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IDRS JOURNAL 71 An Annotated Bibliography of Canadian Music for Oboe, Oboe d’Amore, English horn and Bass Oboe found in the Canadian Music Centre By Dr. Sarah Hamilton Fredonia, New York INTRODUCTION I have written this annotated bibliography to address my own desire to learn about Canadian oboe, oboe d’amore, English horn and bass oboe music (represented by “Canadian oboe music” hereafter), and to put my discoveries into a format that will be easily accessible and usable by students, teachers and performers. It is my hope that this resource will contribute to the increased performance of Canadian oboe music by all levels of oboe players. I have limited this bibliography to music that is currently catalogued in the Canadian Music Centre (CMC). I have chosen to make this limitation because the music in the CMC is easily obtainable. It can be borrowed free, including the cost of shipping to any destination. The instrumentation has been limited to works for solo oboe, oboe d’amore, English horn and bass oboe; these instruments with keyboard, in duets and trios, with tape, and as soloists with orchestra, if there is a piano reduction of the orchestral part. There are fifty-five works that fit these limitations and were catalogued as of April 1996. Works accepted by the library after this date have not been included in this bibliography. I have been able to hear all of these compositions either by recording or by a reading, except for Mirrors by Bengt Hambraeus. All of the compositions discussed can be borrowed from the CMC, and may also be available from the Association for the Creation of New Music Projects (ACNMP), the CMC also sells music, both published and unpublished. While researching for this bibliography, I quickly realized that there is a tremendous amount of Canadian oboe music not found in the CMC’s collection. There are works written by composers who are not associates of the CMC, and works by associate composers that have not been submitted to the CMC collection. Also, there is a great deal of music that does not fit the instrumentation limitations of this document, specifically pieces for solo oboe with orchestra for which there is no piano reduction extant. To address this issue, I will include a list of these other Canadian oboe works in a later article. It is likely that the CMC would be able to help obtain these pieces, because they have the composer’s addresses on file. With three exceptions, the composers discussed in this bibliography are still alive as of this writing, so it is also possible to obtain music by contacting them directly. Each annotated entry includes a difficulty ranking and stylistic category. In the works in this document there is a great deal of variety in both these areas, particularly considering that the dates of composition span only 50 years. The factual information in each annotated entry, including date and place of composition, premiere, dedication and program notes, was found primarily in folders that the CMC keeps for each of its associate composers. These folders contain programs of performances, magazine articles, reviews, biographies, work lists and phtotographs. The CMC also publishes the Directory of Associate Composers which includes a biography and work list for each composer. This is a good resource for biographical information, as is The Encyclopedia of Music in Canada. FORMAT OF THE ANNOTATIONS Blank spaces indicate information that is not applicable, or is not available. Composer: includes the dates of the composer’s birth and death. Title: includes title in English and French where applicable. Date & place of composition: includes all available information. If several different dates of composition have been found, the date from the Canadian Music Centre (CMC) catalogue is listed. Occasionally, the CMC has used the composer’s copyright date, and not the date listed on the music. Instrumentation: includes alternate instrument- ation. Duration: is approximate. It has been determined either from what the composer wrote on the music or in a works lists, what is listed on the recording, or by a reading of the work. If several very different timings were found, the timing of a recording was given preference, then that of the CMC catalogue. The

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IDRS JOURNAL 71

An Annotated Bibliography of Canadian Music for Oboe, Oboed’Amore, English horn and Bass Oboe found in the

Canadian Music Centre

By Dr. Sarah HamiltonFredonia, New York

INTRODUCTIONI have written this annotated bibliography to

address my own desire to learn about Canadianoboe, oboe d’amore, English horn and bass oboemusic (represented by “Canadian oboe music”hereafter), and to put my discoveries into aformat that will be easily accessible and usableby students, teachers and performers. It is myhope that this resource will contribute to theincreased performance of Canadian oboe musicby all levels of oboe players.

I have limited this bibliography to music thatis currently catalogued in the Canadian MusicCentre (CMC). I have chosen to make thislimitation because the music in the CMC is easilyobtainable. It can be borrowed free, includingthe cost of shipping to any destination. Theinstrumentation has been limited to works forsolo oboe, oboe d’amore, English horn and bassoboe; these instruments with keyboard, in duetsand trios, with tape, and as soloists withorchestra, if there is a piano reduction of theorchestral part. There are fifty-five works that fitthese limitations and were catalogued as of April1996. Works accepted by the library after thisdate have not been included in this bibliography.I have been able to hear all of thesecompositions either by recording or by areading, except for Mirrors by Bengt Hambraeus.All of the compositions discussed can beborrowed from the CMC, and may also beavailable from the Association for the Creation ofNew Music Projects (ACNMP), the CMC also sellsmusic, both published and unpublished.

While researching for this bibliography, Iquickly realized that there is a tremendousamount of Canadian oboe music not found in theCMC’s collection. There are works written bycomposers who are not associates of the CMC,and works by associate composers that havenot been submitted to the CMC collection. Also,there is a great deal of music that does not fitthe instrumentation limitations of thisdocument, specifically pieces for solo oboe withorchestra for which there is no piano reductionextant. To address this issue, I will include a listof these other Canadian oboe works in a laterarticle. It is likely that the CMC would be able to

help obtain these pieces, because they have thecomposer’s addresses on file. With threeexceptions, the composers discussed in thisbibliography are still alive as of this writing, so itis also possible to obtain music by contactingthem directly.

Each annotated entry includes a difficultyranking and stylistic category. In the works inthis document there is a great deal of variety inboth these areas, particularly considering thatthe dates of composition span only 50 years.The factual information in each annotated entry,including date and place of composition,premiere, dedication and program notes, wasfound primarily in folders that the CMC keepsfor each of its associate composers. Thesefolders contain programs of performances,magazine articles, reviews, biographies, worklists and phtotographs. The CMC also publishesthe Directory of Associate Composers whichincludes a biography and work list for eachcomposer. This is a good resource forbiographical information, as is The Encyclopediaof Music in Canada.

FORMAT OF THE ANNOTATIONSBlank spaces indicate information that is not

applicable, or is not available.Composer: includes the dates of the composer’sbirth and death.Title: includes title in English and French whereapplicable.Date & place of composition: includes allavailable information. If several different datesof composition have been found, the date fromthe Canadian Music Centre (CMC) catalogue islisted. Occasionally, the CMC has used thecomposer’s copyright date, and not the datelisted on the music.Instrumentation: includes alternate instrument-ation.Duration: is approximate. It has beendetermined either from what the composerwrote on the music or in a works lists, what islisted on the recording, or by a reading of thework. If several very different timings werefound, the timing of a recording was givenpreference, then that of the CMC catalogue. The

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timings are usually rounded to the nearestquarter of a minute.Dedication: includes quotes from the music andother sources (which use quotation marks), orinformation gleaned from program notes orworks lists.Commission: see directly above.Publisher/ISBN: is listed as “Ms” if manuscript.Otherwise the publisher and copyright date arelisted. Occasionally the piece has beenpublished by the composer.Recording(s): includes records and compactdisks only.Movements: lists titles of movements.Range: is as written. C4 is:

therefore C6 is:

B3 would be:

therefore B5 is:

Difficulty: ve: very easy, e: easy, m: moderate,md: moderately difficult, d: difficult, vd: verydifficult. See below for a more detaileddescription of levels.Stylistic characteristics: categories include:tonal, atonal, and electronic/atmospheric, withthe subcategory of ethnic influence. See belowfor a more detailed description of each category.Program notes: are generally included only if theyare written by the composer. If the authorship is indoubt, this is noted. Some program notes werefound undated, and unrelated to a specific concertin the composer’s biographical file at the CanadianMusic Centre.Comments: includes other information about thepiece, the dedicatee, and the performer on therecording or the premiere.Abbreviations:ACNMP: Association for the Creation of New MusicProjectsACWC: Association of Canadian Women ComposersCC: Canada CouncilCMC: Canadian Music CentreN-LAC: Newfoundland-Labrador Arts CouncilOAC: Ontario Arts Councilob: oboeob d’am: oboe d’amoreEh: English hornbass ob: bass oboepicc: piccolo

fl: flutecl: clarinetbsn: bassoonsop sax: soprano saxophonehrn: horntr: trumpetperc: percussionstr: string orchestraorch: orchestrahrp: harpvln: violinvla: violapno: pianoorg: organmm: measuremov: movementAddresses: ON: Ontario QC: QuébecGeneral oboe family terms:third octave: refers to notes E6 and abovehigh register: refers to notes A5 to Eb6middle register: refers to notes A4 to G#5low register: refers to notes G#4 and lowerDifficulty Rating System for this BibliographyVery Easy: range from D4 to G5; few leaps over afifth; frequent rests; few dynamic markings;most complex subdivision is eighth-note;maximum tempo: beat = mm 100; simple duple,triple, and quadruple time signatures only; keysignature does not exceed two flats or sharps.Easy: range from C4-G5; few leaps over anoctave; some rests; some dynamic changes; notmuch continuous tonguing; most complexsubdivision not to exceed sixteenth-notes;maximum tempo: beat = mm120; simple andcompound meters; key signature does notexceed three flats or sharps, and may use someaccidentals.Moderate: range from Bb3 - Eb6; leaps over anoctave; moderate endurance requirements; mayhave sudden dynamic changes; may have fast ormoderately long tonguing passages; subdi-visions do not exceed thirty-second notes;maximum tempo: beat = mm132; meter and keychanges possible; key signature does not exceedfour flats or sharps and/or may use frequentaccidentals.Moderately difficult: range from Bb3 - F6; leapssmaller than two octaves; extended endurancerequired; may have sudden, extreme dynamicchanges; may have extensive fast tonguing;thirty-second note subdivisions possible; fewtempo limitations; complex meters possible; nokey limitations; may incorporate extendedtechniques, e.g. quarter-tones, multiphonics;may include graphic notation.Difficult: range from Bb3 - G6; leaps exceed twooctaves; extensive endurance may be required;tempo, technique and dynamics are notconsiderations; may include multiple metersand complex rhythms; may incorporate manyextended techniques: see previous level, andincluding flutter and double tonguing.

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Very Difficult: no limitations in range, tempo,technique or extended technique, dynamics,tonguing, flexibility, meter, rhythm or range;often an absence of melodic or rhythmicpatterns in technical passages.

The difficulty section of the annotationcontains information about the oboe part, theninformation about the piano or tape part ifapplicable, and any notational difficulties. Thedifficulty level is assigned to the oboe part only.Occasionally, a piece has been labeled at acertain level of difficulty, even though somecharacteristic, usually the range, extends to thenext higher level. When this choice has beenmade, it is because the notes out of range arefew, and easily approached and departed, andthe rest of the piece fits into the lower level.Most of the surveyed pieces do not have keysignatures. This same rating system has beenused for works for oboe d’amore and Englishhorn, while taking into consideration theincreased difficulty of these instruments,particularly with regards to high register andfast passages.

STYLISTIC CHARACTERISTICSThe works in this bibliography have been

divided into three major style categories.Various authors’ works were investigated thatdiscussed style, particularly in relationship toCanadian music, and used specific terms suchas impressionism, expressionism, neo-romanticism, etc. These include: A Teacher’sGuide to Canadian Music by Ted Dawson,1 TheMusic of Canada by Timothy J. Mcgee,2 andCanadian Music for Trumpet: an AnnotatedBibliography by Jeffrey Anderson.3 The decisionwas made that the more general terms tonal,atonal and electronic/atmospheric would beused. This decision was made partially becausethe compositions were all written within the lastfifty years and so many traditional stylisticlabels do not apply, and also since thecharacteristics of more recent specific stylelables do not yet have general acceptance. Theterms tonal and atonal should be taken to mean“primarily tonal” and “primarily atonal”, as veryfew of the works could be considered strictlyone or the other. A work that is labeled“atonal”, for instance, may still have some tonalelements. A descriptive label, “ethnic” is alsoused to further describe influences oncompositions in any of the three categories. Theannotations include more specific stylisticcomments to illustrate the wide vareity of stylesrepresented. Following are more detaileddescriptions of each style.

