AN ANNOTATED BIBLIOGRAPHY OF AMERICAN OBOE CONCERTOS

Erin Smith

A Thesis

Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of

MASTER OF MUSIC

May 2018

Committee:

Nermis Mieses, Advisor

Susan Nelson

Elizabeth Menard

ii

ABSTRACT

Nermis Mieses, Advisor

Traditionally, oboists have learned and performed standard oboe concerti by European composers. While learning these concerti is important to understand the foundations of the instrument, it can be a great benefit to classical music and the performer to begin to perform lesser-known concerti. This document may provide a resource for oboists to discover and locate concerti written by American composers. Information will be provided on how to locate the sheet music and recordings as well as ranking the difficulty of these concerti and providing program notes written by the composer. iii

ACKNOWLEDGMENTS

There are many people who have helped shape me into the musician that I am today, I owe this thesis to them.

First, I would like to thank my parents, who embraced my crazy idea to play the oboe, an instrument neither one of them had ever heard of. They supported me through all the private lessons, concerts, and recitals it has taken me to get to this point; as well as being my emotional support through everything else life has thrown at me.

I would like to thank Dr. Nermis Mieses, this thesis wouldn’t have been possible without your constant guidance and encouragement.

Thank you to the Bowling Green State University library, for answering my questions and assisting me in finding all the scores needed for this thesis.

Finally, I would like to thank all my friends and colleagues, who were very understanding when I was stretched to my limit. I would not have maintained my sanity without the group trips to the library and late-night phone calls when I needed a second opinion. iv

TABLE OF CONTENTS

Page

INTRODUCTION ...... 1

CHAPTER I. IDENTIFICATION OF INCLUDED CONCERTI ...... 2

CHAPTER II. DIFFICULTY RANKING SYSTEM ...... 4

CHAPTER III. ANNOTATED BIBLIOGRAPHY ...... 6

BIBLIOGRAPHY…… ...... 64

APPENDIX A. UNPUBLISHED CONCERTI ...... 67

APPENDIX B. CHAMBER CONCERTI FEATURING THE OBOE, ENGLISH HORN, OR

OBOE D’AMORE ...... 68 1

INTRODUCTION

Traditionally, oboists have learned and performed standard oboe concerti by European composers such as Strauss, Vaughan Williams, Mozart, Vivaldi, and Haydn to develop as performing musicians. While learning these concerti is an important part of understanding the foundations of the instrument, it can be a great benefit in the promotion of classical music and the performer’s musical knowledge to perform lesser-known concerti. This document may provide a resource for oboists to discover and locate concerti written by American composers.

According to the Oxford companion to music, a concerto is generally understood to be a piece for one or more soloists and orchestra. But, the word ‘Concerto’ is probably derived from the Latin concertare, which can mean ‘to dispute’ or ‘to work together’.1 For the purpose of this document, concerto will be defined as any piece for solo instrument and large ensemble. This document will include concerti written by American composers for the oboe, English horn, or oboe d’amore.

1 Alison Latham, “Concerto,” The Oxford Companion to Music, 2011, accessed March 28, 2017, http://www.oxfordreference.com.ezproxy.bgsu.edu:8080/view/10.1093/acref/9780199579037.001.0001/acref- 9780199579037-e-1550?rskey=SRjhtL&result=1 .

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CHAPTER I. IDENTIFICATION OF INCLUDED CONCERTI

This annotated bibliography was inspired by Elizabeth Eccleston’s An Annotated

Bibliography of Canadian Oboe Concertos.2 In this annotated bibliography, Eccleston identifies and briefly describes every oboe concerto written by a Canadian composer. Her document was used as a model for this one, in order to aid in the discovery and organization of concerti written by American composers.

Every concerto identified in Eccleston’s dissertation can be found at the Canadian Music

Centre. The United States does not have a comparable catalogue so, several different sources were used to identify American oboe concerti. The principle source for identification used was

Neil Butterworth’s Dictionary of American Classical Composers.3 The following is an excerpt from the Dictionary, explaining the criteria Butterworth used to identify which composers to include in the collection.

Inevitably, many composers both past and present have been excluded. Each university music faculty has its own gathering of musicians who compose, and new stars are rising every year. In subsequent editions of this book further names will be added; my apologies go to any who feel they should be included but are not. The criterion for inclusion is hard to establish, but all composers listed have their music performed widely beyond their own immediate circle.

Where composers from other countries have immigrated to the United States, I have usually included them if they have become naturalized citizens. In these cases, to give a complete survey of their work, music written abroad has also been mentioned. Those composers who enjoyed prolonged residence in America but were not naturalized do not appear. I have omitted Stravinsky, partly as he is so well documented elsewhere and partly because the majority of his major works were composed in Europe.

Not included are composers of light music and jazz and song-writers unless they have produced works in other media. Thus George Gershwin and Ethelbert Nevin are represented, Harold Arlen and Irving Berlin are not. One Exception is Stephen Foster, whose songs exerted such an influence during the nineteenth century that it was felt his historical significance warranted his inclusion. 4

2 Elizabeth E. Eccleston, “An Annotated Bibliography of Canadian Oboe Concertos” (DMA dissertation, University of Cincinnati, 2016) 3 Neil Butterworth, Dictionary of American Classical Composers (New York: Routledge, 2005) 4 Neil Butterworth, Dictionary of American Classical Composers (New York: Routledge, 2005), pp. vii

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Also included are some recently composed concerti written by composers such as Alyssa

Morris, David Stock, and Scott McAllister. These concerti can be found on recently recorded albums such as Nancy Ambrose King’s 2016 CD Illumination5 and David Stock: Concertos6, featuring Alex Klein performing Oborama.

To aid in the goal of this annotated bibliography, which is to serve as a source for musicians to discover and perform these concerti, this annotated bibliography only contains concerti that can be obtained through the Interlibrary Loan system, or other free services. This is why the Online Computer Library Center (OCLC) numbers have been included in the annotated bibliography. The OCLC number is the number used on worldcat.com to differentiate different items from each other. This resource was chosen because any interested musician with access to the Internet can search worldcat.com and find where these scores are located. With this information these scores may be obtained with ease.

To form the list provided in Chapter III, a careful procedure was followed. First,

Butterworth’s book was thoroughly searched for mention of oboe, English Horn, and oboe d’amore concerti. Then the internet was searched for recent recordings of new concerti written by American composers. After that list was formed, each concerto was searched for using worldcat.com. If it was available through Interlibrary Loan it was put into the annotated bibliography section, if it was unavailable for loan it was put into the list that forms Appendix A.

5 Nancy Ambrose King, Equilibrium, Illuminations, 2016 6 David Stock, Oborama, Boston Modern Orchestra Project, David Stock: Concertos, 2016

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CHAPTER II. DIFFICULTY RANKING SYSTEM

Similar to the process used in Eccelston’s dissertation, this annotated bibliography has adopted the difficulty ranking system used by Dr. Sarah J. Hamilton in her DMA document, An

Annotated Bibliography of Candadian Music for Oboe, Oboe d’Amore, English Horn and Bass

Oboe found in the Canadian Music Centre. This difficulty ranking system was used to identify difficulties one might have while learning and performing the concerti annotated in the following chapter. The ranks were determined by reading the score of the concerti, listening to recordings when available, and then linking the level of difficulty to the designated level in the ranking system provided by Hamilton. The following is an excerpt from Hamilton’s article, which explains the criteria used in ranking oboe repertoire for level of difficulty.

very easy – range from D4 to G5; few leaps over a fifth; frequent rests; few dynamic markings; most complex subdivision is eighth note; maximum tempo: beat = mm. 100; simple duple, triple, and quadruple time signatures only; key signature does not exceed two flats or sharps.

easy – range from C4 to C6; few leaps over an octave; some rests; some dynamic changes; not much continuous tonguing; most complex subdivision not to exceed sixteenth notes; maximum tempo: beat = mm. 120; simple and compound meters; key signatures do not exceed three flats or sharps and may use some accidentals.

moderate – range from B-flat 3 to E-flat 6; leaps over an octave; moderate endurance requirements; may have sudden dynamic changes; may have fast or moderately long tonguing passages; subdivisions do not exceed thirty-second notes; maximum tempo: beat = mm. 132; meter and key changes possible; key signature does not exceed four flats or sharps and/or may use frequent accidentals.

moderately difficult - range from B-flat 3 to F6; leaps under two octaves; extended endurance required; may have sudden, extreme dynamic changes; may have extensive fast tonguing; thirty-second note subdivisions possible; few tempo limitations; complex meters possible; no key limitations; may incorporate extended techniques, e.g. quarter tones, multiphonics; may include graphic notation.

difficult - range from B-flat 3 to G6; leaps exceed two octaves; extensive endurance may be required; tempo, technique, and dynamics are not considerations; may include multiple meters and complex rhythms; may

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incorporate many extended techniques: see previous level and including flutter and double tonguing.

very difficult – no limitations in range, tempo, technique or extended technique, dynamics, tonguing, flexibility, meter, rhythm, or range; often an absence of melodic or rhythmic patterns in technical passages7

7 Sarah Hamilton, “An Annotated Bibliography of Canadian Music for Oboe, Oboe d’Amore, English Horn and Bass Oboe found in the Canadian Music Centre,” The Journal of the International Double Reed Society e-edition: Vol. 26, (1998), pp. 72-73

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CHAPTER III. ANNOTATED BIBLIOGRAPHY

Entries are organized alphabetically by last name. Sections left blank indicate the information is not available in the score. Program notes are directly quoted from the composer, when provided. Following is a list of all concerti included in this section:

