A BIBLIOGRAPHY OF

CHAMBER MUSIC AND DOUBLE CONCERTI LITERATURE FOR

OBOE AND CLARINET

DOCUMENT

Presented in Partial Fulfillment of the Requirements for

The Degree of Doctor of Musical Arts in the Graduate

School of The Ohio State University

By

Anthony J. Costa, M.M.

*****

The Ohio State University

2005

Document Committee:

Professor James Pyne, Adviser

Approved by:
Professor Richard Blatti

Dr. Timothy Gerber _____________________

Adviser
Professor Christopher Weait Graduate Program in Music
 Copyright by
Anthony J. Costa
2005
 ABSTRACT

Research on heterogeneous wind duo groupings is rare, even though a

representative collection of repertoire exists for several pairing combinations in both

chamber music and double concerti. In the case of woodwind chamber music, composers

first began writing for Harmonie wind ensembles comprised of two oboes, two clarinets,

two bassoons and two French horns in the late 1700’s. Composers, however, have largely

ignored a repertoire featuring the two highest voices of this genre (oboe and the clarinet)

as a duo or wind combination paired with strings and/or piano until the late nineteenth

and early twentieth centuries. Surprisingly, the instruments were used in conjunction

much earlier in the eighteenth century in sinfonia concertantes, double concerti and other

orchestral literature.

This document will deal with often-neglected chamber works that utilize oboe and

clarinet as the sole wind instruments. This repertoire includes works for: 1) oboe and

clarinet, 2) oboe and clarinet with piano (including orchestral reductions as noted), 3)

oboe and clarinet with one or more string instruments with and without piano, percussion,

and voice, and 4) oboe and clarinet as double soloists with orchestra or wind ensemble.

This last grouping, while not chamber works, will be addressed as they are closely related

to the chamber music repertoire and are sometimes played as such. Compositions

utilizing bass clarinet, English horn and other related family members in the
ii
aforementioned combinations will also be included. Woodwind trios, quartets, quintets,

etc. will not be addressed, as the focus of this paper will be on compositions that use oboe

and clarinet (and family members) as their dominant woodwind voices.

In addition to listing available repertoire, the following topics will be addressed:

1) the relationship of the oboe and clarinet in the orchestral setting, 2) the growth of the

repertoire for this duo combination and the musicians involved and 3) resources for

researching obscure chamber music.

iii
Dedicated to my Grandmother, Virginia Puleo

iv
 ACKNOWLEDGMENTS

I would like to thank the following people for their assistance with this project:

the composers and musicians who provided valuable information about works and

ensembles; Mike Harley for help with proofreading; my committee members, James

Pyne, Richard Blatti, Timothy Gerber, and Christopher Weait for their support, expertise,

and inspiration; and lastly my wife Robyn, whose encouragement and patience enabled

me to survive the process. I look forward to many more years of playing this chamber

music with you. Thanks to you all!

v
 VITA

November 20, 1966 Born—Erie, Pennsylvania.

1990 B.M. Clarinet Performance and B.M.E. Music

Education, University of Cincinnati, College-
Conservatory of Music

1990-1991 General Music Teacher, Saint Antoninus School

(Cincinnati, OH)

1991-1992 Pep Band Director, College of Mount Saint

Joseph (Cincinnati, OH)

1994 M.M. Clarinet Performance, Temple University

1995-1997 Chamber Music America’s Rural Residency

Program (Mississippi County, Arkansas)

1998-2000 Graduate Teaching Associate, The Ohio State

University

2000-present Adjunct Professor of Clarinet and Saxophone and

Lecturer, Ashland University

2002-present Adjunct Professor of Clarinet, Otterbein College

PUBLICATIONS AND RECORDINGS

A.J. Costa, “Band Camp—It’s Not Just For Kids Anymore” The Clarinet, XXVII/2,
pages 59-60 (1999).