Tonal: The works in this category containstrong references to tertian chords with varyingdegrees of functional harmonic progression.

There may be some atonal elements, but thecomposition primarily uses tertian chords andfunctional harmonic progressions, particularlyat structural points at the ends of phrases andsections. Functional bass movement is alsoprevalent.

Atonal: The works in this category containfew, if any references to tertian harmony. Theorganization of the piece is either by specifictechniques such as serialism, or by continualreference to one note or pattern.

Electronic/atmospheric: The focus in thiscategory is colour and atmosphere, rather thanharmonic progression. The harmony tends to bestatic, and the melodic gestures tend to berepetitive with minimal variation. The texturetends to remain similar throughout. Most of theworks in this category are for oboe and tape.

Ethnic influences: This subcategory is appliedto works that have a strong ethnic influence,usually with regards to the melodic style. Forexample Arctic Dances by Beckwith which isbased on Inuit tunes found in BeverleyCavanagh’s Music of the Netsilik Eskimos.

THE ANNOTATED BIBLIOGRAPHYAperans, Dace Jurvas (Sea songs)Aperans, Dace PastoraleApplebaum, Louis SouvenirsArcher, Violet SonataArcher, Violet SonatinaBadian, Maya Cantus PlanusBadian, Maya MonodyBeckwith, John Arctic DancesBerry, Wallace Ten Short PiecesCherney, Brian EpitaphCherney, Brian Six miniaturesClarke, F.R.C. Two SoliloquiesCooney, Cheryl L. PhilomelaCoulthard, Jean The Enchanted IslandCoulthard, Jean ShizenCoulthard, Jean SonataCrawley, Clifford Recitatives and AriasDolin, Samuel PsalmodyDouglas, Paul “Luquet”Douglas, Paul SeniaFiala, George Deux MovementsFord, Clifford Forbidden ColoursFreedman, Harry Short StoryFriedman, Daniel Eliezer RomanceGeorge, Graham AdagioGirón, Arsenio Six StudiesGlick, Srul Irving SonataGrant, Stewart Fantasia #2Hambraeus, Bengt Eco dalla montagna

lontana … ScandinaviaHambraeus, Bengt MirrorsHambraeus, Bengt ShengHealey, Derek Capriccio-Varient 2 op.59cHétu, Jacques Incantation, op. 28Holman, Derek Partita on the tune

“Mount Pleasant”

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Kaplan, David L. NarrativeKeane, David TangoKlein, Lothar à la RossiniLake, Larry PsalmMann, Leslie Vocalise op. 37McIntyre, David Polka-Pause-PrestoMorawetz, Oskar SonataMozetich, Marjan The Diary of an IntellectualParker, Michael In Memoriam: op. 43aParker, Michael In Memoriam: op. 43cSaint-Marcoux,Micheline Coulombe Horizon II

Schudel, Thomas Nocturne and DanceSimeonov, Blago ScherzinoTelfer, Nancy Bird’s-Eye ViewTittle, Steve only/other/alwaysTruax, Barry Tongues of AngelsWallace, William EngagementsWeinzweig, John Arctic ShadowsWeinzweig, John Divertimento IIWuensch, Gerhard Aria and FugueWuensch, Gerhard Comeos II: Sonatina op. 75

Composer: Dace Aperans (1953)Title: Juravas (Sea Songs)Date & place of composition: 1991-1992Instrumentation: oboe and piano or harpDuration: ca. 10:00 (2:30, 4:00, 3:30)Dedication: “to Normunds Sne and VertisZiberts”Commission:Premiere: September 29, 1992, Wagner Hall,Riga; N. Sne and V. Zilberts, performersPublisher/ISBN: MsRecording(s):Movements: I Calmo; II Expressivo; III CalmoRange: B3 - F#6Difficulty: 1 - easy - simple meter changes andrhythms; some accidentals; limited range; oboeand piano each play solos, not much together.4II - moderately difficult - includes only one F#6 atmoderate tempo; long cadenzas at beginning andend with moderately complex rhythms;accidentals; many dynamic changes. III - moderate- primarily easy, but some slow high registerpassages which include F6; piano part not toohard, includes repetition; recognizable patterns.Stylistic characteristics: tonal - lyrical,atmospheric; tertian chords, non-functionalharmony but with functional harmony implied atphrase endings; some motivic development; pianopart has chord clusters, parallel harmonic motion.Program notes/reviews:I - ‘See, I brought you your words; the ones youwhispered to me when I was little.’ - AstrideIvaska. II - ‘Once, I went to the sea. She whoreturned was no longer myself.’ - VizmaBelsevica. III - ‘Nevertheless she enters, takesyou in her embrace and cradles you.’ - AstrideIvaska.5

Comments: listed in the CMC catalogue underoboe and harp only.

Composer: Dace Aperans (1953)Title: PastoraleDate & place of composition: August, 19916

Instrumentation: oboe and pianoDuration: ca. 3:00Dedication: “to Peteris Vasks”Commission:Premiere: September 29, 1992, Wagner Hall,Riga; N. Sne and V. Zilberts, performersPublisher/ISBN: MsRecording(s):Movements:Range: E4 - E6Difficulty: moderate - simple meter changes, tiesand triplets; one E6 approached and left fairlyeasily; use of A5 harmonic fingering; moderatephrase lengths; piano part not hard; homo-phonic texture and repetition.Stylistic characteristics: tonal - atmospheric styleusing tertian chords, non-functional, parallelharmony, but tonal implications in melody,phrase endings and structural points; lyrical oboemelody.Program notes/reviews:Comments:

Composer: Louis Applebaum (1918)Title: SouvenirsDate & place of composition: June 29, 1994,TorontoInstrumentation: oboe or bass oboe and organDuration: ca. 5:00Dedication:Commission:Premiere:Publisher/ISBN: MsRecording(s):Movements:Range: Bb3 - Eb6Difficulty: moderate - several meter changes;many accidentals; some high register passages;one difficult fast passage; a few large leaps; Bb3is written, but not usually possible on bassoboe; organ part not too demanding and veryidiomatic.Stylistic characteristics: atonal - atmospheric;alternates between slow, lyrical and, waltz stylesections.Program notes/reviews:Comments:

Composer: Violet Archer (1913)Title: SonataDate & place of composition: 1973Instrumentation: oboe and pianoDuration: ca. 20:00Dedication: “for Dayna Fisher and IsobelRolston”Commission:Premiere:Publisher/ISBN: © 1978 BerandolRecording(s):

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Movements: I. Andante piacevole; II. Largomolto, tranquillo; III. Allegretto commodo,leggiero.Range: Bb3 - F6Difficulty: moderately difficult - straightforwardrhythmically, some meter changes; some shortfast passages with patterns; some fast tonguingrequired; several sections for unaccompaniedoboe; length of piece requires good endurance;piano part idiomatic.Stylistic characteristics: atonal - abstractharmony close to serial technique, but with sometonal references such as semitone resolutions andtriadic chords; motivic development andreoccurance utilizes contrapuntal techniquesincluding imitation between oboe and piano;primarily two-part texture in piano part, but thick,colourful chords in second movement.Program notes/reviews: She is a master ofcomplex dissonant counterpoint and an artistwho has often been inspired by simple folkmaterials; a pragmatist who has been able toreconcile creatively many of the major musicdialects of our century; an individual with asense of adventure, diverse tastes and greatsensitivity.7

Comments: This work was published with theassistance of a grant from the Canada Councilaction in collaboration with the CMC.

Composer: Violet Archer (1913)Title: SonatinaDate & place of composition: March, 1977Instrumentation: oboe and pianoDuration: ca. 7:50Dedication:Commission:Premiere:Publisher/ISBN: ©1981 Dorn Publications; ©1981, 1984 Neeham MusicRecording(s):Movements: I. Allegro moderato; II. Andantepiacevole; III. Allegro leggieroRange: B3 - C6Difficulty: moderate - straightforwardrhythmically; many accidentals; some fastpassages in the last movement; piano part easilyplayable.Stylistic characteristics: tonal - clear tonalreferences with functional and non-functionalharmony, quartal and quintal chords; lyrical, folk-like melodies: motivic expansion and develop-ment focuss on intervals; clear formal structure;piano part: thin, contrapuntal texture.Program notes/reviews:Comments:

Composer: Maya Badian (1945)Title: Cantus PlanusDate & place of composition: 1994Instrumentation: oboe or clarinet and piano or

organDuration: ca. 6:45Dedication: “Dédié à Peter Gunde et HerbertWulf”Commission:Premiere:Publisher/ISBN: ©1994 Les Éditions LucianBadian EditionsRecording(s):Movements:Range: Bb3 - Db6Difficulty: moderate - unmetered, but constantquarter note beat; long, slow, and soft melodicpassages with ornaments; some rests; middlesection has repeated patterns in piano part;ensemble with oboe not too difficult; piano partnot too difficult; some cross rhythms, somevisually awkward notation; score only.Stylistic characteristics: tonal - two alternatingcontrasting sections: the first in a medieval chantstyle, with a chant-melody in the oboe part andslow parallel perfect 4ths and perfect 5ths in thepiano part, and the second having fast, repeatedpatterns in the piano part with a long, lyricalmelody in the oboe part.Program notes/reviews:Comments:

Composer: Maya Badian (1945)Title: Monodie/MonodyDate & place of composition: 1975Instrumentation: solo oboeDuration: ca. 6:00Dedication:Commission:Premiere: Sept. 9, 1973, International Competi-tion of Musical Performance in Geneva, Switzer-land; Radu Chisu, oboePublisher/ISBN: ©1993 Les Editions LucianBadian EditionsRecording(s): Chisu, Radu, oboe. “Monodie.” byMaya Badian. Towards the Pinnacle: Works byMaya Badian. Les éditions Lucian BadianEditions, LBCD-1001-94, RSB Records, 1994Movements:Range: Bb3 - G6Difficulty: difficult to very difficult - wideintervals; rapid and double tonguing; suddendynamic contrasts; extreme range; large slurredintervals; rhythms and meter fairly con-ventional; tempo not too fastStylistic characteristics: atonal - fragmented,disjunct style; 3rd section retrograde of 1st, mirrorin middle section; sudden contrasts in register,dynamics and articulation provide variation; unityfrom repetition of various note and interval groups.Program notes/reviews:Comments:

Composer: John Beckwith (1917)Title: Arctic DancesDate & place of composition: Aug.-Sept. 1984, Toronto

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Instrumentation: oboe and pianoDuration: ca. 18:00Dedication: “to the memory of MieczyslawKolinski (1901-81)”Commission: commissioned by oboist LawrenceCherney and pianist William Aide through agrant from the Ontario Arts CouncilPremiere:Publisher/ISBN: MsRecording(s): Cherney, Lawrence, oboe, PaulHelmer, piano. River of Fire. McGill UniversityRecords, Stereo 85026, 1986Movements: five untitled movementsRange: B3 - F#6Difficulty: moderately difficult to difficult - manymeter and tempo changes, meters include 5/8and 8/4, unmetered sections that can becounted in steady quarter note beats, differentmeters and tempo between parts, but written toalleviate possible ensemble problems; limitedhigh register fast passages; not too difficultextended techniques include: harmonics, doubletrills, glissandi, and playing on reed; longsections of repeating melodies with few rests inoboe part but lots of rest between sections,length of piece requires good endurance; pianopart not too difficult, but involves some graphicnotation; there are no measures in oboe part orscoreStylistic characteristics: tonal/ethnic - tonalchords with static harmonies and dissonance;melody based on Inuit folk tunes characterized bylimited range, melodic repetitions, repetition ofone note, short length; each movement dividedinto sections for each folksong; piano part:primarily thin texture; repeating patterns, oftenaccompanimentalProgram notes/reviews: transcriptions ofdance-songs found in Beverley Cavanagh’sMusic of the Netsilik Eskimo (Ottawa 1982) withpermission.