Argento, Dominick, Bravo Mozart! (1969) Bacon, Ernst – Elegy (1957) Barab, Seymour – Dances for Oboe and Strings (1993) Barber, Samuel – Canzonetta (1978) Barlow,Wayne – The Winter’s Passed (1938) Bolcom, William – Spring Concertino (1986-87) Bottje, Will – Concertino for English Horn (1957) Carter, Elliot – Oboe Concerto (1987) Castelnuovo-Tedesco, Mario – Concerto da Camera (1950) Childs, Barney – Concerto for English Horn, strings, harp and percussion (1955) Cooper, Paul – Antiphons (1971) Corigliano, John – Oboe Concerto (1975) Daugherty, Michael – Firecracker (1991) Daugherty, Michael – Spaghetti Western (1998) Ewazen, Eric – Down a River of Time Foss, Lukas – Oboe Concerto (1947-48) Fuchs, Kenneth – Eventide (2002-03) Goeb, Roger – Fantasy for oboe and strings (1947) Hanson, Howard – Pastorale (1948) Harbison, John – Oboe Concerto (1990-91) Harbison, John – Snow Country (1979) Higdon, Jennifer – Oboe Concerto (2005) Hodkinson, Sydney – Edge of the Olde One (1977) Kay, Ulysses – Pieta (1950) Kennan, Kent – Elegy (1939, revised 1987) Kernis, Aaron – Colored Field (1991) Kohs, Ellis – Legend (1947) Korn, Peter – Rhapsody (1951) Korn, Peter – Romanza Concertante (1987) Kraft, William – Concerto for English Horn and orchestra (2002) La Montaine, John – Ode (1957) Lazarof, Henri – Concerto for Oboe and chamber orchestra (1997) Lees, Benjamin – Oboe Concerto (1963) Lessard, John – Cantilena (1946) Luening, Otto – Legend (1951) McAllister, Scott - Gone McAllister, Scott – Grunge Concerto Morris, Alyssa – Dreamscape Mourant, Walter – Air and Scherzo (1955) Persichetti, Vincent – Concerto for English Horn (1977) Riley, John – Fantasy for oboe and strings (1955) Rorem, Ned – Concerto for English Horn (1993) Schickele, Peter – Concerto for oboe (1994, revised 1995) Schuman, William – To Thee Old Cause (1968) Sollberger, Harvey – 3 or 4 Things I Know About the Oboe (1987) Stock, David – Oborama (2011) Street, Tison – Adagio in E-flat for oboe and strings (1977) Zwilich, Ellen – Oboe Concerto (1990)

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Composer: Dominick Argento (b.1927)

Title: Bravo Mozart!

Date of Composition: 1969

Instrumentation: Oboe and orchestra

Piano Reduction:

Duration: 30 minutes

Commission: University of Minnesota

Premiere: July 3, 1969 at Northrop Auditorium, Minneapolis, Minnesota by the Minnesota Orchestra, under the direction of George Trautwein.

Publisher: Boosey & Hawkes, INC.

Score/Parts Availability: Score available through Interlibrary Loan, performance materials available on rental from Boosey & Hawkes.

OCLC Number: 909277672

Recording:

Movements: I. Salzburg: January 27, 1756 II. The Child Prodigy III. Aloysia IV. Lunch in Prague with da Ponte and Casanova V. The Stanger in Grey VI. Vienna: December 5, 1791

Range: B-flat 3 – E 6

Difficulty: moderate – requires the ability to change styles between movements, also features a few moderately long articulated passages.

Program notes/reviews: The following piano pieces by Mozart are quoted in this work: Köchel No. 1, 3, 355, 574, 399, and 236.8

8 Dominic Argento, Bravo Mozart! (New York: Boosey & Hawkes, Inc., 1978)

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Composer: Ernst Bacon (1898-1990)

Title: Elegy for Oboe and Strings

Date of Composition: 1957

Instrumentation: Oboe and string orchestra

Piano Reduction:

Duration: ca. 9 minutes

Commission:

Premiere:

Publisher: Ernst Bacon Society

Score/Parts Availability: Available through the Ernst Bacon Society for a short loan, Blumenthal Family Library-New England Conservatory of Music.

OCLC Number: 4350085

Recording: Ernst Bacon, Pieces for Strings, The Ernst Bacon Society, 2007

Movements: I. Andante

Range: D 3 – D 6

Difficulty: easy: the tempo is andante, the fastest subdivision is the sixteenth note, which is used sparingly throughout the concerto. The highest note (D6) is only used once. The oboe line is based on an air by Bartolmeo Trombonico, and is very lyrical.

Program notes/reviews: In memory of Gastone Usigli (1897-1956)

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Composer: Seymour Barab (1921-2014)

Title: Dances for Oboe Solo and String Orchestra

Date of Composition: 1993

Instrumentation: Oboe and string orchestra

Piano Reduction: Written by composer, available through Interlibrary Loan.

Duration: ca. 15 minutes

Commission: The Felice Lesser Dance Theatre

Premiere:

Publisher: Seesaw Music Corp. 1993

Score/Parts Availability: Available through the publisher.

OCLC Number: 29939682

Recording: Seymour Barab, Kurt Vonnegut, Richard Auldon Clark, Margaret Astrup, Frederick Urrey, Richard Holmes, and James Roe, Music of Seymour Barab, Kleos Classics, 2001

Movements: I. Pastorale II. Tango III. Waltz IV. Sarabande V. Two-Step

Range: E4 – E-flat 6

Difficulty: moderate – each movement is a different dance style. This concerto is not very difficult, but the range warrants the moderate label.

Program notes/reviews:

10

Composer: Samuel Barber (1910-1981) (finished by William Holab (b. 1958))

Title: Canzonetta

Date of Composition: 1978

Instrumentation: Oboe and string orchestra

Piano Reduction: Written by William Holab, available through Interlibrary Loan.

Duration: ca. 8 minutes

Commission: New York Philharmonic, 1978

Premiere: December 17, 1981, Harold Gomberg, oboe, the New York Philharmonic, Zubin Mehta, conductor.

Publisher: G. Schirmer, Inc. New York, NY

Score/Parts Availability: Score and string orchestra parts are available on rental through the publisher.

OCLC Number: 29944753

Recording: Lucarelli, Humbert, Samuel Barber, Ralph Vaughan Williams, Richard Strauss, Ermanno Wolf-Ferrari, Lehigh Valley Chamber Orchestra, and Donald Spieth. Wolf-Ferrari, Strauss, Vaughan Williams, Barber. Koch International Classics 3-7023-2, 1990

Movements: All in one movement.

Range: B-flat 3 – D 6

Difficulty: easy-moderate: the range puts this piece into the moderate category, but all other aspects are in the easy category.

Program notes/reviews:

“I like to give my best themes to the oboe,” said Sam Barber. This Canzonetta for oboe and strings was meant to be the slow movement of an oboe concerto commissioned by the New York Philharmonic, but soon after Sam began it in 1978, his doctor told him he had cancer. The other two movements were never written – nor was anything else – before he died in 1981. In this Canzonetta we find the form of Sam’s life imitating that of his art by making a simple final statement and farewell.9

9 Samuel Barber, Canzonetta for Oboe and String Orchestra (New York: G. Schirmer, Inc., 1981)

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Composer: Wayne (Brewster) Barlow (1912-1996)

Title: The Winter’s Passed

Date of Composition: 1938

Instrumentation: Oboe and strings

Piano Reduction: Written by the composer, available through Interlibrary Loan.

Duration: ca. 4 minutes

Commission:

Premiere:

Publisher: Eastman School of Music, 1940

Score/Parts Availability:

OCLC Number: 49711456

Recording: Robert Bloom, The Art of Robert Bloom Volume II, Boston Records, 2000

Movements: All in one movement.

Range: D4 – B5

Difficulty: easy: this concerto uses the basic range of the oboe and incorporates a repeating melody and is very songlike.

Program notes/reviews:

12

Composer: William Bolcom (b. 1938)

Title: Spring Concertino

Date of Composition: 1986-87

Instrumentation: Oboe and small orchestra

Piano Reduction: Written by Robert Conway, available through Interlibrary Loan.

Duration: ca. 10 minutes

Commission: Harry Sargous

Premiere:

Publisher: Edward B. Marks Music Company

Score/Parts Availability: Available through the publisher

OCLC Number: 889706344

Recording: Harry Sargous, Robert Conway, Carl St. Clair, William Bolcom, Lawrence Singer, Henry Cowell, and Leslie Bassett, Harry Sargous, oboe, Crystal Records, 1990

Movements: All in one movement.

Range: B-flat 3 – G6

Difficulty: difficult: this concerto features the full range of the instrument, while also requiring the performer to play at a rather fast tempo and navigate some difficult rhythms.

Program notes/reviews:

13

Composer: Will Gay Bottje (b. 1925)

Title: Concertino for English Horn (or Saxophone) and Strings

Date of Composition: 1957

Instrumentation: English Horn (or Saxophone) and string orchestra

Piano Reduction: Written by composer

Duration:

Commission:

Premiere:

Publisher: M.M. Cole Publishing Company

Score/Parts Availability: Available through Interlibrary Loan.

OCLC Number: 362791

Recording:

Movements: I. Largo II. Theme and Variations

Range: C4 – E-flat 6

Difficulty: moderate – the range may be high for some English Hornist, but there are optional passages written down the octave.

Program notes/reviews:

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Composer: Elliot Carter (b. 1908)

Title: Oboe Concerto

Date of Composition: 1986-87

Instrumentation: Oboe and orchestra

Piano Reduction:

Duration: ca. 20 minutes

Commission: Paul Sacher

Premiere:

First performed June 17, 1988, at the Grosser Tonhallesaal in Zurich by oboist Heinz Holliger and the Zurich Collegium Musicum under the direction of John Carewe.10

Publisher: Hendon Music, Inc. 1988

Score/Parts Availability: Score available through Interlibrary Loan.

OCLC Number: 61646780

Recording: Elliot Carter, Heinz Holliger, Sophie Cherrier, André Trouttet, Phyllis Bryn-Julson, and Pierre Boulez, Concerto for Oboe, Warner Classics, 2001

Movements: All in one movement.

Range: B-flat 3 - A6

Difficulty: very difficult – this concerto demands the full range of the instrument, many extended techniques, and very difficult rhythms. If that wasn’t enough to warrant the very difficult rating, the solo line is not lyrical and would be difficult to memorize.

Program notes/reviews

In this Oboe Concerto, which is in one continuous movement, the soloist is accompanied in its widely varying, mercurial moods by a percussionist and four violas. The main orchestra opposes their flighty changes with a more regular series of ideas, usually on the serious side, sometimes bursting out dramatically.

10 Elliott Carter, Oboe Concerto (New York: Hendon Music, Inc., 1988)

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Each of the two groups use different musical materials which they develop throughout the work. I am deeply grateful to Paul Sacher for having proposed and commissioned this concerto and to Heinz Holliger, for whom it was commissioned, for his advice about the instrument and his wonderful performances. The work was composed during part of 1986-87.11

11 Elliott Carter, Oboe Concerto (New York: Hendon Music, Inc., 1988)

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Composer: Mario Castelnuovo-Tedesco (1895-1968)

Title: Concerto da Camera Op. 146

Date of Composition: 1950

Instrumentation: Oboe and strings

Piano Reduction: Written by composer

Duration: 19 minutes 45 seconds

Commission:

Premiere:

Publisher: Mills Music, Inc.