Eroica. chamber music of Rick Sowash (Rick Sowash Publishing Co., 2001)

Sanctuary at 3am. chamber music of Rick Sowash (Rick Sowash Publishing Co.,
2004)
vi
A Celebration of Flight. Dayton Philharmonic (Neal Gittleman, Musical Director)
(Albany Records, Troy 672, 2004)

FIELDS OF STUDY

Major Field: Music

vii
 TABLE OF CONTENTS

Abstract………….……………….……...…………………………………….…….….…ii

Dedication……………….….…….…….………….……………………….……….……iv

Acknowledgments………….…….…..……….….……………..………………..….…….v

Vita……….….……….…………….….……….…………………………………………vi

List of Figures……………………….……………………………………………..…….xii

List of Tables……….….…………….…….……………………………………..……..xiii

List of Abbreviations……………………….…………………………………….……..xiv

Chapters:

1. Introduction: The pairing of the oboe and clarinet…….……………………….1

2. Orchestration issues with examples from the orchestral repertoire……...…....10

3. The building of a repertoire………………..……………….…………………26

4. How to find repertoire for nonstandard instrumental combinations….…...….35

5. Introduction to the repertoire …………………………………………..…….45

6. Duos ………………………………………………………………….………50

Oboe and clarinet…………………………………………..…………53

English horn and clarinet…………………………….……………….58

Oboe and bass clarinet………………………………………………..58

Bass oboe and bass clarinet ………………………………………….59

viii
 Duos involving doubling or tripling………………………………….59

7. Trios …………………………………………………………………………60

Oboe, clarinet (and/or family members) with piano…………………62

Oboe, clarinet and viola……………………………………….……..67

Oboe, clarinet and cello……………………………………….……..67

Oboe, bass clarinet and harp…………………………………………68

Oboe, bass clarinet and percussion…………………………………..68

Oboe, E-flat clarinet/bass clarinet, vibes and tape………….………..68

English horn, bass clarinet and violin……………………….……….68

8. Quartets ………………………………………………………….…………..69

Oboe, clarinet, violin and cello……………………….…….……..….70

Oboe, clarinet and two miscellaneous strings instruments.…….…….70

Oboe, clarinet, violin and keyboard instrument………………………71

Oboe, clarinet, cello and piano………………………………………..71

Oboe, clarinet, cello and percussion…………………………………..71

Oboe d’ amore, clarinet, soprano and viola……………..……………72

9. Quintets ………………………………………………………………………73

Oboe, clarinet, violin, viola and cello……………….…………………74

Oboe, clarinet, violin, viola and bass……………….………………….74

Oboe, clarinet, violin, cello and harp…………………………………..75

Oboe, clarinet, violin, cello and piano……………………………..…..75

Oboe, clarinet, cello and 4-hand piano…………………………………75

ix
 Oboe, clarinet, guitar, double bass and percussion…….….……………..75

English horn, clarinet, viola, prepared piano and marimba……..….……75

English horn, bass clarinet, viola, cello and piano………………...……..76

English horn, clarinet/bass clarinet, cello, bass and piano/jew’s harp. …76

Soprano, oboe/English horn, clarinet/bass clarinet, violin and cello….…76

Soprano, mezzo soprano, oboe/English horn, bass clarinet and cello…...76

10. Large ensembles………………….……………………………………..……….77

Oboe, clarinet and string quartet………………………..….…………….78

Oboe, clarinet, viola, cello, celeste and piano…….……….….………….78

Oboe, bass clarinet, viola, double bass, piano and percussion….. ……...78

Oboe, clarinet, piano and 3-percussion…………………….…………….79

Oboe, bass clarinet, piano and 3-percussion…………………….……….79

English horn, clarinet, cello and prepared piano (6-hands)……….……..79

Oboe, clarinet and string quintet…………………………………………79

Oboe, clarinet, 4-violins and cello………………...……………………..79

Oboe, clarinet, string quartet and piano………….…..…………………..79

Oboe, bass clarinet, cello, double bass, harp, piano and percussion….….79

Oboe, bass clarinet, cello and 4-percussion…………….………..………79

11. Double concerti and symphonies concertantes………………………………….80

Oboe, clarinet and string orchestra……………………………...……….89