About 20 transcriptions are used, in astylized sequence for rapid change and sharpcontrast; there are five main sections of varyinglength. Also reflected are the vocal timbres andbreathing habits of various Inuit performers,drumming and other percussion sounds, as wellas rhythmic effects from Inuit ‘throat games’, asheard on tapes made by Cavanagh and others.The work is freely evocative rather than literalin its combination of a Western concert formatwith source-material from outside the Westerntradition. In this respect it is parallel to certaincompositions of the late ethnomusicologistMieczyslaw Kolinski, especially his DahomeySuite for oboe and piano based on Africansources. Both Cavanagh and Beckwith studiedwith Kolinski, and Beckwith has dedicated ArcticDances to Kolinski’s memory.8

Arctic Dances is based on dance-songtranscriptions published in Music of the NetsilikEskimo by Beverly Cavanagh (Ottawa, 1982).

These songs were collected in Arctic Canada, inPelly Bay and other Netsilik communities. Themelodies in the first movement come fromdrum-dance songs and story songs, which covera wide variety of topics; from stories of sealhunts and other hunting adventures to stories ofsexual exploits. The fourth movement comesfrom a story song about a man who claimed tohave seen seagulls and loons in the water. Thesound of ducks can also be heard.

The fifth movement contains melodies fromspecific stories. The opening motive is acelebration over catching a caribou during atime of hardship. The motive that follows istaken from a drum-dance song. The third“lullaby” motive is from a song written by ayoung man who was too shy to join in the drumdance but wanted to sing anyway. The fastrhythmic section near the end is the song of alonely orphan who feels she is treated worsethan a dog who has no tail.9

Comments:

Composer: Wallace Berry (1928-1991)Title: Ten Short PiecesDate & place of composition: 1977, Ann Arbor,MI and Carmel, CAInstrumentation: oboe and pianoDuration: ca. 5:30Dedication:Commission:Premiere:Publisher/ISBN: MsRecording(s):Movements: I. Slow; II. Fast, yet with restraint;III. Tempo of the preceding; IV. Slow; V. Fast,vigorous; VI. Moderate in tempo; VII. Somewhatslow; VIII. Somewhat fast; IX. Slow and pensive;X. Moderately fast; very intense.Range: B3 - G6Difficulty: moderately difficult to difficult - un-metered, some unusual rhythmic subdivisions;some moderately fast chromatic passages; manyaccidentals; some rapid tonguing; extremerange, and legato leaps more than two octaves;no extended techniques except glissandi,graphic notation used; difficult piano partincludes: extreme registers and leaps, lack ofpredictability, few pedal indications (it is notalways clear if the pedal should be used or not),occasionally unclear notation, possibleensemble difficulties with oboe; score only, buteasier to coordinate parts using score.Stylistic characteristics: atonal - certain intervalpatterns, note groups and rhythmic motives arerepeated, developed and imitated; pointillistic,fragmentary style.Program notes/reviews:Comments:

Composer: Brian Cherney (1942)Title: Epitaph

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Date & place of composition: 1986Instrumentation: solo English hornDuration: ca. 7:00Dedication: “for Lawrence - to the memory ofmy parents”Commission:Premiere: April 9, 1986, Canada House inLondon, England; Lawrence Cherney, Englishhorn.Publisher/ISBN: ©1989 Les Editions Doberman -Yppan/2-920274-92-9Recording(s):Movements:Range: C4 - F#6Difficulty: difficult - unmetered; complex rhythm;many dynamic changes, frequently in registralextremes (many soft E6s); some long, highphrases.Stylistic characteristics: atonal - unified by thegradual construction of the two themes, andreferences to them; very long and short phrases,often centered around specific notes.Program notes/reviews: based on the Call toWorship of Jewish High Holy Days and the Swanof Tuonela.10

Comments: Brian Cherney is brother of theCanadian oboist Lawrence Cherney. Thepublication of this piece was aided by theCultural Affairs Ministry of Québec.

Composer: Frederick Robert Charles Clarke(1931)Title: Two SoliloquiesDate & place of composition: I. February 23,1985; II. May 27, 1985.Instrumentation: solo oboeDuration: ca. 4:45 (2:15, 2:30)Dedication: “to Christine Barbour”Commission:Premiere:Publisher/ISBN: MsRecording(s): Seiffert, Laura Jaeger, oboe. “TwoSoliloquies.” by F.R.C. Clark. Twentieth CenturyChamber Music. Queens University Music, 9101,1991.Movements: I. Andante expressivo; II. (Rondeau)VivoRange: Bb3 - Eb6Difficulty: moderate to moderately difficult - somecomplex rhythms; several articulated largeleaps; fairly slow tempos; idiomatic fastpassages; accidentals throughout.Stylistic characteristics: tonal - tonalimplications; clear form using melodic variation;long lyric phrases; Soliloquy II is closely related instructure to Soliloquy I.Program notes/reviews: Each of the twocontrasting movements for solo oboe displaysan obvious audible form. In the first Soliloquy,the expressive opening is interrupted briefly bya faster rhythmic section creating a logical

ternary form. The second soliloquy makes use ofa Rondeau design with two diversionsalternating with three statements of a refrain,the final refrain being quite abbreviated.Soliloquy No. 1 was originally written as a testpiece for a quick study class in a music festival.11

Comments:

Composer: Charyl L. Cooney (1953)Title: PhilomelaDate & place of composition: 1994Instrumentation: oboe and pianoDuration: ca. 5:00Dedication:Commission: commissioned by Canadian MusicCompetitions for the International SteppingStone level of the 1994 Canadian Music Competi-tionsPremiere:Publisher/ISBN: MsRecording(s):Movements:Range: Db4 - A5Difficulty: easy - some easy meter and tempochanges; many accidentals but at a slow tempo;some downward slurs; short phrases; piano partis quite difficult: serpentine, chromatic passagesmade of uncommon patterns, and parallelmotion; difficult hand crossings and grace notesbefore chords; solo line same size as the pianopart, affecting legibility.Stylistic characteristics: atonal - running 16th notechromatic patterns alternating with thick,dissonant chords in the piano; some tonalreferences in the folk-like 2nd section; variouscontrasting sections alternate throughout thework.Program notes/reviews:Comments: also exists for voice and piano

Composer: Jean Coulthard (1908)Title: The Enchanted IslandDate & place of composition: 1991Instrumentation: oboe and pianoDuration: ca. 6:45Dedication:Commission:Premiere:Publisher/ISBN: MsRecording(s):Movements:Range: B3 - F6Difficulty: moderately difficult - meter changeswith each new section; some challenging passagesat moderate tempos; many tongued notes; manyaccidentals; piano part not too difficult, a studentcould learn it; no measure numbers.Stylistic characteristics: tonal - sections withshort, articulated 16th note gestures alternatewith thick, colourful piano arpeggiations andlyrical oboe melody and trills; atmospheric.Program notes/reviews:

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Comments:Composer: Jean Coulthard (1908)Title: Shizen: Three Nature Sketches from JapanDate & place of composition: Spring, 1979Instrumentation: oboe and pianoDuration: ca. 7:00Dedication: “to Evelyn Barbirolli, Iris Loveridgeand Jessie Binning”Commission:Premiere:Publisher/ISBN: ©1986 NovelloRecording(s):Movements: I. Wind in the Pines; II. MeditationGarden; III. The Temple FestivalRange: B3 - F#6Difficulty: moderately difficult - only one F#6,with time to prepare for it; some chromaticpassages of moderate difficulty; many acci-dentals; simple meter changes; a cadenza; pianopart not too challenging, but difficult for studentperformer to learn.Stylistic characteristics: tonal/ethnic - lushharmonies, colourful chromaticism, with orientalinfluences; occasional quartal, quintal chords withfunctional bass movement; atmospheric,impressionistic style, rhythms overlap to obscurethe beat; lyrical, modal melodies with mordentsand grace notes.Program notes/reviews:Comments:

Composer: Jean Coulthard (1908)Title: SonataDate & place of composition: 1947Instrumentation: oboe and pianoDuration: ca. 11:00Dedication: “for Evelyn Barbirolli”Commission:Premiere:Publisher/ISBN: ©1977 Waterloo Music CompanyRecording(s):Movements: I. Gently flowing; II. Sicilienne-quiteslowly; III. AllegroRange: Bb3 - F6Difficulty: moderately difficult to difficult -frequent repetition of rhythmic patterns,much syncopation; passage work with somemelodic and rhythmic patterns, manyaccidentals; some fast tempos; page turns inoboe part awkward; piano part is idiomatic forpiano and is of moderate dif f iculty, butawkward to read because of notation size; nomeasure numbers.Stylistic characteristics: tonal - lyric, romanticstyle with frequent motivic imitation, repetition,fragmentation and development, and rhythmicvitality; several different repeating rhythmicand melodic patterns used together in the pianoand oboe parts; tonal references; lush, colourfulharmony; standard classical forms; 1stmovement is in sonata form.Program notes/reviews:

Comments:Composer: Clifford Crawley (1929)Title: Recitatives and AriasDate & place of composition: 1990Instrumentation: oboe and piano or stringquartetDuration: ca. 10:00Dedication:Commission:Premiere:Publisher/ISBN: MsRecording(s):Movements: I. Impetuosamente; II. Languido;III. IratoRange: B3 - A6Difficulty: difficult - ppp third octave passagesincluding one A6, also fast passages containingthird octave notes; many accidentals; somegraphic notation; some complex meterchanges, and unconventional beaming; difficultupward slurs to third octave notes; secondmovement voiced high and requires muchendurance and dynamic control; piano partnot too hard, some awkward passages,generally not pianistic; notation is sometimesunclear.Stylistic characteristics: tonal/atonal - varietyof harmonic styles: elements of tertianfunctional harmony sometimes in a lush,romantic style, other times exhibitingpolytonality, chord planing, pentatonic scalesand atonality; clear motive unity; lyricalrecitatives contrast with rhythmic sections.Program notes/reviews:Comments:

Composer: Samuel Dolin (1917)Title: PsalmodyDate & place of composition: 1982Instrumentation: solo oboeDuration: ca. 5:00Dedication: “for Patricia Morehead”Commission:Premiere:Publisher/ISBN: MsRecording(s):Movements:Range: C#4 - Ab6Difficulty: difficult - extended techniquesinclude: multiphonics (fingerings included, butthey do not all work for every oboe),harmonics, tone colour changes, f luttertonguing, embouchure glissandi, quartertones,aleatoric sections; some graphic notation;unmetered; grace note groups; large leaps; fastpassages with few patterns; sudden dynamicand register changes.Stylistic characteristics: atonal - short phrasesof contrasting character: lyrical melodiesbuilding into fast, aggressive outbursts; noregular meter.Program notes/reviews:

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Comments: edited by Patricia Morehead.Composer: Paul M. Douglas (1936)Title: “Luquet”Date & place of composition: Oct. 28, 1983,Vancouver, B.C.Instrumentation: solo English horn or altosaxophoneDuration: ca. 5:00Dedication: “for Julia”Commission:Premiere:Publisher/ISBN: MsRecording(s):Movements: Preludio-Vivo-Preludio-Vivo12

Range: B3 - Eb6Difficulty: moderately difficult - some meterchanges, slow unmetered section; some graphicrhythmic notation; fairly long, fast middlesection with much repetition and manypatterns; many accidentals; few rests.Stylistic characteristics: tonal - tonal implicationswith many chromatic inflections; clear form; clearmotivic and phrasal repetition and expansion.Program notes/reviews:Comments:

