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Sixteen Grand Studies for Oboe is the third book in our A.M.R. Barret reprint series. Newly engraved, it provides excellent supplemental material for the student or professional oboist. These studies were originally part of the Complete Oboe Method. Kalmus Editions are primarily reprints of Urtext Editions, reasonably priced and readily available. They are a must for students, teachers, and performers.
Laila Storch is a world-renowned oboist in her own right, but her book honors Marcel Tabuteau, one of the greatest figures in twentieth-century music. Tabuteau studied the oboe from an early age at the Paris Conservatoire and was brought to the United States in 1905, by Walter Damrosch, to play with the New York Symphony Orchestra. Although this posed a problem for the national musicians' union, he was ultimately allowed to stay, and the rest, as they say, is history. Eventually moving to Philadelphia, Tabuteau played in the Philadelphia Orchestra and taught at the Curtis Institute of Music, ultimately revamping the oboe world with his performance, pedagogical, and reed-making techniques. In 1941, Storch auditioned for Tabuteau at the Curtis Institute, but was rejected because of her gender. After much persistence and several cross-country bus trips, she was eventually accepted and began a life of study with Tabuteau. Blending archival research with personal anecdotes, and including access to rare recordings of Tabuteau and Waldemar Wolsing, Storch tells a remarkable story in an engaging style.
In Oboe Art and Method, veteran oboe performer and instructor Martin Schuring describes in detail all of the basic techniques of oboe playing (including breathing, embouchure, finger technique, articulation, and phrasing) and reed making, with expert tips and step-by-step instructions for how best to perform each of these tasks with grace and technical efficiency.
The oboe, including its earlier forms the shawm and the hautboy, is an instrument with a long and rich history. In this book two distinguished oboist-musicologists trace that history from its beginnings to the present time, discussing how and why the oboe evolved, what music was written for it, and which players were prominent. Geoffrey Burgess and Bruce Haynes begin by describing the oboe’s prehistory and subsequent development out of the shawm in the mid-seventeenth century. They then examine later stages of the instrument, from the classical hautboy to the transition to a keyed oboe and eventually the Conservatoire-system oboe. The authors consider the instrument’s place in Romantic and Modernist music and analyze traditional and avant-garde developments after World War II. Noting the oboe’s appearance in paintings and other iconography, as well as in distinctive musical contexts, they examine what this reveals about the instrument’s social function in different eras. Throughout the book they discuss the great performers, from the pioneers of the seventeenth century to the traveling virtuosi of the eighteenth, the masters of the romantic period and the legends of the twentieth century such as Gillet, Goossens, Tabuteau, and Holliger. With its extensive illustrations, useful technical appendices, and discography, this is a comprehensive and authoritative volume that will be the essential companion for every woodwind student and performer.
Stravinsky's ballet score for The Firebird launched his career as a composer after its Paris premiere in 1910. Although he extracted an orchestral suite the following year, the large orchestra required limited performances in the concert hall. World War I, the Russian Revolution and a move to Switzerland intervened before he was able to arrange a suitable concert suite for a normal-sized orchestra, which was given its premiere by Ernest Ansermet and the newly founded Orchestre de la Suisse Romande in April of 1919. Offered here is the first definitive newly engraved publication of the concert-hall staple in the near-century since its first publication by Chester in 1920 - in a notoriously error-heavy edition. Thoroughly researched and edited by Clark McAlister and Clinton F. Nieweg, this new study score will be a most welcome addition to the libraries of conductors, music students and fans of the great Russian master's music everywhere.
The material in the Gekeler Method for Oboe is divided in two parts. The studies in Part I are for the purpose of developing musical style and interpretation; those in Part II are for the study of scales and intervals, and for improvement of articulation.