OBOE CONCERTO Concerto pour Hautbois Oboe Richard Strauss Allegro moderato” boa eas Sa Se D Pras it Se xy i 4B&H 1608744 tial octave A can Intonation is also difficult in this solo. On anything less than an excellent reed, the in ial tve A can grey Consequently, we often pinch and play the note too high, forcing the entire solo uP in p ‘atch it, constricting both quality and expression First, make sure your reed lets you play true octaves with little or no embouchure pressure — a simple flick of tye side octave key should allow the high A, B, and C to pop out of their own volition. Neat, tune your F arpeggio. Ty. low F is a very stable note, and tuning to it will force you to bring the upper register down. Play a sustained Fy. your tuner or play an F triad on the piano and slowly play the following broken arpeggio: a a ‘Then, go back and attempt the solo again, keeping the F sounding in the background The word “Solo” in bar 32 indicates the violinist's entrance, not your F! 7 Adagio i” Tutti Fag, Hr — (Solo), BP dolce £iaben Solo yf ———— VARIATIONS ON A THEME OF JOSEPH HAYDN __ JOHANNES BRAHMS een Excerpt 1: Theme, complete; suggested tempo J = 63-69 ‘There are a number of approaches one can take to this excerpt. Some conductors like a broad, sober rendition slower and with a precise dotted shythm. I prefer a nice walking tempo (« = 63-69), decidedly in 2.1 prefe: to pi) the dotted rhythm with a bit more of a swing ~ the 16th ever so slightly later and closer to the following beat. Si? through the quarter notes in measures 2 and 3 and those in measures ? and 8 ‘The tenuto marks in bar 2 indicate a broad note length. Practice the Theme with your 2nd Oboe player to match every aspect of rh n, and of rhythm, articulation, inflection sound quality. This excerpt is more difficult for the 2nd player who has the lower register and gets no break 3t 1L Repeats are integral to Brahms’ masterful architecture and are not optional! 4144118942 Excerpt 7: Mvt. 4, bars 259-268; suggested tempo d= 76-80 This last tutti is extremely tricky, and can be requested to narrow the field in an audition. Don’t rush it! (The piano accompaniment begins at bar 259,) — 5 «Greet = San = == Simare SYMPHONY NO. 2 IN D MAJOR JOHANNES BRAHMS (1833-1897) Excerpt 1: Mvt. 2, bars 17-26; suggested tempo = 72 ‘The following excerpt is quite delicate, moving in octaves with the 2nd Oboe up to the high C+. The two of you can play this at a soft dynamic and still project quite easily. The balance should be weighted slightly in favor of the 2nd Obve. nee, A} “ ae a a ——— FSS > = SS dim. Excerpt 2: Mvt. 3, bars 1-32; suggested tempo J= 100-104 This excerpt should be played at a good, moving tempo. At too slow a tempo the accented notes on the 3rd beat become too vertical, defeating the grazioso character of the solo. In the following exercise, give the downbeats a slight “up” inflection, but, not enough to disturb the horizontal flow. at Ain J Tite Tift ‘The D's are a resolution from the E, and you will need sufficient opening and response from your reed to articulate them gently and reliably. The low E can be very balky in its response. Ordinarily that can be remedied by pulling ‘out the bell a millimeter or so, but that may lower the other registers too much, ‘The triplets should be gracious without sounding too agitated or scherzando. ‘There is often a slight ritard. leading to the fermata at 23 I always tend towards the Allegretto rather than the Andantino, but be prepared for a “negotiation” with some conductors about this tempo. They are constrained by the need to maintain a constant tempo in the prest©. where the strings need to fit four into your opening quarter's tempo. 41441189‘Tehaikovsky — Symphony No. 4 in F Minor, Op. 36 6 Oboe 1 ‘Pp cantabile 4 Molto pitt mosso —=_—_ > P = — (P Poca poco crese. Pit mosso. Allegro vivo I Andantino in modo di canzona Sole = (Premplice, ma grazioso = _ | >— f f im.Brahms — Symphony No. 1 in C Minor Oboe I . Andante sostenuto Viol L 8 Viol ooOuverture La Scala di Seta The Silken Stairs Oboe I Gioacchino Rossini Allegro vivaceRimsky-Korsakov — Scheherazade, Op. 35 4 Oboe I. IL. Andantin, ya $0. Lento. Recit. 20 rit. doleeadespressien rn eo ZT 4 oF namin itee?® PRN ten 200 vie mgsso eye tempun poco pin animate = = pilaster @ fenipo gusto ft F - pli trang.—— dutew accel, P Reeit. These. Allegro molto.Moltg modexgto. Tempo Slustos Alege 3 cola parte GP. Recit. Molto moderato. KA aeO RASte- Sin. P- a), F Reelt. 2 be Rp Moderato assal. : bbe opttbe « sthh we Tr tustowath Cad.ad Ub.culln part ‘empo glusto.(Allegry molto. atempurs_ritatenpors rit takin ZA eartihe an © Chad Ths Gulud lib. t Vivace scherzando. a af = ‘i e t ~ @ pp cresc. pee “== DP © THN. PP erexe. pocoSeep oS: SF colla parte sexDvorak — Symphony No. 9 in E Minor, Op. 95 "New World" Oboe II.e Corno inglese. 8 Largo. Englisch Horn Corning Solo Un poco opit ion,> 2 pits mosso Porw meno mosso. 8 Sin. PP 3 Poco pits mosso.Menod 4 —— IF Engl.Horn. 5 Meno moss: p Sib. ObIL, nt. Molto Adagio. fogs Po ‘P= PP THector Berlioz oe Roman Carnival Overture, Op. 9 (Como inglese) Allegro assal con fuoco (4-168) gOb.II 9X St GP Corno ingl. Andante sostenuto @-52) 4 AX solo nf espress. = Ob. II_ poco animat Br of ——__ ¢ ~@———_ vw ee TeV Allegro vivgce on. ——