Composer: Paul M. Douglas (1936)Title: SeniaDate & place of composition: Aug. 1, 1977,Courtenay, B.C.Instrumentation: solo oboe or fluteDuration: ca. 3:00Dedication: “for Senia Trubashnik”Commission:Premiere: 1978, Courtenay Youth MusicFestival; Jerry Domer, oboe.Publisher/ISBN: MsRecording(s):Movements:Range: C4 - F6Difficulty: moderate to moderately difficult - somefast passages using repetition; many accidentals;large articulated leaps; unmetered slow sectionswith uncomplicated rhythms.Stylistic characteristics: tonal - tonal implications,use of semitone resolutions contrasting with thewhole tone scale; clear form; clear motivicrepetition and development; rhythmic vitality.Program notes/reviews:Comments:

Composer: George Fiala (1922)Title: Deux MovementsDate & place of composition: 1984Instrumentation: oboe and pianoDuration: ca. 10:00 (4:40, 5:30)Dedication: “A Louise Pellerin”Commission:Premiere:Publisher/ISBN: MsRecording(s):

Movements: I. Adagio; II. AllegrettoRange: C4 - F#6Difficulty: moderately difficult to difficult - simplerhythms and meters; tempos not too fast; longchromatic passages with a minimum ofrepetition and rests, good endurance required;high register used in fast passage work. Similardifficulty in the piano part.Stylistic characteristics: tonal - strong tonalimplications with chromatic voiceleading; similartextures and rhythms in both parts throughout;motivic development and sequential repetition ofmelodic and rhythmic patterns.Program notes/reviews:Comments:

Composer: Clifford FordTitle: Forbidden ColoursDate & place of composition: May 1983, OttawaInstrumentation: oboe d’amore and organDuration: ca. 9:30Dedication: “to Willis, Many Thanks”Commission: commissioned by Willis Noblethrough a grant from the Canada CouncilPremiere:Publisher/ISBN: MsRecording(s):Movements:Range: B3 - D6Difficulty: moderate to moderately difficult -rhythm is primarily simple, with some complexrhythms, many grace notes; many accidentals;pattern repetition; fairly slow tempos; shortgroups of flutter-tonguing; organ part is mostlyeasy, with a few fast passages.Stylistic characteristics: tonal/ethnic -atmospheric with colourful chords, florid oboepart using many grace notes and flutter tonguing;Asian sound created by some use of non-standardscales.Program notes/reviews:Comments: Willis Noble is a Canadian organist.

Composer: Harry Freedman (1922)Title: Short StoryDate & place of composition: August, 1989Instrumentation: solo English hornDuration: ca. 3:00Dedication:Commission: commissioned by LawrenceCherney through the Canada CouncilPremiere: October 1989, Royal Festival Hall,London’s South Bank, as part of the RendezvousFestival.Publisher/ISBN: MsRecording(s):Movements:Range: Db4 - F#6Difficulty: difficult - large leaps of which someare slurred; many accidentals (accidentalsmodify only the note they are before); extremerange; unmetered, but rhythmic.

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Stylistic characteristics: atonal - uses repeating,expanding patterns focusing on D5 to unify;alternates between lyrical lines, fragmentedphrases, and aggressive, repeated note passages.Program notes/reviews:Comments:

Composer: Daniel Eliezer Friedman (1962)Title: RomanceDate & place of composition: 1995Instrumentation: oboe and pianoDuration: ca. 5:00Dedication:Commission:Premiere: August 16, 1992, Chalmer’s Church,Kingston, OntarioPublisher/ISBN: MsRecording(s):Movements:Range: Bb3 - D6Difficulty: moderate - the rhythm is largelysimple with some easy meter changes, a fewsextuplets and triplets; some dynamic extremes;long lines in high and low registers which couldcause endurance problems; piano part is harder:some big hand stretches, thick writing, crossrhythms; primarily accompanimental.Stylistic characteristics: tonal - long, lyrical linesin oboe part; harmonic progressions are bothfunctional and static; thick texture.Program notes/reviews:Comments:

Composer: Graham George (1912)Title: AdagioDate & place of composition: Sampson Island,1950Instrumentation: oboe and pianoDuration: ca. 3:30Dedication:Commission:Premiere:Publisher/ISBN: MsRecording(s):Movements:Range: C4 - Gb5Difficulty: easy - some triplets; accidentals; easypiano part: arpeggiated chords, primarilyaccompanimental; score only; no measurenumbers.Stylistic characteristics: tonal - lyrical; tonalimplications, chromatic harmonies, much parallelharmonic motion.Program notes/reviews:Comments:

Composer: Arsenio Girón (1932)Title: Six StudiesDate & place of composition: 1992Instrumentation: solo oboeDuration: ca. 9:00 (1:35, 1:25, 1:45, 1:20, 1:20, 1:10)Dedication:

Commission:Premiere:Publisher/ISBN: MsRecording(s):Movements: I. Adagio; II. Resonance; III. Duetto;IV. Lark; V. Pastorale; VI. ScherzoRange: C4 - F6Difficulty: moderately difficult - high registerpassages made easier by patterns andrepetition; tempos are not too fast; many gracenotes; many accidentals (it is unclear ifaccidentals apply for the entire measure, orapply only to the note they precede); suddenextreme dynamic and registral changes,particularly in the middle of the “Duetto” as aneffect; primarily simple rhythms.Stylistic characteristics: atonal - melodicgestures using repetition, contrast, motivicdevelopment and fragmentation; often focusing onone note, or a group of notes; each study has acharacter suggested by the title.Program notes/reviews:Comments:

Composer: Srul Irving Glick (1934)Title: SonataDate & place of composition: 1987Instrumentation: oboe or soprano saxophone inBb and pianoDuration: ca. 17:05 (5:07, 5:11, 6:36)Dedication: “with deep affection to SeniaTrubashnik”Commission: commissioned by Senia Trubasnikthrough the Ontario Arts CouncilPremiere: May 31, 1988, Beth TikvahSynagogue, Toronto; Senia Trubashnik, oboe,Valerie Tryon, pianoPublisher/ISBN: ©1996 Jaymar Music Ltd.Recording(s): Trubashnik, Senia, oboe. “Sonata”by Srul Irving Glick. Music of Srul Irving Glick.CBC Records, Musica Viva CD 1046, 1992.Movements: I. Fast, with emotional intensity andrhythmic thrust; II. Expressivo, con rubato; III.Slow, but accelerando gradually.Range: C4 - F6 (opt. F#6 and grace note G6)Difficulty: difficult - several meters including 8/8,some complex rhythms; many accidentals; longlines without much break and frequently in hightessitura; good endurance necessary because ofamount of playing required; some technicalflourishes; some moderately difficult rhythmicsubdivisions with grace notes, syncopations;piano part is difficult, and taxing using manyrapidly repeated notes and chords asaccompaniment, but is pianistic.Stylistic characteristics: tonal - long, lyricalphrases with middle eastern sound usingaugmented 2nd and blues influences; thick,romantic textures and harmonies; contrastingsections, usually lyrical versus rhythmic, alternatethrough each movement; very dramatic.Program notes/reviews: I’ve had the good

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fortune to have worked with oboist SeniaTrubasnik as producer for the C.B.C., and I’vealways been deeply impressed by the exquisitesound and profound musicality of hisperformance on one of the most difficult of allmusical instruments. When he approached meto write a work for him, I was delighted. I hadalready written a sonata for flute and piano, awork I had written with much pleasure, and thethought of writing another sonata for a windinstrument filled me with expectation. In a shortwhile I realized that while the flute had broughtme to write a work that was Springlike, open andjoyous, the oboe had brought to me a morepenetrating vision.

This 3 movement work is performed withoutpause, and is a dramatic work, with poignantmelodic lines and sharp dissonances, in itsharmonic language. The aggressive first move-ment is followed by a movement which origi-nally had the subtitle “Memorial prayer forTisha B’ Av,” a title which I later removed fromthe score. The movement neverthelessexpresses the grief I’ve felt for the pain inflictedon the Jewish people throughout our longhistory. The last movement has some relief fromthe darkness of mood of the first twomovements and is an energetic movement withdance rhythms and jazz inflections. Towards theend of the last movement there is a return to theaggressive material of the first movement, butthe work continues with a return to the 3rdmovement dance rhythms and concludes withan exhuberant and energetic finale.

The work was commissioned on a grant fromthe Ontario Arts Council for the performance atthis concert at Beth Tikvah.14

The oboe has always felt to me to be aninstrument that expresses more penetrating anddeep human emotions. As a sketch for the piece,I wrote a movement which was an outpouring ofdark emotions that I first subtitled “MemorialPrayer for the Ninth Day of the Hebrew month ofAv”, the day when the ancient temples ofJerusalem were both destroyed in 587 BCE and70 CE and which marked the beginning of analmost 2000 year old exile of the Jews from theirancient country of Israel. In this sketch, I quoteda melodic fragment from the cantillation of TheLamentations of Jeremiah which aretraditionally chanted on this bitter day in theJewish calendar. When I showed this sketch toMr. Trubashnik, his enthusiasm for this materialgave me the impetus to use this sketch as thesecond movement of the new Sonata.

With this sombre beginning, in a languagethat felt so right for the oboe, I created a threemovement work which is performed withoutpause in a dramatic and poignantly lyrical style,which uses sharp dissonance and occasionalpercussive punctuation to express grief and

anguish. The last movement, however, makes anattempt to find some relief from the darkness ofmood of the first two movements and uses somedriving dance rhythms and jazz inflection tolighten the atmosphere. Towards the end of thislast movement there is a return to theaggressively poignant material of the firstmovement, but the piece ends with acontinuance of the driving dance rhythms of thethird movement and a cadenza-like coda bringsthe work to an end with an exuberant andenergetic flourish.15

The sonata is a dramatic work, with poignantmelodic lines and sharp dissonances in itsharmonic language. It is a continuous work,performed without pause, but has three distinctmovements. The aggressive and march-like firstmovement is followed by a memorial prayer. Itexpresses the grief that the composer has feltfor the pain which has been inflicted on theJewish people in their long history. The lastmovement begins out of the closing motifs of thepreceding lament and develops into an energeticmovement with dance rhythms and jazzinflections. This provides considerable relieffrom the dark mood of the first two movements.Towards the end of the work there is a shortreturn to the aggressive material of the firstmovement, but the energetic conclusion anddancy rhythms bring it to a vituosic finale.16

Comments: a soprano saxophone part isincluded in the published versions.

Composer: Stewart Grant (1948)Title: Fantasia No. 2Date & place of composition: August 1982, AspenInstrumentation: solo oboe d’amore, Englishhorn, oboe or soprano saxophoneDuration: ca. 6:00Dedication:Commission:Premiere: 1982, Aspen Music Festival; StewartGrant, oboe d’amorePublisher/ISBN: ©1982 Stewart GrantRecording(s):Movements: I. Range: B3 - E6Difficulty: moderately difficult - mostlyuncomplicated rhythmically; some fastchromatic passages eased in difficulty bypattern repetition; only one E6.Stylistic characteristics: tonal - uses tonalinflections with clear motivic development andrepetition; several different characters (waltz,march, adagio, etc.) are investigated.Program notes/reviews: This work representsan important point of arrival in my personalstylistic development in that it applies to a largesymphonic form the musical language that hadbeen brought to maturity in such smaller worksas my Fantasia #2 for solo oboe d’amore andBhajan for solo ‘cello and string orchestra - both

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of which also use variation form. This languageis essentially tonal and its roots and related tothe language of contemporary jazz and popularmusic, but it is linear rather than chordal innature and it uses extensive chromaticism andharmonies based on fourths, fifths, seconds, andsevenths rather than the thirds and sixths oftraditional harmony. It attempts to strike abalance between the fresh and the familiar andit is intended to allow a variety of expressionand a sense of harmonic motion that are difficultto achieve in purely atonal music.17

Comments: Fantasia No. 2 was co-winner in 1982of the ASCAP awards at the Aspen MusicFestival.

