Ursula Mamlok was born in Berlin in 1923, but was forced to emigrate via Ecuador to New York in 1939 because of her Jewish descent. In 2006 she returned to the city where she was born.Fünf Phantasiestücke, composed in 2012/13 for a small mixed ensemble consisting of oboe, violin, viola and violoncello, draws its appeal from the broad spectrum of emotions, feelings and states described musically in a minimum of time: Unruhig [Anxious] - Schwebend [Floating] - Munter [Lively] - Wie im Traum [Like a Dream] - Spielerisch [Playful] are the headings of the individual sections. Pieces as colourful as life: They are bursting with ingenuity and vital energy, coupled with a healthy dose of humour. / Hautbois, Violon, Violoncelle Et Alto

Ce petit ouvrage pour hautbois et trio à cordes a été écrite c.1878, probablement pour des performances à Glee Club Worcester. Il n'a jamais été publiées. Partition et parties. / Hautbois, Violon, Viola, Violoncelle

Par FELDMANN WALTER. « le sexe du noyé »ist Teil einer Gruppe von Werken, deren gesamte Struktur aus dem ersten Streichquartett « . . . à tournoyer » [Carus 16. 321] stammt. Das Oboenstück stellt einen entscheidenden Schritt in der Entwicklung des Musiksystems dar, das später [2004] das Violakonzert « monstrueuse vécut dans le cadre » la mémoire [Carus 16. 326] ermöglichen sollte: die Ausarbeitung einer Rhythmik, die streng vom mikrotonalen Tonsystem abgeleitet ist. Innerhalb der Gruppe der Holzblasinstrumente besitzt die Oboe eine besondere Fähigkeit des sauberen Spiels von Mikrotönen und Mehrklängen, die hier konsequent ausgelotet wird und im elektronischen Hall seine Resonanz findet. Nichtnur die feinste rhythmische Ausdifferenzierung, sondern auch die Notation in Achteltönen bewirkt den äußerst hohen Schwierigkeitsgrad und die vom Solisten geforderte Virtuosität. Eine Komposition, die vom Oboisten alles abverlangt, mit dem Ziel, nicht nur die Musik selbst in ihren Extremen in Szene zu setzen, sondern besonders die sinnliche Präsenz des Oboisten im Konzertraum zu verdeutlichen: genau auskomponiertes Atmen, Fußbewegungen [Scharren, Aufstampfen, Reiben], und diese, besonders am Schluss des Stücks, als eigenständige Schicht, deren Ausführung den nur noch auf einem Bein fest stehenden Oboisten in eine äußerst körperbetonte Lage bringt. « le sexe du noyé » ist Irène Niederberger gewidmet./ Répertoire / Hautbois et Electronique

Music Minus One Oboe-These oboe sonatas by Pepusch and Telemann are great Baroque pieces for any oboist and are perfect training ground for the instrumentalist looking to learn ensemble playing. Classic trio sonatas of their age they utilized a background of flute and basso continuo - a semi-improvised accompaniment commonly carried out by both a harpsichord and a viola da gamba the two instruments serving as a full bass line supporting the other instruments. The oboist is here afforded a wonderful opportunity to play this beautiful music in association with the wonderful Rameau Trio. Not too difficult these pieces are perfect for the intermediate oboist or for the beginner looking toward amoderate challenge. Listen to and study master oboist Virginia Brewer performing with the Trio then you take your place with this group for one of the most marvelous experiences in chamber music - the Baroque trio sonata. Includes a printed guide to period ornamentation complete with musical examples. Performed by Virginia Brewer oboe Accompaniment: The Rameau Trio: Jean Antrim flute Jocelyn Chaparro harpsichord Fortunato Arico viola da gamba

Albinoni like many other Italian Baroque composers had a particular fondness for the Oboe. He composed this work in 1715 with the original instrumentation of Oboe 2 Violins Viola Cello and Continuo. This Boosey & Hawkes edition has a Piano reduction of the original instrumentation.

Par CANNABICH CHRISTIAN. Bien que la mélodie du hautbois, de la tessiture passable est due à donner la préférence à jouer le rôle peut être aussi avantageux à partir d'un C-clarinette. La partie de basson est brillamment conçu et spécifique à l'instrument./ Répertoire / Hautbois, Violon, Alto et Violoncelle

Three Movements For Improvising Oboe, Soprano Sax, Viola, Cello. Par LIEBMAN DAVID. It is natural as we age to contemplate the finality of passing on, if not personally, then certainly as an effect from others around you whom have left this space. Having to endure the passing of family and friends is of course very trying. This is especially true when the perception is that someone 'passed before their time” though there are those of us who believe in fate implying that the Force works in its own mysterious way. In some ways I can subscribe to that concept, but for me when someone passes early, say in their fifth or sixth decade of life, it is 'before their time.” Composers often commemorate passings with music as a means to mourn and as well to celebrate the life of an individual who meant something to them. Such is the nature of this piece. Movement 1 - Past uses as source material themes I wrote for my mother Frances and father Leo when they passed - movement 2 - Present centers around a choral ('Prayer for Mike”) I wrote for my dear friend, saxophonist Michael Brecker when he passed a few years ago. This same period also saw the passing of other friends and associates whom I had known for years, all way too premature, beginning with JF Jenny Clarke and Bob Berg, Hans Gruber, Thomas Stowsand, David Baker, James Williams, Dennis Irwin, John Stubblefield. The final movement - ­Future is a requiem of sorts for all of us still here. With its improvisational character, it is meant to suggest the positive implications of living life to its fullest./ Recueil / Hautbois, Saxophone Soprano, Alto et Violoncelle

Par CRUSELL BERNHARD HENRIK. / Répertoire / Hautbois, Violon, Alto et Violoncelle

Par VANHAL JOHANN BAPTIST. Editeur(s) d'origine: Mulgan, Denis M./ Répertoire / Hautbois, Violon, Alto et Violoncelle