Score/Parts Availability: Score available through Interlibrary Loan.

OCLC Number: 181936268

Recording: Greg Donovetsky, Armen Guzelimian, Leon Levitch, Mario Castelnuovo-Tedesco, Henri Dutilleux, Darius Milhaud, and Leon Levitch, Greg Donovetsky plays 20th century masterpieces for oboe, Orion, 2008

Movements: I. Moderato-Grave II. Tempo di giga III. Aria IV. Allegro moderato e un poco pompuso

Range: B-flat 3 – F6

Difficulty: Moderate – although the pitch range falls into the difficulty range of moderately difficult, there is only one F6 and the piece otherwise fits into the moderate category. The composer has also included bracketed parts that the performer can choose to omit for an embouchure break.

Program notes/reviews: Dedicated to Lady Evelyn Barbirolli.

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Composer: Barney Childs (1926-2000)

Title: Concerto for English Horn, Strings, Harp, and Percussion

Date of Composition: 1955

Instrumentation: English Horn, strings, harp, and percussion

Piano Reduction:

Duration:

Commission:

Premiere:

Publisher: Belwin Inc.

Score/Parts Availability: Score available through Interlibrary Loan.

OCLC Number: 717221784

Recording:

Movements: I. With Quiet Intensity II. Fast, Rowdy III. Harsh and Exalted

Range: C4 – E6

Difficulty: moderate – this concerto looks playable and lively but is written in manuscript and is hard to read.

Program notes/reviews: Dedicated to Michael Sahl.

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Composer: Paul Cooper

Title: Antiphons

Date of Composition: 1971

Instrumentation: Solo oboe and wind ensemble

Piano Reduction:

Duration:

Commission: Ohio University Bands

Premiere: Ohio University Bands 1973

Publisher: J. and W. Chester L.t.a., Eagle Court, London, E. C.

Score/Parts Availability: Score available through Interlibrary Loan.

OCLC Number: 1543233

Recording:

Movements: One movement

Range: C4 – F6

Difficulty: moderately difficult: there are several aleatoric passages, in which the soloist plays a set of notes randomly for an allotted amount of time. The longest section is 30 seconds. There are also several sections where the soloist must articulate increasingly faster.

Program notes/reviews:

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Composer: John Corigliano (b. 1938)

Title: Concerto for Oboe and Orchestra

Date of Composition: 1975

Instrumentation: Oboe and Orchestra

Piano Reduction: Written by composer, available through Interlibrary Loan.

Duration: ca. 26 minutes

Commission:

Premiere: This work was first performed by the American Symphony Orchestra on November 9, 1975, at Carnegie Hall with Bert Lucarelli, oboist, under the direction of Kazuyoshi Akiyama.12

Publisher: G. Shirmer, Inc. 1978

Score/Parts Availability: Available for rental through the publishing company.

OCLC Number: 36338497

Recording: John Corigliano, Poem in October; Oboe Concerto; 3 Irish Folk Song Settings, 2007

Movements: I. Tuning Game II. Song III. Scherzo IV. Aria V. Rheita Dance

Range: B-flat 3 – A6

Difficulty: very difficult – this concerto utilizes every possibility of the instrument. The first movement, Tuning Game, utilizes the full range of the instrument, several different multiphonics, and glissandi. The second movement, Song, requires a sensitive musician. The third movement, Scherzo, utilizes multiphonics, rhythmic articulations, and fast passages. The fourth movement, Aria, again utilizes the singing quality of the oboe, but is less lyrical; and uses more fast-moving notes. The fourth movement, Rheita Dance, may use the most interesting technique. To obtain the tone quality of an eastern oboe, Corigliano instructs the performer to “place the embouchure on the strings of the reed.”13

12 John Corigliano, Concerto for Oboe and Orchestra. (New York: G. Schirmer, Inc., 1978) 13 John Corigliano, Concerto for Oboe and Orchestra. (New York: G. Schirmer, Inc., 1978)

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Program notes/reviews:

In writing my Oboe Concerto, I decided to abandon the traditional three movement concerto form and deal instead with five contrasting qualities of the solo instrument in five shorter movements. The first movement, Tuning Game is, as the title implies, an extension of the pre-performance tuning rite into a virtuosic game in which the oboe tunes the orchestra y sections (percussion, brass, strings, winds), and mistunes them after achieving his goal. The tonal center, of course, is A. The second movement, Song, deals in non-climactic simplicity. The long- lined, singing qualities of the oboe are displayed in another kind of virtuosity, the ability of the soloist to spin an endless almost breathes line of melody past what one would think was the endurance level. The third movement (Scherzo), interrupts the end of the song with a high velocity polyrhythmic episode for oboe and percussion, harp and piano. The multiphonics (multiple pitched sounds) are played by the oboe against often unmeasured rushes of percussion bursts. A dreamlike trio for harp, celeste and vibraphone interrupts the busy texture, which returns in typical ternary-trio-form. The multiphonics in this movement are produced by suing the following fingerings: * In the fourth movement (Aria), the dramatic and coloratura qualities of the oboe are emphasized. An arch form leads to a forceful cadenza. Since the oboe builds to its richest and strongest sound as it descends in range, the climax of the arch is in its lowest register. A cadenza for the solo instrument begins at this low “peak,” and the oboe slowly progresses upwards as it grows softer, ending the movement as it began. A solo string quartet “concertino” is used with the soloist against the fuller string accompaniment. In the final movement, Rheita Dance, the pungent sound of the Arabic oboe (Rheita or Rhatia) is achieved by playing the instrument without the use of the lips and tongue against the reed (embouchure). I first heard the Rheita in Marrakech in 1966 (serenading a dancing cobra) and examined the wooden instrument which had a coin-shaped disc attached to it where the reed was inserted. The player placed his lips against the disc (swallowing the reed) and blew. The untouched reed vibrated, and the result was a heady and forceful sound, lacking both the pitch and color controls of the Western oboe, but carrying a unique, infectiously exciting quality. The Rheita Dance is built around that quality, and the microtonal relationships that grow out of the use of this technique and the second a minor competition between a rebellious orchestral oboe and the soloist. The movement continues its momentum to an exuberant end.14

* fingerings provided in the score 14 John Corigliano, Concerto for Oboe and Orchestra, (New York: G. Schirmer, Inc., 1978)

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Composer: Michael Daugherty (b. 1954)

Title: Firecracker

Date of Composition: 1991

Instrumentation: Solo Oboe, Flute (doubling Piccolo), Bass Clarinet, Percussion (one player): (Bass Drum, 4 Tom-Toms (large to small), 3 Tambourines (large, medium, small), Castanets, Crotales, Glockenspiel), piano, violin, cello

Piano Reduction:

Duration: ca. 13 minutes

Commission: Larry Rachleff for the Contemporary Music Ensemble of the Oberlin Conservatory of Music.

Premiere: Oberlin Contemporary Music Ensemble, conducted by Larry Rachleff, with Alex Klein as the soloist in December 1988.

Publisher: Peermusic

Score/Parts Availability: Available through Interlibrary Loan

OCLC Number: 54699650

Recording: Nancy Ambrose King, Oriol Sans, Victor Minke Huls, Michael Daugherty, Alyssa Morris, Scott McAllister, and Scott McAllister, Illumination, 2017

Movements: All in one movement.

Range: A-sharp 3 – F6

Difficulty: Difficult – features double trills, pitch bends, and double tonguing. The rhythms are also difficult when paired with the orchestra.

Program notes/reviews:

In the 1940’s and 50’s, the calling card of every Las Vegas casino, hotel, and restaurant on the “strip” was a colorful souvenir matchbook: an icon of a Las Vegas long vanished, when the “Rat Pack” and neon signs ruled. These matchbooks could be used to light a candle, a cigarette, or perhaps a fiery composition for oboe and small chamber ensemble. The music of Firecracker evokes the vintage exotic décor of the Aladdin, the Sahara and the Desert Inn. The oboe spins out a virtuosic musical motive in the perpetual motion of a roulette wheel. The small chamber ensemble provides a

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rhythmic, colorful counterpoint, like flickering and flashing neon signs. The musical fireworks are briefly interrupted by a tango floorshow. After a return to the fireworks, the oboe’s firecracker fuse burns out into the Las Vegas night.15

15 Michael Daugherty, Firecracker: for oboe and small chamber orchestra (New York: PeerMusic, 2003)

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Composer: Michael Daugherty (b. 1954)

Title: Spaghetti Western

Date of Composition: 1998

Instrumentation: English Horn and orchestra

Piano Reduction: Written by composer, available through the publisher.

Duration: ca. 20 minutes

Commission:

Premiere:

Publisher: Boosey and Hawkes, 1998

Score/Parts Availability: Score available through Interlibrary Loan, parts available for sale and rental through publisher.

OCLC Number: 841512544

Recording: William Bolcom, Amy Porter, Harold Smoliar, Clifford Leaman, Kenneth Kiesler, Michael Daugherty, and Leslie Bassett, Lyric concerto: for flute and orchestra, Dexter, Mich: Equilibrium, 2003

Movements: I. Strade Vuote (Empty Streets) II. Assalto all’oro/La Diligenza fantasma (Gold Rush/ The Phantom Stagecoach) III. Mezzogiorno di fuoco (Noon of Fire)

Range: B3 – F6

Difficulty: difficult – this concerto requires a virtuoso that can not only play lyrically, but technically was well. The recurring theme in this concerto is lyrical, but there are several interjections requiring either fast finger-work, rapid articulations, and extended techniques such as pitch bending and trilling using a multiphonic. The concerto’s length (20 minutes) was also taken into consideration when deciding the difficulty level.