Composer: Bengt Hambraeus (1928)Title: Eco dalla montagna lontana … ScandinavaDate & place of composition: November 20,1993, Hambraehill FarmInstrumentation: solo English hornDuration: ca. 14:00Dedication: “to Lawrence Cherney”Commission: commissioned by LawrenceCherney through the Canada CouncilPremiere:Publisher/ISBN: MsRecording(s):Movements: I. Preludio; II. Danza; III. EpilogoRange: B3 - F6Difficulty: difficult to very difficult - veryinterpretive style; unmetered but can becounted in quarter note beats; complexrhythms; many accidentals; extendedtechniques including chords (fingerings given,although they will not necessarily work); muchendurance required because of few rests; manydynamic changes in extreme registers andduring multiphonics; multiple grace notes;difficult slurred leaps; some graphic notation.Stylistic characteristics: atonal - often focusesaround one note; short phrases; patterns andrepetition with variation to unify composition,create atmosphere.Program notes/reviews:Comments:

Composer: Bengt Hambraeus (1928)Title: Mirrors: for Oboe SoundsDate & place of composition: August 20, 1986,Hambraehill Farms18

Instrumentation: one or more oboists and tape,or tape aloneDuration: ca. 38:00Dedication: “to Lawrence Cherney”Commission: commissioned by LawrenceCherney through the Canada CouncilPremiere:Publisher/ISBN: MsRecording(s):Movements: I - IX in the order chosen by theperformer

Range: A#3 - G6Difficulty: difficult - extended techniquesincluding multiphonics and multiphonic trills,uses reed/embouchure placement symbols(without explanation); difficult fast passages;long sections that have few rests; consistentmeter but complex rhythms with grace notes;section with trills and tremolos; many dynamicchanges; directions on performance with tapeare clear but some experimentation will berequired to produce a successful performance.Stylistic characteristics: electronic/atmospheric -aleatoric elements; many sections, each with owncharacter; melodic material often centeredaround one note; the score includes all thematerial recorded on the tape.Program notes/reviews:Comments: tape available for rent from thecomposer and the McGill Recording Studio: 555Sherbrooke St. W., Montréal, QC, Canada H2A1E3. Tape sounds were recorded by LawrenceCherney.

Composer: Bengt Hambraeus (1928)Title: ShengDate & place of composition: July 4, 1983, GlenRoy/Apple HillInstrumentation: oboe and organDuration: ca. 16:00Dedication: “to Lawrence Cherney and HughMcLean”Commission: commissioned by LawrenceCherney through the Canada CouncilPremiere:Publisher/ISBN: MsRecording(s): Cherney, Lawrence, oboe, HughMaclean, organ. River of Fire. McGill UniversityRecords, Stereo 85026, 1986.Movements:Range: Bb3 - F6 (opt. F#6)Difficulty: very difficult - multiphonics used indiminuendo (fingerings and source for fingeringsgiven), glissandi; many dynamic changes, longnotes and phrases with few rests; slow tempos;complex rhythms; some difficult fast passages;many accidentals; organ part has some graphicnotation and is rhythmically difficult, otherwisequite playable; score only.Stylistic characteristics: electronic/atmo-spheric/ethnic - short, repeating and varyingmelodic phrases for the oboe over anatmospheric chordal or fragmentary and pattern-based organ part; abstract harmonies; subtletextural shifts between sections.Program notes/reviews: The title of the workrefers to the Chinese mouth organ (Sheng;Japanese sho), but there are no direct relationsto the real scale system of that instrument. I wasmore inspired by the mood of the Chineserepertoire than its modes. The timbre of the‘multiphonics’ in the oboe part intend to give an

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allusion to the Sheng instrument … The Tutti-sound of the organ - p. 9 … is intended onpurpose to overwhelm completely the oboe,which emerges as a surviving spirit when theorgan gets silent. Therefore the oboist mustkeep playing, even when his instrument isoverpowered occasionally.19

… like if he is struggling with an ancientChinese dragon.20

The work is entitled “Sheng”, which is thename of a Chinese mouth organ. The timbre ofthe oboe multiphonics is intended to give anallusion of that instrument.21

Comments: Swedish recording was winner ofthe Swedish Grammy Award for best classicalrecordings in 1987. The performers for thatrecording were Helen Jahren, oboe and Hans OlaEricson, organ. Bengt Hambraeus is an organist.

Composer: Derek Healey (1936)Title: Capriccio-Variant 2, op. 59cDate & place of composition: August 14, 1981,Wargrave and EugeneInstrumentation: solo oboeDuration: ca. 7:00Dedication:Commission:Premiere:Publisher/ISBN: MsRecording(s):Movements:Range: F4 - G6Difficulty: difficult - extended techniques usedinclude; straight tone, flutter tonguing (which isad lib), multiphonics, and multiphonic trills (nofingerings given, exact chord is left up to theperformer with a few specifications), pitchundulations; fairly rapid passages which areoften articulated and have many accidentals;frequent dynamic/tempo changes; unmetered,but can be counted in quarter note beats; largeinterval grace notes; graphic notation.Stylistic characteristics: atonal - short phrases;tends to focus around one note; variations andrepetitions of patterns and motives throughoutpiece.Program notes/reviews:Comments: also available as Capriccio-Variant 1for melodic instrument or voice and Capriccio-Variant 2 for alto recorder.

Composer: Jacques Hétu (1938)Title: Incantation, op. 28Date & place of composition: 1978Instrumentation: oboe and pianoDuration: ca. 5:00Dedication:Commission: commissioned by the CanadianMusic Competition as a mandatory work for 1978Premiere:Publisher/ISBN: Ms

Recording(s): Cherney, Lawrence, oboe, PaulHelmer, piano. River of Fire. McGill UniversityRecords, Stereo 85026, 1986.Movements:Range: Eb4 - F6Difficulty: moderate to moderately difficult - somedifficult rhythmic values, meter changes; hightessitura, slow tempos; many accidentals;thickly textured piano part, not too difficult andpianistic, but sometimes notation is unclear,particularly accidentals.Stylistic characteristics: atonal - lyrical, slowmelody in oboe part centered around Ab and G,contrasting with aggressive middle section; pianopart is thickly textured, using chromatic chords infalling and rising patterns that help to promote afeeling of cadence at the end of each section; ABAcoda form.Program notes/reviews:Comments:

Composer: Derek Holman (1931)Title: Partita on the tune Mount PleasantDate & place of composition: 1982Instrumentation: oboe and organDuration: ca. 13:00Dedication: “written for Music at Sharon”Commission: commissioned for Music at Sharon in1982 through a grant from the Ontario Arts CouncilPremiere: July 10, 1982, the Sharon Temple;Lawrence Cherney, oboe, Hugh McLean, organPublisher/ISBN: MsRecording(s):Movements: I. Mount Pleasant; II. Pastorale; III.March; IV. Sarabande; V. Toccatina; VI. Envoy.Range: B3 - E6Difficulty: moderate to moderately difficult - somesyncopation, difficult meter changes; manyaccidentals; some moderately difficult fastpassages using melodic and rhythmic patterns;organ part readily playable, very possible onsmall organ; score only.Stylistic characteristics: tonal - tonal foundationswith atonal gestures; slow and fast variations on ahymn tune in various styles; organ part hascounterpoint, some tone clusters and thick,colourful chords.Program notes/reviews: The Children of Peacewere denied the opportunity to hear DerekHolman’s Partita for Organ and Oboe, played ontheir organ but that is because (Hugh) McLeanand oboist Lawrence Cherney, artistic directorof Music at Sharon, gave the specially commis-sioned work its premiere Saturday afternoon.

What David Wilson’s followers would haverecognized in the Partita was the tune MountPleasant which Holman cleverly borrowed froma handwritten part book owned by Ira Doan, afife player in the congregation, to use as thetheme for a set of variations.22

Comments:

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Composer: Donald L. Kaplan (1923)Title: NarrativeDate & place of composition: 1957Instrumentation: oboe and pianoDuration: ca. 7:00 (4:00, 3:00)Dedication:Commission:Premiere:Publisher/ISBN: MsRecording(s):Movements: I. Adagio; Part II GigueRange: D4 - Eb6Difficulty: moderate - includes only one passagewith Eb6 to Db6; simple rhythmically, withseveral easy meter changes; no difficult fastpassages; flat accidentals create some awkwardfingerings, many rests; easy piano part usingprimarily accompanimental figures; manuscriptis difficult to read because of notation style,particularly piano part.Stylistic characteristics: tonal - tonal harmonicimplications with chromatic harmonies and someparallel harmonic movement; neo-romantic; lyricphrases; melodic and rhythmic repetition.Program notes/reviews:Comments:

Composer: David Keane (1943)Title: TangoDate & place of composition: 1985Instrumentation: oboe and pianoDuration: ca. 10:00Dedication:Commission: “Tango was commissioned by thefine British oboist, David Wilson”Premiere: February 24, 1986, Canada House inLondon, UK; D. Wilson, oboe and A. Moisey, pianoPublisher/ISBN: MsRecording(s): Cherney, Lawrence, oboe.Tongues of Angels. Centrediscs, 4793, 1993.Movements:Range: B4 - D#6Difficulty: moderately difficult - metered,uncomplex rhythms; tempo is not very fast;some extended techniques including variablemultiphonics used in a rhythmic way (cleardirections in performance notes) and breathsounds; some short, fast passages with wideleaps and mixed articulations that arechallenging; some long phrases, but generallyfrequent rests; complex dynamic changes; somecomplex rhythmic interaction with piano part;piano part requires several special techniquesthat are explained fairly clearly in the directions,some alternate techniques given; some awkwardpassages, but basically not too hard.Stylistic characteristics: tonal - contemporarytango style using repetitions, rhythmic patternsto unify; the melody often builds from one note orgroup of notes in the repeating rhythmic pattern;clear tonal implications in harmony.Program notes/reviews: The idea of the tango

as the basis for a work came out of studying awonderful collection of tango recordings puttogether, as a great kindness, for the educationof this composer by the Argentinian composer,Beatriz Ferreyra.

The name, “tango”, is probably an Africanonematopoetic word for a sound made indrumming [tan ’go: eighth note, accentedquarter]. This is the key rhythm of the tango.But the latin verb, “tango”, captures many ofthe qualities one might associate with thefamous dance: “I touch”, “I taste”, “I affect”, “Iimpress”, “I reach”, “I move”, “I push”, “I strike”,“I cheat”. The Tango for oboe and piano is madeof several musical materials which are most“un-tango-like” in character and it is the objectof this piece to subdue and “en-tango” them.23

Tango for oboe and digital tape integratestraditional characteristics of the tango(rhythms, textures and instrumental sonorities )with complementary, yet unexpected, electro-acoustic timbres and treatments. It was writtenfor oboist David Moisey [sic] with pianoaccompaniment and adapted at the request ofLawrence Cherney. The inspiration for this workcame for a collection of tango recordings madeavailable to the composer by his Argentiancolleague Beatriz Fereyra. In keeping with thespirit of adventure and humour embodied bythe tango tradition, Tango is moody andchangeable, wallowing in clichés one momentand offering startling surprises the next.24

Comments: also version with oboe and tapeaccompaniment. The tape accompaniment isdifferent from the piano part and was made in1990.

Composer: Lothar Klein (1932)Title: à la Rossini: a quodlibet on motives fromThe Barber of SevilleDate & place of composition: 1973 (1972 solooboe version)Instrumentation: solo oboe, or with optionalpianoDuration: ca. 7:00 Dedication: “for Melvin Berman”Commission:Premiere:Publisher/ISBN: MsRecording(s):Movements:Range: A#3 - F6Difficulty: moderately difficult - some meterchanges; melodic repetitions, patterns,flourishes, grace notes, recitatives; longphrases with few rests; piano part is sparse,percussive, and takes some practice; scoreonly.Stylistic characteristics: atonal - tonal referencesin the style of Rossini particularly in the oboepart, but primarily atonal writing; repetitions andsequence are used frequently.