Oboe, clarinet and chamber orchestra………….…………….….………89

Oboe, clarinet and wind ensemble……………….………………..……..90

12. Arrangements for oboe and clarinet chamber music…………………………….91

x
 Trios for oboe, clarinet and piano…………..…………………….………91

Quartets for oboe, clarinet, cello and piano…………………………..…..92

13. Conclusion……………………..………………….……………………….…….93

Appendices

A. Alphabetical list of composers and pieces………….…..……….……………95

B. Biographies of musicians discusses in chapter 3…………..…….……….…108

C. Selected discography of chamber music and double concerti

for oboe and clarinet….………………………………….………….…116

D. Publisher, composer, and music center information……….………..…..…..119

E. Adapted English horn part for Mozart trio, K.V. 498…….….…….………..131

List of References…………………..……………………………………………..……142

xi
 LIST OF FIGURES

Figure Page

1 Oboe and clarinet ranges and characteristics………………………………. 11

2 English horn and bass clarinet ranges and characteristics…………...……...11

3 Schubert, Symphony No. 8, movement 1, mm. 13-20..…………..………… 15

4 Brahms, Ein deutsches Requiem, movement 6, mm. 50-54…………..….. 16

5 Debussy, La Mer, movement 2, mm. 118-121……………….……………. 17

6 Dvorak, Carnival Overture, mm. 105-118………………………………… 18

7 Beethoven, Symphony No. 3, movement 2, mm. 173-177…………………. 19

8 Stavinsky, Symphony in c minor, movement 1, mm173-179……………… 19

9 Oboe and clarinet intonation comparison…………………..…….…………21

xii
 LIST OF TABLES

Table Page

1 Chronological overview of repertoire development for the oboe and clarinet…49

2 Chronology of Double Concerti and Symphonies Concertantes………….……81

xiii
 LIST OF ABBREVIATIONS

Acl clarinet in A
arr arranger
bass ob bass oboe
bcl bass clarinet
bsn bassoon
cel Celeste
C cl clarinet in C
cl clarinet
db double bass
Eb cl Eb clarinet
Ed editor
eh English horn
fl flute
gtr guitar
hp harp
hpsd harpsichord
mezsop mezzo soprano
mm measures
ob oboe
ob D’A oboe d’amore
orch orchestra
org organ
perc percussion
pn piano
sop soprano
str string
synth synthesizer
timp timpani
vib vibraphone
vla viola
vlc cello
vln violin

xiv
 CHAPTER 1

INTRODUCTION:

THE PAIRING OF THE OBOE AND CLARINET

The research for this project began during my two-year involvement with

“Chamber Music America’s” Rural Residency Program (1995-1997). As a member of

the Razbia Ensemble (oboe, clarinet, cello and piano) I quickly found that in order to

survive as a chamber music musician playing concerts and school programs (particularly

in rural Arkansas) I would need to learn to effectively research and locate repertoire for a

nonstandard combination of instruments. This project, rooted in my past, holds future

implications for me as well. This task has not only familiarized me with new resources,

composers and a network of fellow musicians that will benefit me as both performer and

educator, it has also provided a collection of repertoire that I can perform and record

along with my wife, Robyn, an oboist. The findings in this document will enable me to

stay active as a chamber musician within and beyond the scope of the Razbia Ensemble

for years to come.

The fundamental intent and purpose of this document is to provide an exhaustive

listing of repertoire for the pairing of oboe and clarinet and family members. The

importance of a study such as this is more far-reaching than the personal goals that I have

outlined above, and proves beneficial in the following ways:

1
 1) It will serve to preserve a collection of repertoire including works in

manuscript and print that are unpublished or self-published. Music of this type is subject

to the possibility of being forgotten once a composer passes away. This document will

serve as a record of the existence of these works and will assist in their continued

availability beyond the life of the composer.

