Werke von Dittersdorf, Gluck, Haydn, Stamitz. 3 : Werke Von Dittersdorf, Gluck, Haydn, Stamitz/ Répertoire / Hautbois (Partie Séparée)

Hören, lesen & spielen ist die individuelle Bläserschule für dreizehn verschiedene Instrumente, die im Einzel- oder Gruppenunterricht eingesetzt werden kann. Die bewährte Methode ist nach den gegenwärtigen Regeln und Ansprüchen der Musikerziehung zusammengestellt. Sie enthält viele Spiele, Puzzles, Hörübungen, Lieder und Originalkompositionen. Zu jedem Band von Hören, lesen & spielen gibt es Spielliteratur, die den Unterricht perfekt ergänzt. Diese Spielbücher mit Soli, Duos und Trios können auch unabhängig von der Schule eingesetzt werden. Dreizehn Duette von Michiel Oldenkamp und Jaap Kastelein im Duobuch 2 bringen den Schülern nicht nur großenSpaß, sondern nebenbei auch wichtige Aspekte des Musizierens, wie verschiedene Ton- und Taktarten, bei. / Niveau : Facile à Intermédiaire / Méthode / Hautbois

In Greek mythology Niobe was the daughter of Tantalus and wife of Amphion King of Thebes. She unwisely boasted to Leto about her many sons and daughters. Leto who only had two children Apollo and Artemis was angered. As punishment Apollo slew Niobe's sons and Artemis her daugters. Out of pity for Niobe's inconsolable grief the Gods changed her into a rock in which form she continued to weep.In this work for solo Oboe and tape the solo Oboe takes the part of Niobe bitterly lamenting her murdered children. The tape with the distant high voices and the slow tolling bells (and later gong) is intended to provide an evocative and descriptiveaccompaniment.Niobe was commissioned by the Park Lane Group. The first performance took place at the Park Lane Concerts in January 1988.

Par EDLEFSEN BLAINE. with Fred Weber The Belwin Student Instrumental Course is the first and only complete course for individual instruction of all band instruments. Like instruments may be taught in classes. Cornets, trombones, baritones, and basses may be taught together. The course igned to give the student a sound musical background and at the same time provide for the highest degree of interest and motivation. The entire course is correlated to the band oriented sequence. To make the course both authoritative and practical, moks are co-authored by a national authority of each instrument in collaboration with Fred Weber, perhaps the most widely-known and accepted authority at the student level. / Méthode / Méthode / Hautbois

After the success of Carpe Diem! a Clarinet Concerto written in 1990 Kaipainen went on to write his Oboe Concerto in 1994. Carpe diem! exemplifies the increasingly Classical ideals espoused by Kaipainen over the years. He develops this strand even further in his 'Oboe Concerto' which is a much more restrained and balanced work in darker tones.The piece contains three movements the first of which combines elements of a traditional opening movement and scherzo. The slow movement is an affecting elegy. The finale consists mostly of quietly played perpetuum mobile figures interspersed with sudden dramatic passages.

For solo Oboe.First published in 2001.Commissioned by Melinda Maxwell.First performed at Dartington Summer School in August 2001.

 CAPRICCELLO est une pièce concertante pour bande de hautbois et violoncelle soliste, Elle est constituée de quatre mouvements : GRAVE, VIVACE, ADAGIO et VIVACE,Les deux premières parties constituent une ouverture à la Française - après une introduction puissante à l'écriture verticale, le violoncelle entame une fugue au tempo vif, Le mode dorien, le ton de ré mineur et la gamme par ton s'y bousculent puis s'y entremêlent,Ce début est fortement marqué par une influence du répertoire renaissance et surtout baroque, Le troisième mouvement, adagio, est plus introspectif, L'utilisation du violoncelle dans son registre aigu apporte une tension palpable et nous amène davantage vers des couleurs romantiques teintées de mélancolie, Enfin, le vivace final reprend -pour l'essentiel- les éléments précédemment entendus et clôt la pièce avec brio,Commandée par Jacques Bernaert pour le 2ème festival ' week-end à la campagne ', cette oeuvre a été jouée pour la première fois le 25 juin 2010 en l'église de Saint-Arnoult de l'Oise grâce à l'heureuse rencontre du violoncelliste Jacques Bernaert et de La Bande des Hautbois dirigée par Claude Villevieille,Collection Les bandes de hautbois / Hautbois

PAN (WHO PLAYED UPON THE REED PIPE WHICH WAS SYRINX, HIS BELOVED) PHAETON (WHO RODE UPON THE CHARIOT OF THE SUN FOR ONE DAY AND WAS HURLED INTO THE RIVER PADUS BY A THUNDERBOLT) NIOBE (WHO, LAMENTING THE DEATH OF HER FOURTEEN CHILDREN, WAS TURNED INTO A MOUNTAIN) BACCHUS (AT WHOSE FEASTS IS HEARD THE NOISE OF GAGGLING WOMEN'S TATTLING TONGUES AND SHOUTING OUT OF BOYS) NARCISSUS (WHO FELL IN LOVE WITH HIS OWN IMAGE AND BECAME A FLOWER) ARETHUSA (WHO, FLYING FROM THE LOVE OF ALPHEUS THE RIVER GOT, WAS TURNED INTO A FOUNTAIN)

The composer states that'the piece begins with a slowly falling scale of seven notes, thrown from one player to another, repeated nine times and embellished with ornamental flurries which outline a gradually evolving harmonic pattern. The repetitive nature of the music is like a peal of bells or some other kind of evocation. Eventually the music breaks out of this cyclic inevitability and heads into a faster dance-like material which in turn develops its own ritualistic recurrences.? The score and parts are intended for oboes at sounding pitch or for soprano saxophones sounding a tone lower than notated. / 3 Hautbois

for Oboe. When kids learn to play an instrument, they want to play the songs they know and love! This collection of 50 songs alongs them to do just that! It includes 50 contemporary favorites, including: Believer · Don't Stop Believin' · Happy · High Hopes · Let's Get It Started · Ocean Eyes · Perfect · Rewrite the Stars · A Thousand Miles · You Will Be Found · and more./ Recueil / Hautbois

Great Oboists on Music and Musicianship. A practical book with advice for both oboists and their teachers, Great Oboists on Music and Musicianship offers insights into musical craft, performance techniques, learning strategies, pedagogy, and much more as collected from twenty-six of the world's most prominent oboists.

Cantilena was commissioned by the London Chamber Music Society to celebrate their move to King's Place in October 2008. First performed by Nicholas Daniel and members of the Chilingirian Quartet at King’s Place London on 5th October 2008. The work is a short lyrical piece where an outsider [the oboe] joins the group [a string trio] and adds to their dialogue. At first the newcomer is treated with a mixture of suspicion and agitation but eventually is made welcome. The oboe is invited to share the musical theme that has been established which he then proceeds to embellish and adorn. He leads the harmonic changes that result in the theme being heard in manydifferent keys. He then introduces a new theme. The excitement grows and leads to a climax. A peaceful coda re-establishes the original theme and all ends harmoniously among the integrated quartet.

This title is taken from Dvorak. However. The models from which the songs are derived are clearly identifiable as are the composers from whose language they have been derived. The piece appears to be in one movement though it is in fact two with a coda. The first is French in style a sort of Waltz. It is quick and harks upon the likes of Françaix and where its idiom becomes more advanced Messaien. The other is Germanic a slow movement with echoes of German expressionism - perhaps Richard Strauss perhaps Mahler. The two movements are partly complete; the cod reconciles their differences and completes them. I see the piece as my own version of En blanc et noir.