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Program notes/reviews: “the motives are drawnfrom the Finale of Act I.”25

Comments:Composer: Larry Lake (1943)Title: PsalmDate & place of composition: 1985, TorontoInstrumentation: oboe and digital tapeDuration: ca. 10:00Dedication: written for Lawrence CherneyCommission: commissioned by LawrenceCherney through the Ontario Arts CouncilPremiere:Publisher/ISBN: MsRecording(s): Cherney, Lawrence, oboe. “Psalm”by Larry Lake. Shadow Box Centredisc, 3288,1988.

Cherney, Lawrence, oboe. “Psalm” by LarryLake. Celebration of Canada 125 Years: ACompilation from Canadian Artists andComposers. Centrediscs S1, 1990.Movements:Range: C4 - F6Difficulty: moderate - easy except for the range:only a few notes out of the “easy” range and theyare at a slow speed and are approached easily;the tempo is slow; easy meter changes andunmetered sections; repeating of slow patterns;frequent rests; some very soft dynamics;directions for playing with the tape are clear.Stylistic characteristics: electronic/atmospheric -references to tertian harmony including triads,many statements of Perfect 4ths and Perfect 5thsin the oboe part, and motion in thirds betweentape and oboe; oboe part includes fragments ofchorale melodies; slow, often static harmonicrhythm; thick texture of electronic sound withoboe part slowly changing notes.Program notes/reviews: Psalm is one of a seriesof pieces inspried by sacred texts. The first ofthese was Sticherarion for accordion, tape andelectronics, and this was followed by Antiphonfor voice and tape.26

The third item on this CD is a work involvingboth electronic and real instruments. It is playedby Lawrence Cherney, a splendid oboist. It isslow moving and has some quite lovely serenepassages.27

The digital tape presents a rich tapestry ofsynthesized sounds and is combined with aslowly evolving, meditative oboe solo of greatbeauty.28

Comments:

Composer: Leslie Mann (1923-1977)Title: Vocalise, op. 37Date & place of composition: 1974Instrumentation: oboe or clarinet or cello and pianoDuration: ca. 5:0Dedication:Commission:Premiere:

Publisher/ISBN: MsRecording(s):Movements:Range: Db4 - Eb6Difficulty: moderate - has one easily preparedfor Eb6, first entry is a soft Bb5; simple rhythms;no fast passages; piano part is easy.Stylistic characteristics: tonal - some tertianharmony and functional bass movement;colourful, atmospheric style, occassional chordclusters; lyrical melody in oboe, some imitation inpiano, but mostly accompanimental; ABA form,with faster B section.Program notes/reviews:Comments:

Composer: David Leroy McIntyre (1950)Title: Polka-Pause-PrestoDate & place of composition: 1986Instrumentation: oboe and pianoDuration: ca. 7:50Dedication:Commission:Premiere: February 1987, Studio One (CBC),Regina, Sask; Elizabeth Raum, oboe, JaniceElliot-Denike, pianoPublisher/ISBN: MsRecording(s):Movements: I. Polka (saucily); II. Pause; III.PrestoRange:B3 - F6Difficulty: moderately difficult to difficult - somedifficult fast passages; awkward large leaps;complex subdivisions and meter changes; manyaccidentals; some sudden dynamic changes;awkward piano part with many large, irregularleaps; some unclear or missing clefs.Stylistic characteristics: tonal/atonal - somereference to tonal centers; dissonant, chordclusters; witty character pieces; fragmentary,developmental sections alternate with stable,melodic sections; shifting meters give rhythmicenergy.Program notes/reviews:Comments:

Composer: Oskar Morawetz (1917)Title: SonataDate & place of composition: 1980-81, rev. 1984Instrumentation: oboe and pianoDuration: ca. 16:08 (6:30, 5:12, 4:26)Dedication:Commission: commissioned by Melvin Bermanthrough the Ontario Arts CouncilPremiere: 1980 version: Nov. 22, 1981 at WalterHall, Edward Johnson Building, University ofToronto with Melvin Berman, oboe and SuzaneChenette, piano; 1984 revision: Aug. 7, 1984, BanffFestival of Music, Banff, Alberta, Peter Bowman,oboe, Janice Waite, piano; American Premiere:Aug. 16, 1982 International Double Reed Society

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Conference, Towson State University, HarrySargous, oboe and Susan Chenette, piano.Publisher/ISBN: ©1986 Aeneas Music; ©1991Jaymar MusicRecording(s): Cole, Roger, oboe, Linda LeeThomas, piano “Sonata” by Oskar Morawetz.The Expressive Oboe. CBC Records, Musica VivaCD 1070, 1994.Movements: I. Moderato; II. Adagio; III. AllegromoderatoRange: B3 - F6Difficulty: difficult - multiple meters; complexrhythms; some challenging fast and endurancepassages; difficult, but fairly pianistic piano part.Stylistic characteristics: tonal - some use oftertian harmony generally in a non-functional wayexcept at the ends of phrases; thick, rhapsodicstyle alternates with fragmentary, sequentialpassages; haunting, lyrical melodies, verydramatic style.Program notes/reviews: Not only is this asignificant piece of Canadian Music, it is a veryimportant addition to the oboe repertoire. It’svery accessible, yet new. I especially love therhapsodic second movement. It’s so expressive,so beautiful.29

Comments: performed frequently by well-knownoboe-players, for example; John Mack (principaloboe of the Cleveland Orchestra), PeterBowman (principal oboe of the St. LouisSymphony), and Harry Sargous (formerprincipal oboe of the Toronto Symphony formany years, now professor at the University ofMichigan).

Composer: Marjan Mozetich (1948)Title: The Diary of an IntellectualDate & place of composition: Jan. 14, 1972, TorontoInstrumentation: solo oboeDuration: ca. 5:00Dedication: “to Michael Sweeney”Commission:Premiere:Publisher/ISBN: MsRecording(s):Movements:Range: Bb3 - C7Difficulty: difficult to very difficult - manyextended techniques used: quarter tones, pitchfluctuation, pitchless sounds, multiphonics(fingerings and lip placement diagrams included,although the fingerings will not necessarily workon every oboe, and may be difficult to figureout), teeth on reed, glissandi; moderately fastpassages which are often articulated; manyaccidentals; one C7; several G#6s; graphicnotation, some of which is unclear.Stylistic characteristics: atonal fairly uncom-plicated rhythmically and structurally; slow andlyrical passages; fast sections based onextensions of motivic figures.

Program notes/reviews:Comments:

Composer: Michael Parker (1948)Title: In Memoriam, op. 43aDate & place of composition: 1991, Banff, AlbertaInstrumentation: solo English hornDuration: ca. 5:00Dedication: “for Gaétan LeDivelec”Commission: commissioned by the CanadianMusic Competitions through the Newfoundlandand Labrador Arts CouncilsPremiere: October 30, 1991, Banff Centre, Banff,AlbertaPublisher/ISBN: MsRecording(s):Movements:Range: B3 - F6Difficulty: moderately difficult to difficult -many accidentals; long slow phrases with fewrests; passage work is highly chromatic, butuses some melodic and rhythmic patterns;tempo is s low; extremes of register anddynamics are used; accidentals carry throughthe measure.Stylistic characteristics: tonal - each section ismore complex variation on the slow openingmelody, which returns at the end; tonalharmonic implications, particularly in the“theme”, with much chromatic colouring andfiguration; variation form.Program notes/reviews: Between 1985 and1988 I lost my father, my grandmother, andmy mother. This has had a profound impacton my compositions. Part of the grievingprocess for me has been directed to mywriting, and many of my works since arereflections on death and life.

In Memoriam is the latest in this series.While born from very personal circum-stances, it is conceived more as a generalexpression of mourning and remembrance.

It is written in the form of a theme andvariations.30

Comments: There is also a version with pianoaccompaniment. The endings are different inthe English horn parts of the two versions.There is also another version for soloclarinet. In Memoriam was originally forViolin and Piano as op. 43 in 1991.

Composer: Micheline Coulombe Saint-Marcoux(1938-1985)Title: Horizon IIDate & place of composition: March 6, 1981, St.Basile le GrandInstrumentation: solo oboeDuration: ca. 6:00Dedication:Commission:Premiere:Publisher/ISBN: ©1985 Editions Salabert

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Recording(s):Movements:Range: C4 - G6Difficulty: very difficult - large melodic intervals;sudden dynamic shifts; unmetered, complexsubdivisions; difficult fast passages; multi-phonics (possible fingerings are given); rapidtonguing; some graphic notation that is clearlyexplained by composer.Stylistic characteristics: atonal - pointillisticstyle; fragmentary and lyrical gestures unifiedaround A4 and other melodic and rhythmicpatterns; complex rhythm belies exactness; somealeatoric elements; similar phrases are writtenseveral different ways; a study in tone colour.Program notes/reviews:Comments:

Composer: Thomas Schudel (1937)Title: Nocturne and DanceDate & place of composition: 1977Instrumentation: oboe and pianoDuration: ca. 2:00Dedication:Commission:Premiere:Publisher/ISBN: ©1980 Malcolm Music (adivision of Shawnee Press Inc.)Recording(s):Movements: I. Andante; II. AllegrettoRange: G4 - D6Difficulty: easy - one D6 approached easily atthe end of the piece; simple rhythms; a fairamount of high register playing; frequentgradual dynamic changes; easy piano part.Stylistic characteristics: tonal - lyrical and livelywith clear tonality.Program notes/reviews: Nocturne and Dance isa composition with two contrasting movements.Careful observance of phrasing and dynamics inNocturne will help create the intended dreamyatmosphere. Dance should be played in acarefree manner with a steady tempo.32

Comments:

Composer: Blago Simeonov (1934)Title: ScherzinoDate & place of composition: 1978Instrumentation: oboe or flute and pianoDuration: ca. 3:00Dedication:Commission:Premiere:Publisher/ISBN: ©1978 Frederick HarrisRecording(s):Movements:Range: D4 - E6Difficulty: moderate - fast tempo; some fasthigh passages including E6; rhythm is simple,some accidentals; piano part is not too hard,but has some awkward fast passages and leaps.