2) This document will be organized according to specific instrumentation, which

differs from most bibliographic sources that lists the music alphabetically by composer,

organized by the number of players. A listing by instrumentation is necessary for

musicians seeking music not utilizing a standard ensemble. This document will prove

invaluable for many, including college faculty members needing a means to fulfill tenure

and promotion requirements through performances with colleagues beyond the standard

ensemble setting, and teachers organizing a variable collection of student instrumentalists

into chamber groups for performance and study.

3) While the subject matter of oboe and clarinet may only appeal to a small

audience, the discussion on what resources are available to musicians for finding similar

obscure chamber music will prove beneficial to a broader base of musicians. Even the

most comprehensive research lists such as Baron’s Chamber Music: A Research and

Information Guide neglect these specialized chamber groupings. This leaves musicians

seeking this repertoire no other choice but to spend much of their energies researching a

large general collection of information with little reward.

Again, this is an exhaustive list and musicians will need to rely on their own personal

assessment of the repertoire included. While this is not an annotated listing, comments

are made throughout this paper referencing particular selections of the repertoire.

2
 When looking at music written for the oboe and clarinet combination as I have

chosen to do, it proves instructive to start with their development, and how the histories

of the two instruments overlapped. The development of the clarinet does in fact have

particularly close ties to the oboe. In the late seventeenth and early eighteenth centuries,

it took the clarinet a period of time to establish itself as an individual instrument with a

unique voice. Burgess and Haynes (2004) state that when early clarinets first found their

way into ensembles, they were often considered a specialty hautboy (French for “oboe”)

and were generally performed by a hautboist (p. 101). The earliest known usage of the

clarinet in orchestral music dates from 1716 with Vivaldi’s Latin oratorio Juditha

Triumphans. This work includes parts for both oboe and clarinet, but because only one

wind instrument is heard at a time, it is likely that players doubled (Rice, 1992, p. 83). In

1721, Telemann provided alternate oboe parts for his cantata Christus ist um unsrer

Missetat willen, in the event that clarinets were unavailable (Rice, 1992, p.86).

Two rare instances in which a composer used oboe and clarinet playing together

during this time are found in Vivaldi’s concertos RV 559 and 560. Surprisingly, these

works feature two oboes paired with two clarinets as soloists. The Largo movement of

RV 559 is particularly interesting in that the oboes and clarinets play only with continuo

in a “lyrical dialogue” (Rice, 1992, p.97). (These works are discussed in Chapter

Eleven.) Between 1733 and 1760, at least seven German court orchestras were using

clarinets, and the instruments were found in Paris, Bohemia and Austria by the mid-

century (Rice, 1992, p. 156). One such court in Mannheim, led by Johann Stamitz, began

to employ clarinet players between 1750-1800, and influenced the adoption of the

instrument in other regions through its reputation (Jo Rees-Davies, 1995, p. 75).

3
 While the clarinet was largely an optional instrument (replaced by flute or oboe)

in orchestras of the 1750s, its status improved during the 1780s and 90s as instruments

became more available throughout Europe and Mozart began to include it in his later

symphonies. By 1780 most orchestras included a pair of clarinetists in their membership

in addition to oboists. Around 1810, largely due to the early symphonies of Beethoven,

the clarinet finally enjoyed an equal footing in the orchestra with the oboe and flute

(Rice, 2003, p.174). Beyond the orchestra, there also existed growing interest in clarinets

in military and Harmonie bands.

It was swiftly adopted by military and Harmonie bands and became the
leading melodic wind instrument in most large cities throughout Europe,
America, and Scandinavia by the 1780s. (Rice, 2003, p.110)

The growing popularity and development of the clarinet as a unique voice had an

interesting consequence for the oboe. In its early years, a preference for the clarinet over

the oboe developed. As early as 1758, Stamitz states on the title page his La Melodia

Germanica: “in place of clarinets, they [the parts] may be played with two oboes, flutes

or violins” (Rice, 1992, p.133). In this same spirit, Mozart chose to rewrite hautboy parts

to be played by clarinets in some of his later symphonies, such as Symphony No. 40 (KV

550), and the composer rarely used the clarinet and hautboy together in his compositions.

