltrane's sheets of sound did. The sweeping scales in the second movement of my concerto were definitely inspired by Bert Lucarelli's performance. The first, third and fifth movements of the Concerto for Oboe and Orchestra are song-like, whereas the second and fourth have strong scherzo and dance qualities, including a couple of sections that sound like out-and-out pirate dances to me. The hymn-like tune at the beginning of the middle movement was originally begun as a vocal piece to be sung by my wife, son and daughter at my brother's wedding, but I couldn't come up with good works for it, so it ended up as an instrumental chant. The opening and closing of the concerto make use of the oboe's uniquely soulful singing. I had not heard Pamela Woods Pecha's solo playing in person when she approached me about writing a concerto, but I had heard her fine recording of chamber music for oboe and strings by the three B's (English, that is: Bliss, Bax and Britten) with the Audubon Quartet. I actually already had some oboe concerto ideas in my sketchbooks; although I didn't end up using any of those earlier ideas, it's interesting that most of them tended to share the general feeling and tonality of the eventual opening of the concerto. The work was completed on October 13, 1994. I hate the compromises involved in making piano reductions -- perhaps I would feel differently if I were a more accomplished pianist -- so I often decide to make piano reductions for four hands rather than two. My good friend Jon Kimura Parker is a terrific sight-reader, and I roped him into coming over to my place on February 17, 1995, to help me accompany Pamela on the first read-through of the piece. The first performance of the work took place on July 21, 1995, at the American Music Festival in Duncan, Oklahoma, with Mark Parker conducting the Festival Orchestra.

SKU: KU.OCT-10056

Octavo size inches. Key: C major.

Oboe Concerto in C Major P44 - Score (octavo size)_x000B_

The instrumental parts are also available for purchase.
For the Oboe-Piano edition, please see GM106.

SKU: HL.50488963

UPC: 884088013943. 8.25x11.75x0.123 inches.

For Oboe, Strings and cembalo (piano reduction).

SKU: KU.OCT-10062

Octavo size inches. Key: F major.

Oboe Concerto in F Major P318 - Score (octavo size) - For the solo part see GM129.

SKU: KU.OCT-10032

Key: D major.

Oboe Concerto in D Major P187 - Score - For the solo part, see GM97.

SKU: HL.50488600

8.0x10.75x0.114 inches.

SKU: HL.50040300

UPC: 073999227185. 8.0x10.75x0.157 inches.

SKU: HL.50040260

8.0x10.75x0.156 inches.

SKU: HL.50036590

8.0x10.75x0.16 inches.

SKU: HL.50037910

UPC: 073999265316. 6.75x10.5x0.117 inches.

SKU: HL.50038540

UPC: 073999535358. 8.0x10.75x0.147 inches.

SKU: HL.50484294

8.0x10.75x0.09 inches.

SKU: HL.50510509

ISBN 9790080070604. UPC: 073999105094. 9.0x12.0x0.085 inches. Gyorgy Balla.

Oboe and Piano.

SKU: KU.GM-350P

ISBN 9790206206306. Key: C major.

Oboe Solo, Strings, Basso continuo (keyboard part to be read from the score)

SKU: HH.HH468-FSC

ISBN 9790708146773.

For his Concerto in E flat major for Oboe, Strings and Basso Continuo Wolff created three exceptionally spacious movements full of attractive musical ideas as well as rhythmic and contrapuntal invention. The slow movement, marked ‘Adagio con affetto’, has the happy idea of entrusting the accompaniment for solo passages to pizzicato strings, while the ‘Allegro’ finale is a tour de force of energy and thematic concentration. This is an imposing composition in every respect.

SKU: HH.HH468-KBD

ISBN 9790708146810.

For his Concerto in E flat major for Oboe, Strings and Basso Continuo Wolff created three exceptionally spacious movements full of attractive musical ideas as well as rhythmic and contrapuntal invention. The slow movement, marked ‘Adagio con affetto’, has the happy idea of entrusting the accompaniment for solo passages to pizzicato strings, while the ‘Allegro’ finale is a tour de force of energy and thematic concentration. This is an imposing composition in every respect.

SKU: KU.OCT-10160

Key: F major.

Concerto in F Major for Oboe and Orchestra - Full Score.