Stylistic characteristics: tonal - melodic, light;clear form; tonal with some contemporarydissonances; rhythmic vitality in the pianopart.Program notes/reviews: Denouncing ordisregarding tonality is as easy as treatingharmonic ratios as objects. Declaring theequally tempered keyboard a functionless setof frequencies does not free the inner ear fromthe dominant, as ever present as gravity.Defined by a notation, like in the music of Bach,or undefined in the evolved treatment of sonicstoday — a dominant “functions” whereverthere is sound … To reflect the complexity ofan evolved artificial creation — our worldtoday — an artist need not deafen himself andothers to the song his good mother sang. Heneeds to communicate, not to think of newways to communicate. Making clever art is thecurse I see in me and around me. Breaking freeof it is my goal.33

Comments:

Composer: Nancy Telfer (1950)Title: Bird’s-Eye ViewDate & place of composition: 1985Instrumentation: oboe and pianoDuration: ca. 11:00 (3:20, 2:00, 3:15, 2:00)Dedication:Commission:Premiere:Publisher/ISBN: MsRecording(s):Movements: I. Flight of the Gull; II. Convention ofthe Little Birds; III. The Marsh at Dusk; ExoticaRange: C#4 - Eb6Difficulty: moderate to moderately difficult - easymeter changes; limited use of graphic notation;many accidentals; generally short phrases; nottechnically demanding; 3rd mov. opens withdifficult endurance passage; piano part is nottoo hard: many repetitive patterns and two-partwriting.Stylistic characteristics: atonal - with tonalharmonic references; atmospheric, mimickingbird calls; piano part uses patterns, clusters andgenerally thin texture.Program notes/reviews: In Bird’s-Eye View,“Flight of the Gull” is suggestive of themovement of a gull: the gliding, the even beatingof the wings, the quick thrusts. “Convention ofthe Little Birds” describes how a variety of smallbirds so often congregate together, hopping,quietly chirping, then silent; at times there arejust a few birds but a moment later dozens haveappeared. “The Marsh at Dusk” is about thoseslim, elegant, long-legged herons that slowlypivot from position to position as the nightgathers. “Exotica” displays the variety of wildlycoloured exotic birds with their strange calls.34

Comments:

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Composer: Steve Tittle (1935)Title: only/other/alwaysDate & place of composition: Sept.-Dec. 1987,Halifax, Nova ScotiaInstrumentation: oboe and tapeDuration: ca. 11:00Dedication: “for Lawrence Cherney”Commission:Premiere: 1988, Halifax; Lawrence Cherney,oboe.Publisher/ISBN: MsRecording(s): Cherney, Lawrence, oboe.Tongues of Angels. Centrediscs, 4793, 1993.Movements:Range: C4 - F6Difficulty: moderately difficult - metered,somewhat complex rhythms; moderately slowtempos, no extended techniques; several thirdoctave or high register passages, but much ofpiece is lower; no ensemble problems withtape.Stylistic characteristics: electronic/atmospheric -melodic, lyrical oboe part imitated by andinteracting with tape; three clear sections; gradualaccelerando throughout piece; static harmonywith thick tertian chords, tonal implications;continual rhythmic motion.Program notes/reviews: The title reflects thethree-part structure of the piece and is meant tosuggest its mood or atmosphere in a verygeneral way. The composer says, “The tape partis intended to give the feeling of an ensembleperformance in which the oboe has the primarymelodic material. All of the taped music was‘played by hand’ (rather than sequenced) andincludes processed sounds of acousticpercussion instruments along with thosederived from digital synthesizers.”Comments:

Composer: Barry Truax (1947)Title: Tongues of AngelsDate & place of composition: 1988Instrumentation: oboe d’amore, English hornand four soundtracksDuration: ca. 13:20Dedication: “for Lawrence Cherney”Commission: commissioned by LawrenceCherney through the Canada CouncilPremiere: March 16, 1988, North American NewMusic Festival, Buffalo, NY; Lawrence Cherney,oboe d’amore, English hornPublisher/ISBN: MsRecording(s): Cherney, Lawrence, oboe.Tongues of Angels. Centrediscs, 4793, 1993.Movements:Range: oboe d’amore: c#4 - F6 English horn: F4 - F6Difficulty: very difficult - complex rhythms,unmetered sections, some without beams; somemultiphonics, (somewhat unclear specifics: onlyone note of the chord is given, and no fingerings

are suggested); long sections consisting of shortgestures with slight variations repeated manytimes; aleatoric sections where articulation,dynamics etc. are left to the performer;directions for interacting with the tape mostlyclear and useful.Stylistic characteristics: electronic/atmospheric -very abstract harmony and melody; minimalisttone colours that shift section to section, with astructured ending; each instrument uses adifferent scale (given in the introduction)constructed of the intervals of a minor 2nd, major2nd and minor 3rd.Program notes/reviews: The tape portion isbased entirely on short fragments of soundproduced by the two instruments used by thesoloist, oboe d’amore and English horn. Usinggranular synthesis, these sounds werereconstructed to create a virtuosic environmentwith which the performer interacts. We sensethe struggle of the soloist to match thevirtuosity of the tape part and to transcend thelimitations of human performance, a trans-cendance achieved at the end of the work whenthe performer is joined by a heavenly choir ofvoice-like sounds suggestive of the title.36

Comments:

Composer: William Wallace (1933)Title: EngagementsDate & place of composition: March 12, 1987Instrumentation: oboe and English hornDuration: ca. 4:30Dedication: written for Patricia GrignetCommission:Premiere: Jon Peterson, oboe; Nancy BourdonNelson, English hornPublisher/ISBN: MsRecording(s):Movements: I. Idyll: con moto; II. Chase: vivoRange: oboe: B3 - E6; English horn: B3 - B5Difficulty: moderate to moderately difficult -moderately complex rhythmically with muchsyncopation; much repetition; fast tempos; nomajor ensemble issues.Stylistic characteristics: tonal - highly imitative;lyrical.Program notes/reviews:Comments:

Composer: John Weinzweig (1913)Title: Arctic ShadowsDate & place of composition: 1993Instrumentation: oboe and pianoDuration: ca. 4:30Dedication:Commission:Premiere:Publisher/ISBN: MsRecording(s):Movements:Range: F#4 - D6

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Difficulty: easy to moderate - simple rhyth-mically, easy meter changes; easy tempochanges; slow tempos for oboe part, some longnotes and difficult endurance passages; somerepetition; two D6s approached fairly easily;easy piano part.Stylistic characteristics: atonal/ethnic - melodyclearly influenced by Inuit song: limited range,notes, motivic and intervallic repetition; chordalor ostinato accompaniment in piano part, somedialogue with oboe part; harmony is static,colourful, atmospheric; thin texture.Program notes/reviews: Arctic Shadows, forOboe and Piano, is an abridgement of thesymphonic tone-poem “Edge of the World”. Theorchestral work had its origin in a series ofhistorical radio dramas entitled “The WhiteEmpire” presented by the Canadian Broad-casting Corporation over a 13 week period(1945-1946). For the incidental music, thecomposer drew on characteristics of Inuit song.

Narrator: “The edge of the World” is a darknorthern wilderness — the scene of man’sconflict with the hard unyielding grimness of iceand rock — the shadows of adventurers stalkthe ancient trails through the sharp, cracklingstillness of an Arctic night.37

Comments:

Composer: John Weinzweig (1913)Title: Divertimento IIDate & place of composition: 1948Instrumentation: oboe and string orchestra.Reduction for piano by Harold Perry.Duration: ca. 14:00 (3:30, 6:33, 3:53)Dedication: “to Daniel”Commission:Premiere: April 30, 1948, with Perry Bauman,oboist, and the CBC Orchestra, Harold Sumberg,directorPublisher/ISBN: ©1950 Boosey and Hawkes(piano reduction)Recording(s): Bauman, Perry, oboe “Divert-imento #2” by John Weinzweig. Anthology ofCanadian Music: John Weinzweig. Cond. HarrySumberg. CBC Orchestra. Radio Canada Inter-national, 1978.Movements: I. With well marked staccato; II.Slow; III. EnergeticRange: C4 - Eb6Difficulty: moderately difficult - frequent meterchanges, some difficult; many accidentals; largedownward slurs; tempos not too fast; pianoreduction difficult, but pianistic; literal tran-scription of the orchestral parts.Stylistic characteristics: atonal - 2nd movement;disjunct lyricism; 1st and 3rd movementsrhythmically energetic, fragmentary phrases;rhythmic variation and imitation between soloistand orchestra; jazz influencesProgram notes/reviews: Divertimento No. 2 for

Oboe and String Orchestra was completed in1948 and was first performed by the CanadianBroadcasting Corporation on April 30th of thatyear under the direction of Harold Sumberg,with Perry Bauman as soloist. Its threemovement plan combines a neo-classic outlookwith 12-tone rows for each movement employedfreely as a source of melodic invention.

The Oboe staccato engages the Cellos andBasses in a rhythmic interplay that lends atouch of mischievous humour to the firstmovement. In the second movement theemphasis is on the lyric quality of the Oboe.Here the lower strings are omitted and theViolins and Violas only support the Oboe with apersistent waltz-like figure that breaks offoccasionally to soar into a contrasting episode.The full string ensemble is brought together foran energetic finale with the Oboe caught up in atight web of sharply accented rhythms.38

The Divertimento for Oboe and StringOrchestra by John Weinzweig contains elementsof the modern concerto and its predecessor theconcerto grosso. The plan of two fastmovements flanking a slow one with the centerof interest focused on the soloist, resembles theformer. But it is the concerto grosso that revealsitself as the model for this work.

The oboe staccato counterbalanced by cellosand basses, lends a touch of mischievoushumour to the first movement. In the secondmovement the emphasis is on the lyric quality ofthe oboe. The last movement provides theclimax of the work. The full string ensemble isbrought together for an energetic finale.39

Comments:

Composer: Gerhard Wuensch (1925)Title: Aria and Fugue, op. 65Date & place of composition: 1975Instrumentation: oboe and organDuration: ca. 7:30Dedication:Commission:Premiere:Publisher/ISBN: ©1975 Western InternationalMusic WIM 123Recording(s): Movements: I. Andante; II. AllegroRange: C4 - Eb6Difficulty: moderate - some brief passages at fairlyfast tempos; many accidentals; simple meterchanges; cadenza and unaccompanied passages;organ part takes practice, but is very playable.Stylistic characteristics: tonal - traditionalromantic style and form; thick texture; lyrical lines.Program notes/reviews: I always try to writemusic which is accessible to the widest possibleaudience, reasonably well crafted and econom-ical, in that it requires a minimum of rehearsaltime. By today’s standards of “New Music”, mystyle is hopelessly outdated (I have been known

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to employ key-signatures occasionally). Musiccritics tend to dismiss my music outright, whileother composers at best tend to tolerate it witha condescending smile.40

Comments:

Composer: Gerhard Wuensch (1925)Title: Cameos II: Sonatina op. 75Date & place of composition: 1979Instrumentation: oboe or soprano saxophoneand pianoDuration: ca. 9:40 (3:25, 3:30, 2:45)Dedication:Commission: commissioned by the ACNMP forstudentsPremiere:Publisher/ISBN: MsRecording(s): Movements: I. Alla marcia; Pastorale; II. AllegromoderatoRange: C4 - Eb6Difficulty: moderate to moderately difficult - someeasy meter changes, uncomplex rhythm; someshort fast passages; uses a key signature, withsome sections in 5 flats, also many accidentals;piano part is pianistic but moderately difficultwith some large stretches and extreme ledgerlines.Stylistic characteristics: tonal - non-functionaland functional tertian harmonies; contrapuntalwith fugal sections; clear motivic unity anddevelopment; lyrical second movement.Program notes/reviews: I always try to writemusic which is accessible to the widest possibleaudience, reasonably well crafted and econom-ical, in that it requires a minimum of rehearsaltime. By today’s standards of “New Music”, mystyle is hopelessly outdated (I have been knownto employ key-signatures occasionally). Musiccritics tend to dismiss my music outright, whileother composers at best tend to tolerate it witha condescending smile.41

Comments: movements may be playedseparately. Movement III is subtitled “Withapologies to measure one” which contains thenotes ‘B-flat, A, C, B natural’ (used to representthe name “Bach” in whose style this movementis written) in it.

SUMMARYThis document surveys fifty-five works for

oboe, oboe d’amore, English horn and bass oboealone, with piano, organ or tape, with orchestra(when piano reductions were available), and inlike ensembles. All of these works were writtenby composers who are associates of theCanadian Music Centre (CMC). I was initiallysurprised to find such a large body of work thatfits within the restrictions of this study. Judgingfrom the relatively small group of works foundon recordings and recital programs filed at theCMC, many of these compositions remain

unknown, even to oboists in Canada. A generallack of knowledge about available repertoire,particularly more recent compositions, seems tobe a problem in all mediums of music.Performers tend to perform the works that theyand the audience are most familiar with, withthe exception of premiere performances of newcompositions. The purpose of this document isto begin the process of making these works foroboe better known, by listing specificinformation about each composition including adifficulty level and stylistic category. It is hopedthat this kind of information will facilitate theincreased performance of these works byprofessionals and students.