Program notes/reviews: Spaghetti Western is a twenty minute concerto for English Horn and Orchestra with an unusual instrumentation: piccolo, 2 flutes, 4 horns, 4 trumpets, 2 trombones, bass trombone, tuba, 4 percussion, timpani, celesta/piano, harp, and strings. It was commissioned by the Pittsburgh Symphony Orchestra for Harold

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Smoliar, and is dedicated to his teacher Louis Rosenblatt who played for decades with the Philadelphia Orchestra. My concerto is inspired by the so-called "Spaghetti Western" films of the sixties, such as "For a Few Dollars More" (1966),"The Good, The Bad, and the Ugly" (1967) and "Once Upon a Time in the West" (1969), directed by Sergio Leone with music by Ennio Morricone. Leone takes the conventions of the Hollywood Western--gunfights, bank robberies, saloon brawls, train heists, rope hangings, ghostly stagecoaches, quests for gold, revenge and retribution, the final showdown between good and evil--and through his innovative use of the camera in panning and close-ups makes us see the Western film genre in a new light. Morricone's strange orchestrations musically enhance the surreal atmosphere of these films. Just as Leone's films redefined the Western genre from an Italian perspective, I redefine the European concerto by placing it within an American context. In my Spaghetti Western, the English Horn soloist is the "Man With No Name" moving though a series of musical landscapes. I create imaginary scenarios that evoke the sun-drenched panoramas, the barren deserts and desolate towns of the Wild West, as well as the gun-slinging characters who haunt this landscape. The three movements of the concerto are my own original music compositions, without alluding to particular film scenes or following their plot. I. Strade Vuote (Empty Streets) I imagine the English Horn soloist on the deserted streets of a ghost town, somewhere in the Wild West ca. 1890. An off-stage "mariachi" trumpet echoes the melancholy, bending melodies of the English Horn. Percussive sounds are heard like the hooves of galloping horses. The strings play a dirge, while tapping the wood of their instruments like nails into a coffin. These introspective moments are interrupted by a stampede of flutes, brass, and percussion. II. Assalto all'oro (Gold Rush)/ La diligenza fantasma (The Phantom Stagecoach) This movement is a dreamlike ballad of hardened cowboys, both heroes and villains, who dream of discovering gold. English Horn melodies soar over cascading string harmonies and celestial harp reverberations. The dream is interrupted by orchestral wagon-wheel rhythms and crackling horse whips. These sounds suggest an empty stagecoach, with no driver or passengers, drawn by ghostly horses racing across the desert on an endless dusty road. III. Mezzogiorno di fuoco (Noon of Fire) Along with a trembling marimba, four "mariachi" trumpets set the stage for a big showdown. The English Horn solo twists and turns through the orchestra, punctuated by brassy polyrhythms and pizzicato bullets in the strings. A celesta ostinato signals the clock slowly ticking toward high noon when the final gunfight will begin between the "Man With No Name" and the villainous gunslingers.16

16 Michael Daugherty, “Program Notes: Spaghetti Western,” Accessed March 19, 2018, http://www.michaeldaugherty.net/index.cfm?id=48&i=2&pagename=works

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Composer: Eric Ewazen (b. 1954)

Title: Down a River of Time

Date of Composition:

Instrumentation:

Piano Reduction: Written by composer, available through Interlibrary Loan.

Duration:

Commission:

Premiere: Linda Strommen with the American Sinfonietta under the direction of Michael Palmer, at the Bellingham Festival of Music (Bellingham, Washington) on August 14, 1999.

Publisher: Southern Music Company

Score/Parts Availability: Orchestra score and parts available for rent through the publisher.

OCLC Number: 50134951

Recording: Andrea Gullickson, Lucia Matos, Georg Philipp Telemann, François-Joseph Garnier, Giuseppe Ferlendis, Ermanno Wolf-Ferrari, and Eric Ewazen, Down a river of time, Cala, 2006

Movements: I. …past hopes and dreams II. …and sorrows III. …and memories of tomorrow

Range: B3 – F-sharp 6

Difficulty: moderately difficult – Eric Ewazen seems to enjoy the high range of the oboe. This concerto requires an oboist that is comfortable playing technical runs that stay above C6.

Program notes/reviews:

“Down a River of Time”, a three movement concerto for oboe and string orchestra, is a journey, an alternately wistful and joyous contemplation on memories of the happy and sad times of life, on loved ones who have passed away, and on the importance of dreams and ideals. The work begins with rich oboe melodies and resonant harmonies, suggesting passionately felt hopes and dreams, as one embraces the possibilities of life and love; the music is energetic and uplifting. The second movement, cast as an oboe soliloquy, gazes upon the

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sadness of loss and grief; the supporting accompaniment comments with ribbons of melodies. The final movement strikes a note of acceptance and understanding with ever-present hope for future happiness and a comfort in life-long memories; the music ends buoyantly, reaching upward, the oboe singing virtuoso songs of ultimate content. “Down a River of Time” is gratefully dedicated to Linda Strommen, who premiered the work with the American Sinfonietta under the direction of Michael Palmer, at the Bellingham Festival of Music (Bellingham, Washington) on August 14, 1999. 17

17 Eric Ewazen, Down a River of Time (San Antonio TX: Southern Music Co., 2001)

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Composer: Lukas Foss (1922-2009)

Title: Oboe Concerto

Date of Composition: 1947-48

Instrumentation: Oboe and Orchestra

Piano Reduction: Written by composer

Duration: ca. 18 minutes

Commission: Whitney Tustin

Premiere:

Publisher: Southern Music Publishing Co. INC. 1952

Score/Parts Availability: Score available through Interlibrary Loan, orchestra parts are available for rent through the publishing company.

OCLC Number: 39454484

Recording: Nancy Ambrose King, Frances Colón, Kypros Markou, Gunther Schuller, Richard Strauss, Nikos Skalkottas, Roberto Sierra, and Lukas Foss, Global reflections, Equilibrium, 2012

Movements: I. Moderato II. On a Sicilian Folk Song III. Moderato

Range: B3 – F6

Difficulty: difficult – this concerto utilizes several different musical styles, compound rhythms, range jumps, and requires great endurance.

Program notes/reviews:

Lukas Foss’ Oboe Concerto was composed in 1948 for solo oboe and chamber orchestra. Much like its contemporary, the Richard Strauss Concerto for Oboe and Small Orchestra, the winds of the chamber orchestra function much as soloists themselves. A student of Hindemith’s while at Yale University, Foss is known for his Neo-Classical style, and this concerto is no exception. The gorgeous second

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movement is based on a Sicilian folk song, featuring the theme first in an opening clarinet solo, and later in the, oboe in a rhapsodic, cadenza-like ending.18

18 Nancy Ambrose King, “Lukas Foss: “Oboe Concerto” April, 21, 2017, Accessed March 19, 2018 https://www.umwindorchestra.com/single-post/2017/04/13/Lukas-Foss-Oboe-Concerto

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Composer: Kenneth Fuchs (b.1956)

Title: Eventide

Date of Composition: 2002-03

Instrumentation: English Horn, percussion, harp, celesta, and string orchestra

Piano Reduction: Written by composer, available through Interlibrary Loan

Duration: 21 minutes 30 seconds

Commission: Written for Thomas Stacy.

Premiere: May 17, 2007 by the Virginia Symphony Orchestra; George Corbett, English Horn; JoAnn Falletta, conductor

Publisher: Piedmont Music Company

Score/Parts Availability: Available through publisher.

OCLC Number: 875579021

Recording: Kenneth Fuchs, Thomas Stacy, JoAnn Falletta, Kenneth Fuchs, Kenneth Fuchs, and Kenneth Fuchs, Music for orchestra, 2003

Movements: All in one movement.

Range: C4 – C-sharp 6

Difficulty: moderately difficult – this is a beautiful, lyrical concerto that also features multiphonics (fingerings are provided in the solo part).

Program notes/reviews: Eventide takes its creative impulse from the spiritual tunes Mary Had a Baby and Swing Low, Sweet Chariot, among others. The work emerges from a gossamer string texture with the English Horn weaving a loping strand of melody. The shape of an original spiritual tune materializes from this texture, and the work subsequently takes the form of a single-movement tapestry of fantasy variations based upon the simple triadic intervals typical of spirituals. Technically an abstract musical composition, Eventide is inspired by the mysterious quality of sunset light glowing through stained glass windows.19

19 Kenneth Fuchs, Eventide, (New York: Piedmont Music Company, 2007)

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Composer: Roger Goeb (1914-1997)

Title: Fantasy for oboe and string orchestra

Date of Composition: 1947

Instrumentation: Oboe and string orchestra

Piano Reduction:

Duration: 6 minutes

Commission:

Premiere:

Publisher: Associated Music Publishers, Inc.

Score/Parts Availability: Score and parts available through Interlibrary Loan.

OCLC Number: 221874259

Recording: Roger Goeb, Samuel Baron, Floyd Williams, Melvin Kaplan, Joseph Bloch, Richard Kay, Mishel Piastro, Roger Goeb, and Roger Goeb, Music of Roger Goeb, 2002

Movements: All in one movement.

Range: F-sharp 4 – C6

Difficulty: moderate –this concerto requires a soloist that can easily navigate between sixteenth note and triplet rhythms.

Program notes/reviews:

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Composer: Howard Hanson (1896-1981)

Title: Pastorale

Date of Composition: 1949

Instrumentation: Solo Oboe, Strings, and Harp

Piano Reduction: Available through the publisher (W 2247)

Duration: ca. 7 minutes

Commission: For Chopin Centennial UNESCO Paris, 1949

Premiere: Chopin Centennial UNESCO Paris, 1949

Publisher: Carl Fisher, Inc.

Score/Parts Availability: Score and parts available through Interlibrary Loan.

OCLC Number: 2957580

Recording: Oscar Petty, Uri Barnea, Mario Lombardo, Howard Hanson, Ulysses Kay, Uri Barnea, and Joseph Haydn, Music for Oboe and Orchestra, 1994

Movements: All in one movement.

Range: C4 – F6

Difficulty: moderately difficult – includes changing time signatures, changing tempos, and requires some fast, staccato articulations.

Program notes/reviews:

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Composer: John Harbinson (b. 1938)

Title: Snow Country

Date of Composition: 1979

Instrumentation: Oboe and string orchestra, or string quartet

Piano Reduction:

Duration: ca. 13 minutes

Commission:

Premiere:

Publisher: Associated Music Publishers, 1981

Score/Parts Availability: Score and parts available through Interlibrary Loan.

OCLC Number: 951833230

Recording: Marc Fink, John Clark, Bernhard Henrik Crusell, Wolfgang Amadeus Mozart, Benjamin Britten, and John Harbison, Music for oboe and strings, University of Wisconsin-- Madison, School of Music, 2006

Movements: All in one movement.

Range: B-flat 3 – C-sharp 6

Difficulty: moderately difficult – complex rhythms and changing time signatures is what makes this concerto challenging. There are also large leaps during some of these complex rhythms.

Program notes/reviews:

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Composer: John Harbison (b.1938)

Title: Oboe Concerto

Date of Composition: 1990-91

Instrumentation: 2 flutes (2nd doubling Piccolo); 2 clarinets in B-flat; bass clarinet (doubling alto saxophone); 3 bassoons (3rd doubling contrabassoon); 2 horns in F; 2 trumpets in B-flat; 2 trombones; tuba; timpani; percussion (3 players): glockenspiel, vibraphone, marimba, xylophone, tubular bells, triangle, cymbals, suspended cymbal, gong, tamtam, temple blocks, wood blocks, snare drum; harp; solo oboe; strings

Piano Reduction: Written by the composer, available through Interlibrary Loan

Duration: ca. 20 minutes

Commission: San Francisco Symphony for William Bennett

Premiere: December 2, 1992

Publisher: Associated Music Publishers, Inc.

