Early Music: Oboe: Instrumental Album

Performed by Elaine Douvas oboe Accompaniment: Erik Nielsen piano This wonderful album for the beginning to early intermediate oboe player includes thirteen pieces ranging from Boccherini to Grieg to Richard Strauss to William Walton. Says James Roe of The Double Reed: With the poise of a great virtuoso [Ms. Douvas] approaches these 'easy' pieces as she would a solo line in a great symphony...the richness of her tone the variety in her articulation and the beauty and clarity of her line all represent the very best example for students as they develop their concept of playing. And it's all pretty inspiring for us professional oboists as well. Ms. Douvas's extensiveperformance notes are a delight and will be inspiring to students and an important aid to teachers. Includes a complete solo part printed on high-quality ivory paper annotated with performance suggestions and a compact disc with complete versions (with soloist) followed by piano accompaniments to each piece minus the soloist.

A collection of solos to provide repertoire and rehearsal material for the early Oboe student.

15 Progressive Duets for Oboes-The early stages of learning any instrument are undoubtedly the most important. A good teacher is of course essential but it is also vital to have stimulating study material which complements your choice of teaching method and is carefully tailored to introduce learning and playing skills in a structured manner. In writing this collection Philip Sparke worked with many instrumental teachers to discover exactly what was required for each instrument to help players develop the full range of skills whilst still having fun. Each book of this collection is specifically tailored for the developing musician and focuses on study solos and duets aimed to improve specific technical andmusical demands of the instrument.

arranged for Oboe and Piano-The Oboe Quartet in F major K. 370/368b was written by Wolfgang Amadeus Mozart in early 1781. The quartet originally arranged for oboe violin viola and cello is presented in this edition for Oboe with Piano accompaniment. In 1780 Mozart was invited to Munich to visit Elector Karl Theodor who had commissioned the opera Idomeneo for a carnival celebration. While in Munich Mozart renewed an acquaintance with Friedrich Ramm a virtuoso oboist in the Munich orchestra. It was for Ramm that Mozart composed the quartet in order to show off his virtuosity and the improvements that had been made to the oboe at that time. One way that this piece showed off theinstrument was the use of the 'high F' above the staff a note rarely played in any repertoire previously written for the oboe. This piece is a work of chamber music but it has elements that harken to other musical genres and requires a fair amount of virtuosity. Because of its large amount of virtuosic playing on the part of the oboe and the large degree to which the strings simply accompany the oboist it almost resembles a concerto but with only with four players instead of an entire orchestra. Despite this there are also a number of places within the work that require ensemble playing for example the famous 13-bar passage in the finale in which the oboe plays in common time against a 6/8 accompaniment.

Four-part flexible chamber music arrangements featuring a soloist. The Centre Stage series bringing well-known classics to early-level players has become so popular with schools and music centres that further titles have been requested! The rousing Joy to the World and gentle Silent Night are undoubtedly Christmas favourites and would make an excellent choice for your Christmas concert.The scoring is flexible (the ‘soloist’ in Part 1 as an example could be for flute oboe violin clarinet or alto saxophone) and whilst written for a chamber group larger ensembles can also use Centre Stage with more players joining each part. An optional piano part has beenincluded for rehearsal or to support the performance.

D major-Concerto For Flute And Orchestra D major K. 314 (285d).Flute Solo Oboe (2) Horn (2) Strings. Flute & Piano reduction. The New Mozart Edition offers researchers a musicologically unimpeachable text based on all the available sources (first and foremost Mozart's autograph manuscripts). At the same time it also serves as an aid to authentic performances. BÄRENREITER URTEXT: In the international music world “Bärenreiter Urtext” is synonymous with performing editions in which the musical text has been prepared using clearly formulated scholarly critical criteria. Editors which includeprominent musicologists as well as musicians take all available sources into account thus guaranteeing an authentic musical text which represents the latest in musicological research. For Bärenreiter “Urtext” is more than just a label – it is also a pledge and a guarantee for sheet music performing editions that present the authentic text and the latest findings of scholarly research enabling musicians to get as close to the composer’s intentions as the surviving sources will allow. There are no arbitrary editorial additions and the quality of the musical text is matched by an appearance on the page that satisfies the most discerning eye.

Cembalo Orgel - Flute Violine - Bc-Score with 3 parts (Flute/Oboe/Violin; Basso Continuo with figures (Cello/Bass); Basso Continuo realised with figures (Harpsichord/Organ)Musical text with arrangements by two Handel contemporaries as well as the editor’s own arrangement for Harpsichord or Organ.All editorial additions are clearly marked.Equally effective when performed note-for-note on the Organ.As early as 1743 while Handel was still alive Francesco Geminiani produced an arrangement of the Water Music for Keyboard instruments thereby making it possible to perform this popular work in domestic surroundings. Then presumably in 1749 an unknown musician arranged theMusic for the Royal Fireworks for transverse Flute or Violin and Harpsichord. In addition to these two contemporary versions this edition also contains an arrangement by the editor for Harpsichord or Organ based on the first edition. Though both early sources explicitly mention a Harpsichord the arrangements can also be performed effectively note-for-note on the Organ. As the surviving anonymous version merely places a solo part and a figured Bass on a two-stave system our edition is accompanied by performance material with one part each for transverse Flute/Oboe/Violin and Violoncello/Double Bass plus a figured Bass realisation.