I discovered some technical problems withthese works that also create obstacles to theirperformance. To facilitate the programming ofcontemporary compositions such as these,legibility is of utmost importance. Several workswould be better served by being notated in aclear, legible fashion, which would improve theease of reading the frequent accidentals andnon-standard musical patterns. Even though theCMC does not require that a solo part besubmitted with the score, a separate oboe partin most cases is preferable to avoid frequentand awkward page turns. It would also behelpful to have a piano reduction or aperformance tape for the compositions writtenfor solo with orchestra to facilitate selection andpreparation. The works using extendedtechniques need to have alternatives fortechniques, such as flutter tonguing, that are notphysically possible for every player to perform.Alternatives could include tremolos or chords. Itis important as a starting point to includesuggested fingerings for multiphonics, eventhough it is possible that the specific fingeringmay not work on different makes of oboes anddifferent reed styles.

This collection of works represents a widerange of difficulty levels and styles andinstrumentation. It is encouraging to see someeasy works written for young players, as well asvery difficult works for professional musicians.The majority of the works are categorized asmoderate and moderately difficult. The stylesrepresented range from very abstractcompositions to works using traditional tonal,functional harmonies. No particular stylepredominates, but fewer of the atonalcompositions are found at the easy andmoderate levels of difficulty. The works forEnglish horn, and particularly for oboe d’amoreand bass oboe are a significant addition to whatis currently a limited repertoire.

I welcome your comments and anyinformation you may have about these or otherCanadian works.

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IDRS JOURNAL 91

ENDNOTES1 Ted Dawson, A Teacher’s Guide to Canadian Music(Toronto: Canadian Music Centre, 1991).2 T.J. McGee, The Music of Canada (New York: Norton,1985)3 Anderson, “Canadian Music.”4 Each movement is rated separately because of thelarge difference in the difficulty levels.5 Dace Aperans, program notes, “Juravas” (1992).6 The CMC lists the date of composition as 1993, butthe composer wrote 1991 on the music.7 David Duke, “Violet Archer,” Directory of AssociateComposers (Canadian Music Centre, 1989).8 Anon., jacket notes, River of Fire (McGill UniversityRecords, Stereo 85026, 1986).9 Melody McKnight, program notes, Masters recital(University of Calgary, April 18, 1995)10 Anon., program notes, “Epitaph” (Les ÉditionsDoberman - Yppan, 1989).11 Anon, jacket notes, Twentieth Century ChamberMusic (Queens University Music QUM9101, 1991).12 The dashes indicate sections rather than separatemovements.13 The dashes indicate sections rather than separatemovements.14 Endated program notes by the composer on file atthe CMC.15 Srul Irving Glick, program notes, “Sonata” (JaymarMusic, 1996).16 Srul Irving Glick, jacket notes, Music of Srul IrvingGlick (CBC Records, Musica Viva CD 1046, 1992).17 Undated program note by the composer on file atthe CMC.18 CMC catalog lists date of composition as 1987, butthe composer wrote 1986 on the music.19 Bengt Hambraeus, program notes, “Sheng” (1983).20 Undated program notes by the composer on file atthe CMC.21 Bengt Hambraeus, jacket notes, River of Fire (McGillUniversity Records, Stereo 85026, 1986).22 William Littler, rev. of “Partitia,” Toronto Star, July12, 1982.23 David Keane, program notes, “Tango” (1986).24 David Olds, jacket notes, “Tango,” Tongues of Angels(Centrediscs, 4793, 1993).25 Klein, program notes, “à la Rossini” (1973).26 Undated program notes by the composer on file atthe CMC.27 Ronald Gibson, rev. of “Psalm” Winnipeg Free Press,Nov. 19, 1988.28 Robin Elliot, jacket notes, Shadow Box (Centredisc,3288, 1988).29 Roger Cole, jacket notes, The Expressive Oboe (CBCRecords, Musica Viva CD 1070, 1994).30 Michael Parker, program notes, “In Memoriam”(1992).31 Michael Parker, program notes, “In Memoriam”(1992).32 Thomas Schudel, program notes, “Nocturne andDance” (Malcolm Music, 1980).33 Quoted in “Blago Simeonov,” Directory of AssociateComposers. (Canadian Music Centre, 1989).34 Wendy Borstein program notes, recital (Toronto:Music Gallery, May 25, 1991).35 David Olds, jacket notes, Tongues of Angels(Centrediscs, 4793, 1993).36 David Olds, jacket notes, Tongues of Angels(Centrediscs, 4793, 1993).

37 Anon, program notes, “Arctic Shadows” (1993).38 Anon., program notes, “Divertimento II” (USA:Boosey & Hawkes, 1950).39 From undated, anonymous program note from thecomposer’s file at the CMC.40 Quoted in “Gerhard Wuensch,” Directory of AssociateComposers (Canadian Music Centre, 1989).41 Quoted in “Gerhard Wuensch,” Directory ofAssociate Composers (Canadian Music Centre, 1989).

BIBLIOGRAPHYMusicCanadian Chamber Music Catalogue, Toronto: CMC,

1967.Gifford, Virginia Snodgrass. Music for Oboe, Oboe

D’Amore and English horn: A Bibliography of Materialsat the Library of Congress. Connecticut: GreenwoodPress, 1983.

Music for Multiple Oboes/English horns in the Library ofthe Canadian Music Centre. Toronto: CMC, April 1996.

Music for Oboe/English horn and Orchestra in the Libraryof the Canadian Music Centre. Toronto: CMC, April1996.

Music for Solo Oboe and Oboe and Piano in the Library ofthe Canadian Music Centre. Toronto: CMC, April 1996.

Music for Solo Woodwind and Electronics in the Library ofthe Canadian Music Centre. Toronto: CMC, April 1996.

History and StyleBeatty, Carolyn, ed. Directory of Associate Composers.

Canadian Music Centre, 1989 (1995 update).Beckwith, John, and D. R. Cooper, eds. Hello out there!

Canada’s new music in the world, 1950-1985. Toronto:Institute for Canadian Music, University of Toronto,1988.

Beckwith, John, and F. A. Hall, eds. Musical Canada.Toronto: University of Toronto Press, 1988.

Canadian Embassy, Canada Today d’aujourd’hui. Vol. 20,No. 1, 1989.

Canadian Broadcasting Corporation. CD Catalogue 1995.CBC Records, 1995.

Dawson, Ted. A Teacher’s Guide to Canadian Music.Toronto: Canadian Music Centre, 1991.

Everett-Green, Robert, and Andrew Coyne. “Support forthe arts: burden or boon?” The Globe and Mail,December 31, 1994, p. C1.

Goodman, Harold. Instrumental Music Guide. Utah:Brigham Young University Press, 1977.

Hughes, Robert. “Why America shouldn’t kill culturalfunding.” Time Magazine, Vol 146, No. 6 (August 7,1995) p. 60-68.

Kallman, H.G., Potvin, and K. Winters, eds. Encyclopediaof Music in Canada. 2nd ed. Toronto: University ofToronto Press, 1992.

King, Sam. Canadian Orchestral Music Catalogue.Toronto: Canadian Music Centre, 1994.

Massey, Michael. Canadian Repertoire Manual for YouthOrchestras. Banff: Canadian Association of YouthOrchestras, 1985.

McGee, T.J. The Music of Canada. New York: Norton,1985.

Music Directory Canada ’94, 6th ed. St. Catherines:Norris-Whitney Communications, Inc., 1994.

New Releases Compact Discs 1995. Toronto: CanadianMusic Centre Distribution Service, 1995.

Official Syllabus for Contemporary Showcase Festival.Toronto: Alliance for Canadian New Music Projects, 1996.

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AN ANNOTATED BIBLIOGRAPHY OF CANADIAN MUSIC92

Orchestral Instrument Syllabus. Royal Conservatory ofMusic, 1986.

Orchestra Resource Guide. Toronto: Ontario Federationof Symphony Orchestras, 1994.

Proctor, George, A. Canadian Music of the TwentiethCentury. Toronto: University of Toronto Press, 1980.

Published Scores Catalogue. Toronto: Canadian MusicCentre, 1996.

Shand, Patricia Martin, Canadian Music: A SelectedGuidelist for Teachers. Toronto: Canadian MusicCentre, 1978.

Yeats, Robert, ed. The University of Iowa Guide toSelected Wind and Percussion Materials. Iowa City:Eble Music, 1992.

Unpublished MaterialsAnderson, Jeffrey Robert. “Canadian Music for Solo

Trumpet: An Annotated Bibliography.” Doctoraldissertation, University of Colorado, 1990.

Apfelstadt, Marc Gilbert. “Canadian Bassoon Repertoire:History, Traits, and Characteristics, with Analysis ofRepresentative Works.” Doctoral dissertation,University of Wisconsin-Madison, 1986.

Frayne, Rob. “Canadian Repertoire for Saxophone: AnAnnotated Thematic Catalogue”. Essay, University ofOttawa, 1989.

RecordingsBauman, Perry, oboe. “Divertimento #2.” by John

Weinzweig. Anthology of Canadian Music: JohnWeinzweig. Cond. Harry Sumberg. CBC Orchestra.Radio Canada International, 1978.

Cherney, Lawrence, oboe. The Charmer. Centredisc,5395, 1995.

Cherney, Lawrence, oboe. “Psalm.” by Larry Lake.Shadow Box. Centredisc, 3288, 1988.

Cherney, Lawrence, oboe. “Psalm.” by Larry Lake.Celebration of Canada 125 Years: A Compilation fromCanadian Artists and Composers. Centrediscs S1, 1990.

Cherney, Lawrence, oboe. River of Fire. McGillUniversity Records, Stereo 85026, 1986.

Cherney, Lawrence, oboe. Tongues of Angels.Centrediscs, 4793, 1993.

Chisu, Radu, oboe. “Monodie.” by Maya Badian. Towardsthe Pinnacle: Works by Maya Badian. Les éditionsLucian Badian Editions, LBCD-1001-94, RSB Records,1994.

Cole, Roger, oboe. “Sonata.” by Oskar Morawetz. TheExpressive Oboe. CBC Records, Musica Viva CD 1070,1994.

Seiffert, Laura Jaeger, oboe. “Two Soliloquies,” by F.R.C.Clarke. Twentieth Century Chamber Music. QueensUniversity Music, 9101, 1991.

Trubashnik, Senia, oboe. “Sonata.” by Srul Irving Glick.Music of Srul Irving Glick. CBC Records, Musica Viva CD1046, 1992.

Addresses of OrganizationsThe following organizations are dedicated to the

promotion of Canadian culture.Many of these have been mentioned in the body of work.

Association of Canadian Orchestras56 The Esplanade, Suite 311Toronto, ON M5E 1A7Tel: (416) 366-8834Fax: (416) 366-1780publishes Opus 96 and OrchestraCanada

Assoc. of Canadian Women Composers (ACWC)20 St. Joseph St.Toronto, ON M4Y 1J9publishes ACWC Bulletin, Directory of Works

Alliance for Canadian New Music Prjects20 St. Joseph StreetToronto, ON M4Y 1J6(416) 963-5937sponsors Contemporary Showcase competition:publishes Contempo

Canada Council99 Metcalfe Street, P.O. Box 1047Ottawa, ON K1P 5V8(613) 238-3561publishes Proscenium, and Blizzart

Canadian EmbassyAmbassade du CanadaPublic Affairs Division501 Pennsylvania Ave., N.W.Washington, D.C. 20001 USA(202) 682-1740

Canadian Music CentreNational Office/Ontario Regional Office20 St. Joseph StreetToronto, ON M4Y 1J9Tel: (416) 961-6601Fax: (416) 961-7198e-mail: [email protected] site: http://www.culturenet.ca/cmc/publishes Notations

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franz KROMMER oboe concerto OP 52- oboe and piano

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