Score/Parts Availability: Performance materials are available from the publisher

OCLC Number: 34979355

Recording: Roger Sessions, and John Harbison, Harbison, J: Oboe Concerto, Naxos Digital Services US Inc., 2016

Movements: I. Aria II. Passacaglia III. Fantasia

Range: B3 – F-sharp 6

Difficulty: difficult – this concerto requires a virtuoso oboist that has the flexibility to play lyrically while also using glissandi. There is also rapid articulation required and very long passages that require exceptional endurance. Circular breathing is required to play all the notes in the second movement, but the composer has put in optional rests to allow the performer to breath. The third movement requires the soloist play tutti with the woodwinds in the ensemble, this may prove to be a challenge when pairing with the orchestra.

Program notes/reviews:

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The Oboe Concerto was commissioned by the San Francisco Symphony for its principal oboist, William Bennett, who gave its first performance on December 2, 1992, with Hebert Blomstedt conducting. The same performers have recorded the piece on London CD 443-376-2. The titles of the movements suggest Baroque forms, and the oboist often leads small concertino groups, in Baroque manner. But the concerto presents a constantly shifting world in which contrasts are drastic, abrupt, and wide ranging. The movement titles are only points of embarkation. In the “Aria,” Gregorian chant-like melody transforms a grid for oboe variations, both lyrical and crazed. In the “Passacaglia,” a fierce orchestral edifice forms a grid for oboe variations, both lyrical and crazed. Finally, in the “Fantasia,” a 20s uptempo big band side arrives – through three wild oboe excursions – at a sudden tenderness and intimacy, and an anti-heroic, Chaplinesque final gesture.20

20 John Harbison, Oboe Concerto (New York: Associated Music Publishers, Inc. (BMI), 1992)

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Composer: Jennifer Higdon (b. 1962)

Title: Oboe Concerto

Date of Composition: 2005

Instrumentation: Oboe with orchestra, or wind ensemble

Piano Reduction: Written by composer

Duration: ca. 15 minutes

Commission: Commissioned by the Minnesota Commissioning Club, for the St. Paul Chamber Orchestra

Premiere:

Publisher: Lawdon Press, 2005

Score/Parts Availability: Score is available through Interlibrary Loan, parts available on jenniferhigdon.com

OCLC Number: 650591786

Recording: Jennifer Higdon, Roberto Díaz, James Button, Giancarlo Guerrero, Jennifer Higdon, Jennifer Higdon, and Jennifer Higdon, All things majestic, 2017

Movements: All in one movement.

Range: B-flat 3 – F-sharp 6

Difficulty: difficult – this concerto is difficult technically and rhythmically. The concerto is also difficult to pair with the accompaniment.

Program notes/reviews:

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Composer: Sydney Hodkinson (b. 1934)

Title: The Edge of The Olde One

Date of Composition: October 1976 – March 1977

Instrumentation: Electric English Horn, strings, and percussion

Piano Reduction:

Duration: ca. 20 minutes

Commission: Commissioned by the New York Philharmonic Society

Premiere:

Publisher: Theodore Presser Co.

Score/Parts Availability: Perusal score available online.* Parts available for rental.

OCLC Number: 37776212

Recording: Ned Rorem, Thomas Stacy, Michael Palmer, Vincent Persichetti, Paul Phillips, Vincent Persichetti, and Sydney Hodkinson, Concerto for English Horn and Orchestra, New World, 1995

Movements: all one movement

Range: B3 – G6

Difficulty: very difficult – this concerto calls for almost every possibility of the English Horn; multiphonics, glissandi, pitch bends, difficult rhythms, and the full range of the instrument are just part of what this concerto requires. The most difficult part may be the logistics of the amplification.

Program notes/reviews:

Comments:

* https://issuu.com/theodorepresser/docs/hodkinson_edge-of-the-olde-one-score

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Composer: Ulysses Kay (1917-1996)

Title: Pietà

Date of Composition: 1950

Instrumentation: English Horn and strings

Piano Reduction: Written by composer, available through Interlibrary Loan.

Duration:

Commission:

Premiere:

Publisher: Pembroke Music Co., Inc., 1978

Score/Parts Availability: Full score and string parts available on rental.

OCLC Number: 671571646

Recording:

Movements: All in one movement.

Range: C4 – C6

Difficulty: moderate – this concerto has a very reasonable range for the English Horn, but the rhythms become difficult by frequently switching between triple and duple-type rhythms.

Program notes/reviews:

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Composer: Kent Kennan (1913-2003)

Title: Elegy

Date of Composition: 1939; rev. 1987

Instrumentation: Oboe and small orchestra

Piano Reduction:

Duration:

Commission:

Premiere:

Publisher: Edwin F. Kalmus & Co., Inc.

Score/Parts Availability: Score available through Interlibrary Loan, parts available through publisher.

OCLC Number: 755289070

Recording:

Movements: All in one movement.

Range: D4 – C6

Difficulty: easy – this is a lyrical concerto that would be great for a student.

Program notes/reviews:

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Composer: Aaron Jay Kernis (b.1960)

Title: Colored Field: Concerto for English Horn and Orchestra

Date of Composition: 1991

Instrumentation: English Horn and Orchestra

Piano Reduction:

Duration: ca. 40 minutes

Commission: For Julie Ann Giacobassi by the San Francisco symphony, Herbert Blomstedt, Music Director through the generosity of Mr. & Mrs. Hugh Taylor

Premiere:

Publisher: Associated music Publishers, Inc.

Score/Parts Availability: Score available through Interlibrary Loan

OCLC Number: 55978523

Recording: Aaron Jay Kernis, Anthony Davis, Richard Danielpour, and Peter Lieberson, G Schirmer Composer Profile, Richard Danielpour, Anthony Davis, Aaron Jay Kernis, Peter Lieberson Volume 1, 1996

Movements: I. Colored Field II. Pandora Dance III. Hymns and Tablets

Range: B3 – F6

Difficulty: Difficult – The duration of this concerto is enough to merit a rating of difficult, but the soloist must truly be ready to play a marathon-length concerto that features beautiful, lyric melodies and some difficult technical sections.

Program notes/reviews: Was written in response to a visit to a Nazi concentration camp.21

21 Neil Butterworth, Dictionary of American classical composer (New York: Routledge, 2005)

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Composer: Ellis Kohs (1916-2000)

Title: Legend for Oboe and Strings

Date of Composition: 1947

Instrumentation: Oboe and Strings

Piano Reduction:

Duration:

Commission: Written for a competition sponsored jointly by the American Composers Alliance and Broadcast Music Inc., was the prize-winner.

Premiere:

Publisher: Broadcast Music, Inc.

Score/Parts Availability: Score available through Interlibrary Loan.

OCLC Number: 5045348

Recording:

Movements: All in one movement.

Range: B3 – D6

Difficulty: moderate – this concerto is a short concerto that would be great for a student. The most difficult section is a measure with three septuplets, but this measure is unaccompanied so it could easily be taken as a very short cadenza.

Program notes/reviews:

41

Composer: Peter Jona Korn (1922-1998)

Title: Rhapsody

Date of Composition: 1951

Instrumentation: Oboe and Strings

Piano Reduction: Written by composer, available through Interlibrary Loan.

Duration:

Commission:

Premiere:

Publisher: N. Simrock, 1970

Score/Parts Availability:

OCLC Number: 977921588

Recording:

Movements:

Range: C4 – D6

Difficulty: moderate – this is another great concerto for a student, is in a manageable range but has some moderately fast rhythms.

Program notes/reviews:

42

Composer: Peter Korn (1922-1998)

Title: Romanza Concertante, Op. 84 on a theme by Michael Haydn

Date of Composition: 1987

Instrumentation: Oboe and orchestra

Piano Reduction:

Duration: ca. 6 min.

Commission:

Premiere:

Publisher: Zinneberg Musikverlag, 1988

Score/Parts Availability: Score available through Interlibrary Loan, parts available through publisher.

OCLC Number: 22359683

Recording:

Movements: All in one movement.

Range: C4 – D6

Difficulty: easy – has some sixteenth note passages but they are scale-like. This concerto also has frequent breaks which makes it very playable for young oboists.

Program notes/reviews:

The work was written for the school orchestra of Hermann Billung High school in Celle (Lower Saxony) and uses the instruments available there. It is primarily intended for performance by non-professional groups.22

22 Peter Korn, Romanza Concertante, op. 84 on a theme by Michael Haydn (Glonn, Germany: Zinneberg Musikverlag, 1988)

43

Composer: William Kraft (b. 1923)

Title: Concerto for English Horn and Orchestra: The Grand Encounter

Date of Composition: 2002

Instrumentation: English Horn and orchestra; featuring three trios in which the solo English Horn moves between during the performance. Trio 1: Solo English Horn, Percussion, harp Trio 2: Solo English Horn, alto flute, guitar Trio 3: Solo English Horn, solo violin, solo cello

Piano Reduction:

Duration:

Commission: Commissioned by the Los Angeles Philharmonic, Esa-Pekka Salonen, Music Director, and written especially for Carolyn Hove, English Horn, soloists.

Premiere:

Publisher: Self-published

Score/Parts Availability: Score available through Interlibrary Loan.

OCLC Number: 57658195

Recording:

Movements: All in one movement.

Range: B3 – F6

Difficulty: difficult – this concerto is very unique and calls for the soloist to move about the front of the stage and play with small groups of soloists. This concerto also features some rhythmic difficulty and uses the full range of the English Horn.

Program notes/reviews:

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Composer: John La Montaine (b. 1920)

Title: Ode for Oboe and Orchestra

Date of Composition: 1952

Instrumentation: Oboe and Orchestra

Piano Reduction:

Duration:

Commission:

Premiere:

Publisher: Fredonia Press, 1952

Score/Parts Availability: Score available through Interlibrary Loan.

OCLC Number: 3250241

Recording:

Movements: All in one movement.

Range: B3 – D6

Difficulty: moderate – short concerto with an orchestral break in the middle. Great for a student or a recital needing a short piece.

Program notes/reviews:

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Composer: Henri Lazarof (1932-2013)

Title: Concerto for Oboe and Chamber Orchestra

Date of Composition: 1995

Instrumentation: Oboe and chamber orchestra

Piano Reduction:

Duration: ca. 18 minutes 40 seconds

Commission:

Premiere:

Publisher: Merion Music, Inc. 1996

Score/Parts Availability: Score available through Interlibrary Loan, orchestral materials are available on rental through the publisher.

OCLC Number: 681147328

Recording: Henri Lazarof, Ani Kavafian, John Cerminaro, Alan Vogel, Gerard Schwarz, and Henri Lazarof. Divertimento III for solo violin and strings; Fantasia for horn and orchestra; Concerto for oboe and chamber orchestra, JVC, 1998

Movements: I. Libero II. III.

Range: C4 – E6

Difficulty: moderately difficult – while this concerto has a very manageable range, the rhythms and technicality of this concerto may be difficult to some oboists.

Program notes/reviews:

46

Composer: Benjamin Lees (b. 1924)

Title: Oboe Concerto

Date of Composition: 1963

Instrumentation: Oboe and orchestra

Piano Reduction: Written by composer.

Duration: ca. 17 minutes

Commission:

Premiere: January 12th, 1964 at the Academy of Music, Philadelphia, Pa., soloist John de Lancie, conductor Anshel Brusilov.

Publisher: Boosey & Hawkes Music Publishers Ltd., 1967

Score/Parts Availability: Study score available through Interlibrary Loan.

OCLC Number: 775028753

Recording:

Movements: I. Allegro enfatico II. Andante, ma con morbidezza

Range: C4 – D6

Difficulty: moderately difficult – this concerto’s time signature frequently changes. This may pose some difficulty learning the rhythms of this piece. The 17-minute length of this concerto may also test the endurance of the soloist.

Program notes/reviews:

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Composer: John Lessard (1920-2003)

Title: Cantilena

Date of Composition: 1946

Instrumentation: Oboe and string orchestra

Piano Reduction:

Duration: ca. 6 minutes

Commission:

Premiere:

Publisher: American Composers Alliance

Score/Parts Availability: Score available through Interlibrary Loan.

OCLC Number: 6664213

Recording: Music for the connoisseur (Radio program), Robert Bloom, David Randolph, Leopold Stokowski, John Lessard, Ulysses Kay, and Henry Cowell, Music for the Connoisseur: Modern American Trends, 1953

Movements: All in one movement.

Range: E-flat 4 – F6

Difficulty: moderate – while this concerto is not rhythmically difficult, the range might prove some difficulty. The soloist in this concerto lingers in the high range. Without this problem, this concerto would warrant an easy rating.

Program notes/reviews:

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Composer: Otto Luening (1900-1916)

Title: Legend for Oboe and Strings

Date of Composition: 1951

Instrumentation: Oboe and strings

Piano Reduction:

Duration:

Commission:

Premiere:

Publisher: Highgate Press, 1969

Score/Parts Availability: Score available through Interlibrary Loan, parts are available on rental through the publisher.

OCLC Number: 1939544

Recording: James P. Ostryniec, David Rossi, F. Charles Adler, Vladimir Ussachevsky, Ursula Oppens, and Otto Luening, Music of Otto Luening, Composers Recordings, 1985

Movements: All in one movement.

Range: D4 – D6

Difficulty: moderate – a lyrical concerto that features many triplet rhythms and flexible tempi.

Program notes/reviews:

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Composer: Scott McAllister (b. 1969)

Title: Gone

Date of Composition:

Instrumentation: Oboe and string orchestra, or wind ensemble

Piano Reduction:

Duration: ca. 8 minutes 55 seconds

Commission:

Premiere:

Publisher:

Score/Parts Availability: Perusal score available through Scott McAllister’s website (lydmusic.com) for free, performance materials available for sale.

OCLC Number: Version for wind ensemble: 939553844

Recording: Nancy Ambrose King, Oriol Sans, Victor Minke Huls, Michael Daugherty, Alyssa Morris, Scott McAllister, Illumination, 2017

Movements: All in one movement.

Range: E-flat 4 – F6

Difficulty: moderately difficult – while this concerto is short, and does not require a lot of technical work; this concerto requires a soulful musician that can communicate the message of mournful loss.

Program notes/reviews: Gone for wind ensemble is a transcription of the sixth movement from my sixty-minute concerto for the clarinet called the Epic Concerto. Each movement of the concerto relates to different pillar moments of my life as a clarinetist. In 1994, my playing career was ended in an automobile accident. Gone is about loss and the emotions and process of healing and learning to move on after a life-changing event. This unique work in the concerto and the wind ensemble version challenges the musicians and the audience to experience the music in a meditative and prayerful way. My goal was to draw memories of loss and comfort for those who experience this composition.23

23 Scott McAllister, “Product Description” Accessed March 19, 2018 http://yhst-665802-9.stores.yahoo.net/gone- best-seller.html

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Composer: Scott McAllister (b. 1969)

Title: Grunge Concerto

Date of Composition:

Instrumentation: Oboe and orchestra

Piano Reduction:

Duration: ca. 15 minutes

Commission:

Premiere:

Publisher:

Score/Parts Availability: Perusal score available through Scott McAllister’s website (lydmusic.com) for free, performance materials available for sale.

OCLC Number:

Recording: Nancy Ambrose King, Oriol Sans, Victor Minke Huls, Michael Daugherty, Alyssa Morris, Scott McAllister, Illumination, 2017

Movements: I. Freely II. Stoned, Baked…High in the Sky III. Headbanging

Range: B-flat 3 – G6

Difficulty: very difficult – this concerto requires great technical and musical ability, especially in the final movement.

Program notes/reviews: Grunge Concerto was written for and dedicated to Nancy Ambrose King, Professor of Oboe at the University of Michigan. This work emulates the emotions of the X generation and the energetic and stagnant aspects of grunge music. The soloist imitates this style with aggressive technical passages along with an unkempt spirit contrasted by psychedelic passages.24

24 Scott McAllister, “Product Description” Accessed March 19, 2018 http://yhst-665802- 9.stores.yahoo.net/grungeconcerto.html.

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Composer: Alyssa Morris (b. 1984)

Title: Dreamscape

Date of Composition:

Instrumentation: Oboe and Orchestra

Piano Reduction: Written by composer

Duration: ca. 23 minutes

Commission: Commissioned by William D. and Louis W. Johnson

Premiere: Premiered by Jaralee Johnson, February 27, 2014

Publisher: TrevCo Music Publishing, 2015

Score/Parts Availability: Contact the composer

OCLC Number: 982192765

Recording: Nancy Ambrose King, Oriol Sans, Victor Minke Huls, Michael Daugherty, Alyssa Morris, Scott McAllister, Illumination, 2017

Movements: I. Falling Asleep and Chase II. What? III. Innuendo IV. Nightmare and Awkening

Range: B-flat 4 – G6

Difficulty: difficult – this concerto resembles a film score in some sections and a jazz club in others. The jazz sections could be difficult for a large population of oboists because we don’t tend to play in the jazz style very often.

Program notes/reviews: Dreamscape tells the story of a dreamer. In the first movement, Falling Asleep and Chase, the “dreamer’s motive” is introduced in the opening statement given by the oboe. This motive returns many times throughout the concerto. In this movement, the dreamer falls asleep and is immediately jarred into a dream of a frantic chase. The second movement, What?, depicts the strange dream. Whether it is pink polka-dotted elephants or flying pigs, this dream mixes plenty of abnormalities into normal waltz. The third movement, innuendo, is the dreamer’s steamy love scene. Movement four, Nightmare and Awakening, begins with an

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unsettling return of the “dreamer’s motive”, as if the dreamer is struggling to wake up but instead falls into a deeper state of sleep. The dream becomes a Nightmare. The tension increases until the orchestra halts and the oboe presents a cadenza. After the oboe’s singular plea, the dreamer awakens. The “dreamer’s motive” is again presented, but this time with more clarity and optimism. The concerto ends quietly and introspectively. The dreamer, now aware of reality, has heightened clarity and is quietly grateful for life. 25

25 Alyssa Morris, Dreamscape (Tallevast, FL: TrevCo Music Publishing, 2015)

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Composer: Walter Mourant (1910-1995)

Title: Air and Scherzo

Date of Composition: 1955

Instrumentation: Oboe, harp, and strings

Piano Reduction: Written by the composer, available through Interlibrary Loan.

Duration: ca. 7 minutes 30 seconds

Commission:

Premiere:

Publisher: Associated Music Publishers, Inc., 1955, 1962

Score/Parts Availability: Score and parts available on rental from the publishers.

OCLC Number: 1383770

Recording: Walter Mourant, Salvadore Camarata, and Walter Mourant, Valley of the moon Air and scherzo [and] Sleepy Hollow, Composers Recordings, 1962

Movements: I. Air II. Scherzo

Range: D4 – D-sharp 6

Difficulty: moderate – great concerto for a student. Fastest tempo is dotted quarter equals 92 bpm.

Program notes/reviews:

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Composer: Vincent Persichetti (1915-1987)

Title: English Horn Concerto

Date of Composition: 1977

Instrumentation: English Horn and string orchestra

Piano Reduction: Written by composer, available through Interlibrary Loan

Duration: ca. 20 minutes

Commission: Commissioned by the Philharmonic-Symphony Society of New York for Thomas Stacy

Premiere: First performance by Thomas Stacy and the New York Philharmonic, November 17, 1977, Eric Leinsdorf conducting.

Publisher: Elkan-Vogel, Inc., 1977

Score/Parts Availability: Score and string parts available through the publisher.

OCLC Number: 222179046

Recording: Ned Rorem, Thomas Stacy, Michael Palmer, Vincent Persichetti, Paul Phillips, Vincent Persichetti, and Sydney Hodkinson, Concerto for English Horn and Orchestra, New World, 1995

Movements: I. Con fantasia II. Amabile III. Spiritoso

Range: B3 – E6

Difficulty: moderately difficult – this requires the soloist to be able to play some fast passages and a wide span of dynamics. The soloist is instructed to use harmonic fingerings during the very quiet passages.

Program notes/reviews:

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Composer: John Riley (b. 1920)

Title: Fantasy for Oboe and String Orchestra

Date of Composition: 1950

Instrumentation: Oboe and string orchestra

Piano Reduction:

Duration:

Commission:

Premiere:

Publisher:

Score/Parts Availability: Score available through Interlibrary Loan.

OCLC Number: 13853523

Recording:

Movements: All in one movement.

Range: B3 – D6

Difficulty: moderate – a lyrical concerto with that features some syncopated rhythms.

Program notes/reviews:

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Composer: Ned Rorem (b. 1923)

Title: Concerto for English Horn

Date of Composition: 1993

Instrumentation: English Horn and orchestra

Piano Reduction: Written by composer, available through Interlibrary Loan.

Duration: ca. 22 minutes

Commission: Commissioned by the Philharmonic -Symphony Society of New York for its 150th anniversary

Premiere: January 27th, 1994 at Avery Fisher Hall, New York, by the New York Philharmonic, conducted by Kurt Masur, Thomas Stacy on English Horn.

Publisher: Boosey & Hawkes, 1994,1997

Score/Parts Availability: Performance materials are available from the Boosey & Hawkes Rental Library.

OCLC Number: 37952307

Recording: Ned Rorem, Thomas Stacy, Michael Palmer, Vincent Persichetti, Paul Phillips, Vincent Persichetti, and Sydney Hodkinson, Concerto for English Horn and Orchestra, New World, 1995

Movements: I. Preamble and Amble II. Love Letter III. Recurring Dream IV. Perpetual Motion V. Medley and Prayer

Range: B3 – F6

Difficulty: difficult – this concerto has long sections where the soloist is required to play in the top range of the instrument, there are also long passages of fast notes in unison with the orchestra that might prove some difficulty.

Program notes/reviews: At first I planned to call it Meditations in an Emergency, after Frank O’Hara’s poem, since half the piece was composed literally in a hospital bed. Indeed, the winter of 1991-92 was one of physical stress; when I worked at all it was through

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a hazy protestant need to meet deadlines. Later I opted for a straightforward title (saving the ornamental names for the separated movements), for I do not believe that music, especially non-vocal music, necessarily reflects its maker’s mood in medias res, or that people can agree – as they can with poetry and pictures – that a specific piece is angry or happy or noble, much less that it represents an ocean or an operating room. When a gloomy composer labors on a lengthy profect he checks the gloom at his studio door, along with his aches and pains, and functions in a kind of limbo. (A definition of the Artist: One who exists outside himself, and has something to show for it. He is the least egotistical of citizens.) My sole aim is writing the Concerto for English Horn was to exploit that instrument’s special luster and pliability. The literature is slim, maybe because the English Horn – or as the English say, the cor Anglais – cannot hold its own against an orchestra as singularly as a piano or trumpet or cello or flute. To make the sound gleam like an opaline reed through a wash of brass and silver, catgut and steel, I used an orchestra which by Philharmonic standards is hardly huge, with a pair of oboes like nephews often flanking, sometimes goading, their wistful relative. Each of the five movements is to some degree a passacaglia, a neutral or redundant background, a canvas upon which the soloist will limn his pictures. For what it’s worth, this is my first work ever to have been composed entirely way from a keyboard, and directly onto orchestration parchment. This transpired between December 6, 1991 and June 13, 1992, in New York City and in Nantucket.26

26 Ned Rorem, Concerto for English Horn (New York: Boosey & Hawkes, 1997)

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Composer: Peter Schickele (b. 1935)

Title: Concerto for Oboe and Orchestra

Date of Composition: 1994, revised 1995

Instrumentation: Oboe and Orchestra

Piano Reduction:

Duration: ca. 24 minutes

Commission:

Premiere:

Publisher: Elkan-Vogel Company, Inc., 1994

Score/Parts Availability: Score available through Interlibrary Loan.

OCLC Number: 34967042

Recording: Richard Strauss, Pamela Pecha, Paul Freeman, Ralph Vaughan Williams, and Peter Schickele, Oboe concerto, 1997

Movements: I. Aria II. Scherzo III. Dances IV. Epilogue

Range: B3 – F6

Difficulty: moderately difficult – this concerto requires some endurance, but there are a few long orchestral breaks. This concerto is somewhat technically challenging.

Program notes/reviews:

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Composer: William Schuman (1910-1992)

Title: To Thee Olde Cause

Date of Composition: 1968

Instrumentation: Solo oboe, brass, timpani, piano, and strings

Piano Reduction:

Duration: 14 minutes 30 seconds

Commission:

Premiere:

Publisher: Merion Music; Theodore Presser Company, 1971

Score/Parts Availability: Study score available through Interlibrary Loan.

OCLC Number: 896608

Recording: Samuel Barber, Isaac Stern, Harold Gomberg, William Vacchiano, Leonard Bernstein, William Schuman, Charles Ives, and Aaron Copland, Adagio for strings / To thee old cause / Schuman, Sony Classical, 2003

Movements: All in one movement.

Range: B-flat 3 – G6

Difficulty: moderately difficult – this concerto mainly features a lamenting oboe line, with a few interjections of faster notes. There are long periods when the soloist doesn’t play, providing a great chance for an embouchure break for the soloist.

Program notes/reviews: Dedicated to the memory of Rev. Dr. Martin Luther King Jr. and Senator Robert F. Kennedy.27

27 William Schuman, To Thee Olde Cause (Bryn Mawr, Pa: Merion Music; sole representative: T. Presser, 1971)

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Composer: Harvey Sollberger (b. 1938)

Title: Three of Four Things I Know About the Oboe

Date of Composition: 1985-86

Instrumentation: Solo oboe, Flute (dbl. Picc), Clarinet in B-flat, Bassoon, Trumpet in C, Trombone, Tuba, Percussion (2 players), Harp, Piano, Viola, Cello, and Bass

Piano Reduction:

Duration:

Commission:

Premiere:

Publisher: McGinnis & Marx Music Publishers

Score/Parts Availability: Score available through Interlibrary Loan.

OCLC Number: 977169820

Recording:

Movements: Five sections to be played without pause I. The oboe is a capricious instrument II. The oboe is a sensuous instrument III. Fugitive Visions [of I, II, IV, V] IV. The oboe is a bitter instrument V. The oboe is an ecstatic instrument

Range: B-flat 3 – A6

Difficulty: very difficult – this concerto includes changing time signature’s, difficult rhythmic content, big changes in ‘character’, and extended techniques such as glissandi, and multiphonics. Another aspect that might make learning this concerto more difficult is the lack of reference recordings.

Program notes/reviews: For James Ostryniec/ to the memory of Josef Marx28

28 Harvey Sollberger, Three or Four things I know about the Oboe (New York: McGinnis & Miarx Music Publishers, 1988)

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Composer: David Stock (b.1939)

Title: Oborama

Date of Composition: 2010

Instrumentation: Solo oboe (doubling Musette, Oboe d’amore, English Horn, and Bass Oboe; percussion, harp, strings

Piano Reduction:

Duration: ca. 18 minutes

Commission: For Alex Klein; FEMUSC, Brazil and the Sunflower Music Festival, Kansas.

Premiere:

Publisher: Keiser Classical, 2010

Score/Parts Availability: Score available through Interlibrary Loan, parts available through publisher.

OCLC Number: 761287091

Recording: David Stock, Andrés Cárdenes, Alex Klein, Lisa Pegher, Gil Rose, and David Stock, Concertos, 2016

Movements: I. Dark, Somber (English Horn) II. Crisp, Bright (Mussette) III. Graceful, wistful (Oboe d’amore) IV. Dark, Solemn (Bass Oboe) V. Very Fast (Oboe)

Range: English Horn: B3 – E6 Mussette: C4 – E6 Oboe d’amore: B3 – F6 Bass Oboe: C4 – E-flat 6 Oboe: B-flat 3 – E6

Difficulty: moderately difficult – If each movement were performed separately, this concerto would not pose too many difficulties but, this concerto may be difficult to perform because it requires five different instruments.

Program notes/reviews:

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Composer: Tison Street (b. 1943)

Title: Adagio in E-flat

Date of Composition: 1977

Instrumentation: Oboe and string orchestra

Piano Reduction: Written by composer, available through Interlibrary Loan.

Duration: ca. 14 minutes

Commission: Commissioned by and dedicated to Peggy Pearson.

Premiere:

Publisher: Associated Music Publishers, Inc., 1980

Score/Parts Availability:

OCLC Number: 150639530

Recording: Tison Street, HEUSSENSTAMM: Alchemy, Naxos Digital Services Ltd, 2008

Movements: All in one movement.

Range: B-flat 3 – E6

Difficulty: moderate – a great concerto for a student. Features beautiful, flowing melodies.

Program notes/reviews:

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Composer: Ellen Taaffe Zwilich (b. 1939)

Title: Concerto for Oboe and Orchestra

Date of Composition: 1990

Instrumentation: Oboe and orchestra

Piano Reduction: Written by composer, available through Interlibrary Loan.

Duration: ca. 20 minutes

Commission: This work was commissioned for John Mack, Principal Oboist of the Cleveland Orchestra, Christoph von Dohnanyi, Music Director, by the Musical Arts Association and friends of John Mack, in honor of Mr. Mack’s 25th Anniversary as Principal Oboe of the Cleveland Orchestra.

Premiere:

Publisher: Marion Music, Inc., 1992

Score/Parts Availability: Orchestral score and parts are available on a rental basis through the publisher.

OCLC Number: 27201854

Recording: Ellen Taaffe Zwilich, John Mack, James Sedares, Ellen Taaffe Zwilich, and George Frideric Handel, Concerto for oboe and orchestra; Symphony no. 3; Concerto grosso, 1995

Movements: All in one movement.

Range: B-flat 3 – G6

Difficulty: moderately difficult – the range of this concerto technically puts it in the difficult category, but G6 only appears twice in the concerto, and the rhythms and tempo call for an easier difficulty. The fastest tempo in this concerto is 96 bpm but the tempo quickly slows back to 80 bpm. Another feature that makes this concerto more attainable are the many breaks in the solo part.

Program notes/reviews:

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BIBLIOGRAPHY

Argento, Dominick. Bravo Mozart!. New York: Boosey & Hawkes, Inc., 1978. Bacon, Ernst. Elegy for Oboe and Strings. Ernst Bacon Society, 2008. Barab, Seymour. Dances for Oboe Solo and String Orchestra. New York: Seesaw Music Corporation, 1993. Barber, Samuel. Canzonetta for Oboe and String Orchestra. New York: G. Schirmer, Inc., 1981. Barlow, Wayne. The Winter's Passed: for oboe and strings. Rochester, N.Y.: Eastman School of Music, 2001. Bolcom, William. Spring Concerto. Bryn Mawr, PA: Edward B Marks Music company, Verona, NJ: distributed by Subito Music Corporation, 2014. Bottje, Will Gay, Concertino for English Horn or Saxophone and Strings (or Piano). Chicago, IL: M.M. Cole Publishing Company, 1957. Butterworth, Neil. Dictionary of American Classical Composers. New York: Routledge, 2005. Carter, Elliott. Oboe Concerto. New York: Hendon Music, Inc., 1988. Castelnuovo-Tedesco, Mario. Concerto da Camera for Oboe and Piano Op. 146. New York: Mills Music, Inc., 1952. Childs, Barney. Concerto for English Horn, Strings, Harp, and Percussion. New York: American Composers Alliance, 1964. Cooper, Paul. Antiphons for solo oboe and wind ensemble. Eagle Court, London: J. and Chester L.t.a., 1973. Corigliano, John. Oboe Concerto. New York: G. Schirmer, Inc., 1978. Daugherty, Michael. Firecracker. New York: Peermusic Classical, 2003. Daugherty, Michael. “Program Notes: Spaghetti Western.” Accessed March 19, 2018. http://www.michaeldaugherty.net/index.cfm?id=48&i=2&pagename=works Daugherty, Michael. Spaghetti Western. New York: Boosey & Hawkes/ Henon Music, 1998. Eccleston, Elizabeth E. “An Annotated Bibliography of Canadian Oboe Concertos.” DMA dissertation, University of Cincinnati, 2016. Ewazen, Eric. Down a river of time. San Antonio, TX: Southern Music Co., 2001. Foss, Lukas. Concerto for Oboe and Orchestra New York: Southern Music Publishing Co. Inc., 1952. Fuchs, Kenneth. Eventide. New York: Piedmont Music Company, 2007. 65

Goeb, Roger. Fantasy for oboe & string orchestra. New York: Associated Music Publishers, Inc., 1952. Hamilton, Sarah. “An Annotated Bibliography of Canadian Music for Oboe, Oboe d’Amore, English Horn and Bass Oboe found in the Canadian Music Centre,” The Journal of the International Double Reed Society e-edition: Vol. 26, (1998), https://www.idrs.org/publications2/journal2/JNL26/JNL26.index.html . Hanson, Howard. Pastorale. New York: Carl Fisher, Inc., 1956. Harbison, John. Snow Country. New York: Associated Music Publishers, Inc., 1981. Harbison, John. Oboe Concerto. New York: Associated Music Publishers, Inc. (BMI), 1992. Higdon, Jennifer. Oboe Concerto. Philadelphia, PA: Lawdon Press, 2005. Hodkinson, Sydney. The Edge of the Olde One. Bryn Mawr, PA: Theodore Presser Co., 1977. Kay, Ulysses. Pietà. New York: Pembroke Music Co., Inc., 1978. Kennan, Kent. Elegy. Miami, FL: Edwin F. Kalmus & Co., Inc., 1988. Kernis, Aaron Jay. Colored Field: Concerto for English Horn & Orchestra. New York: Associated Music Publishers, Inc.. King, Nancy Ambrose. Equilibrium. Illuminations. 2016. King, Nancy Ambrose. “Lukas Foss: “Oboe Concerto.” April, 21, 2017. Accessed March 19, 2018. https://www.umwindorchestra.com/single-post/2017/04/13/Lukas-Foss-Oboe- Concerto . Korn, Peter. Rhapsody. Hamburg, Germany: N. Simrock, 1970. Korn, Peter. Romanza Concertante, op. 84 on a theme by Michael Haydn. Glonn, Germany: Zinneberg Musikverlag, 1988. Kraft, William. Concerto for English Horn and Orchestra: The Grant Encounter. King of Prussia, PA: T. Presser, 2002. La Montaine, John. Ode for Oboe and Orchestra. Hollywood: Fredonia Press, 1952. Latham, Alison, “Concerto,” The Oxford Companion to Music, 2011, accessed March 28, 2017, http://www.oxfordreference.com.ezproxy.bgsu.edu:8080/view/10.1093/acref/978019957 9037.001.0001/acref-9780199579037-e-1550?rskey=SRjhtL&result=1 . Lazarof, Henri. Concerto for Oboe and Chamber Orchestra. Bryn Mawr, PA: Merion Music, Inc. 1996. Lees, Benjamin. Oboe Concerto. New York: Boosey & Hawkes Music Publishers Ltd., 1967. Lessard, John. Cantilena. New York: American Composers Alliance, 1952. Luening, Otto. Legend for Oboe and Strings. New York: Highgate Press, 1969. McAllister, Scott. Gone. Accessed March 19, 2018. http://yhst-665802-9.stores.yahoo.net/gone- best-seller.html . McAllister, Scott. Grunge Concerto. Accessed March 19, 2018. http://yhst-665802- 9.stores.yahoo.net/grungeconcerto.html .

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Morris, Alyssa. Dreamscape. Tallevast, FL: TrevCo Music Publishing, 2015. Mourant, Walter. Air and Scherzo. New York: Associated Music Publishers, Inc., 1955, 1962. Persichetti, Vincent. English Horn Concerto. Bryn Mawr, PA: Elkan-Vogel, Inc., 1977. Riley, John. Fantasy for Oboe and String Orchestra. Self-Published, 1950. Rorem, Ned. Concerto for English Horn. New York: Boosey & Hawkes, 1994, 1997. Schickele, Peter. Concerto for Oboe and Orchestra. Bryn Mawr, PA: Elkan-Vogel Company, Inc., 1994. Schuman, William. To Thee Olde Cause. Bryn Mawr, PA: Merion Music; sole representative: T. Presser, 1971. Sollberger, Harvey. Three or Four things I know about the Oboe. New York: McGinnis & Miarx Music Publishers, 1988. Stock, David. Oborama. Boston Modern Orchestra Project. David Stock: Concertos. 2016. Stock, David. Oborama. Maryland Heights, MO: Keiser Classical, 2010. Street, Tison. Adagio in E-flat. New York: Associated Music Publishers, Inc., 1980. Zwilich, Ellen Taaffe. Concerto for Oboe and Orchestra. Bryn Mawr, PA: Marion Music, Inc., 1992.

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APPENDIX A. UNPUBLISHED CONCERTI

Composer’s Name Title Beversdorf, Thomas Concerto Grosso Blackwood, Easley Concerto for oboe and strings Britain, Radie Phantasy: for oboe and orchestra Cheslock, Louis Suite for Oboe and Strings Cone, Edward Cadenzas Donovan, Richard Ricercare Donovan, Richard Suite for Oboe and Strings Farberman, Harold Impressions Farberman, Harold Shapings Farberman, Harold Concerto for Cathy Freed, Isadore Concertino for English Horn Hill, Edward Burlingame Music for enlish horn and orchestra Hodkinson, Sydney Phillip Bumberboom (Scherzo diabolique) Kay, Ulysses (Simpson) Oboe Concerto Lockwood, Normand Oboe Concerto Mamlok, Ursula Oboe Concerto Meyerowitz, Jan (Hans-Hermann) Oboe Concerto Mills, Charles Concertino for oboe and strings Picker, Tobias Romances and Interludes (after Schumann) Powell, Mel (Vin Epstein) Cantilena concertante Schuller, Gunther Alexander Threnos Spelman, Timothy Mather Oboe Concerto Stein, Leon Concerto for oboe and strings Stock, David Frederick No Man's Land Tcherepnin, Ivan Concerto for oboe, winds, brass, and percussion Svoboda, Tomas Meditation for oboe and strings Sydeman, William Concertino for oboe piano and strings Tower, Joan Island Prelude Weber, Ben Piece for oboe and strings, Op. 22 Wuorinen, Charles Oboe Concerto Yon, Pietro Oboe Concerto 68

APPENDIX B. CHAMBER CONCERTI FEATURING THE OBOE, ENGLISH HORN, OR OBOE D’AMORE

Composer Title Instrumentation Amram, David The Trail of Beauty Mezzo-Soprano, oboe and orchestra Argento, Dominick Bravo Mozart! Oboe, violin, and horn with chamber orchestra Bauer, Marion Eugenie Concerto for oboe, clarinet, and string quartet Oboe, clarinet, and 2 violins, viola, cello Bergsma, William (Lawrence) In Campo Aperto Oboe, two bassoons, and strings Blackwood, Easley Concerto for flute, oboe, and string trio Flute, oboe and string trio Bottje, Will Gay Concerto for oboe, bassoon, chamber orchestra Oboe, Bassoon, Chamber and piano Orchestra and Piano Bottje, Will Gay Chamber Concerto Oboe, Bassoon, and small orchestra Bottje, Will Gay Concerto for violin, oboe, and small orchestra Violin, Oboe, and small orchestra Copland, Aaron Quiet City English Horn, trumpet and orchestra Diamond, David (Leo) Elegies in Memory of William Faulkner and Flute, English Horn, and e.e. cummings string orchestra Eaton, John Adagio and Allegro Flute, Oboe and Strings Fuchs, Kenneth Face of the Night (1989) English Horn, oboe and orchestra Goeb, Roger (John) Concertant No. 1 Flute, oboe, clarinet and strings Harbison, John Concerto for oboe, clarinet, and strings Oboe, Clarinet, and Strings Kraft, Leo Concerto No. 5 for oboe Oboe and strings Laderman, Ezra Double Helix Flute, oboe and strings Linn, Robert Concerto for oboe, horn, strings, and percussion Oboe, horn, strings, and percussion Kechley, Gerald Prologue, Enactment and Epilogue Violin, oboe, and strings Krenek, Ernst Kitharaulos Op. 213 Oboe, harp, and chamber orchestra Kreutz, Arthur Concerto for oboe, horn, and strings Oboe, horn, and strings Michalsky, Donal Partita Oboe d'amore, string trio, and string orchestra Moss, Lawrence From Dawn to Dawn Baritone, oboe, and orchestra Palmer, Robert Chamber Concerto Violin, oboe, and string orchestra Piston, Walter Fantasy for English Horn, strings, and harp English Horn, harp, and strings Previn Andre Reflections English Horn, cello, and orchestra

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Composer Title Instrumentation Steinke, Greg A. Northwest Sketches Iib for flute, oboe, and Flute, oboe, and chamber chamber orchestra orchestra Steinke, Greg A. Atavism Oboe, bassoon, and wind ensemble Stout, Alan Capriccio Oboe, harp, and strings Stucky, Steven Double Concerto Violin, oboe and chamber orchestra Tcherepnin, Ivan Triple Concerto English Horn, trombone, double bass, clarinet, and wind orchestra Turok, Paul Conzona Concertante: no. 3 Flute, oboe, trumpet, and strings