(Burgess & Haynes, 2004, p. 102)

This preference was also the case around 1800 in European military bands. In his

book, A Concise History of the Wind Band, Whitwell (1985) comments that “the full

acceptance of the clarinet as the fundamental melodic vehicle” within the National Guard

Band in Paris between 1790 and 1800 was a “new concept of lasting importance,” and

4
states, “the oboe was no longer king” (p.185). The author continues by describing

possible political overtones tied to the clarinet becoming more popular than the oboe,

writing,

When one considers that the Les Grands Hautbois were themselves a
symbol of the king, perhaps one can view the replacement of the
aristocratic oboe by the numerous clarinets as a symbol of the deposition
of Louis XVI and his replacement by a body of citizens. (p. 185)

The utilization of the oboe and clarinet together in chamber music also has a

fascinating history. The oboe has been used in chamber music since the early Baroque

era. The clarinet, however, was not implemented in a widespread manner until the

classical period. The order of events in the invention of the clarinet is a mystery, and Rice

(1992) states the earliest documentation on the instrument is found in Nuremburg, as

early as 1710 (p. 63). Although wind chamber ensembles and their repertoire will not be

discussed in detail here, a brief look at the development of ensembles that used oboe and

clarinet together with other winds can provide insights into how composers used the pair

in the earliest chamber settings.

One of the earliest types of chamber ensemble that incorporated both instruments

was the aforementioned late eighteenth-century wind octet, popular in European courts

and referred to as a Harmonie group. Commenting on the development of a standard

instrumentation for these wind bands Burgess and Haynes (2004) write,

The instrumentation of the late eighteenth-century wind octet was

the logical result of the evolution of the wind band concept. As we have
seen, the preferred formation at the beginning of the eighteenth century
was exclusively double-reeds (usually a combination of treble hautboys,
tenor hautboys and bassoons). As time went on, the tenor hautboys were
often replaced with horns. About mid-century clarinets began to replace
hautboys, making a band of pairs of hautboys or clarinets, horns, and one
or two bassoons. The wind octet in Vienna built on this basis, using pairs
of hautboys, English horns, horns and bassoons. From the early 1770s,
5
 with the presence in Vienna of good clarinetists like the Stadler brothers,
the clarinet began to take over the English horn parts, making an ensemble
of paired hautboys, clarinets, horn and bassoons. (p. 92)

As stated above, Harmonie groups started out as a sextet of double-reeds and later

pairs of oboes, horns, and bassoons. Around the 1720s in Germany, these groups became

a popular form of entertainment and spread throughout Europe in royal and aristocratic

households. Clarinets were first included in the 1750s in Harmonie groups consisting of

two clarinets and two horns. As stated earlier by Burgess and Haynes, it was not until the

1770s that some Harmonie sextets expanded to octets by adding pairs of both clarinets

and oboes. Bassoonist Ernst Eichner composed the earliest extant Harmonie octet for

two oboes, two clarinets, two bassoons and two horns in 1773 (Rice, 2003, pp.198-199).

These Harmonie groups, and variations of paired wind and horn groupings, went

on to find favor with such composers as Joseph Anton Steffan (1726-1797), Wolfgang

Amandues Mozart (1756-1791), Franz Krommer (1759-1831), Josef Myslivecek (1737-

1781), Johann Nepomuk Hummel (1778-1837) and Georg Druschetzky (1745-1819).

While the instrumentation of these Harmonie groups remained somewhat flexible during

this period (from duos to groups of 13 winds), the Harmonie wind ensemble specifically

consisting of paired oboes, paired clarinets, paired bassoons, and paired French horns

developed out of the Viennese courts and became a common instrumentation throughout

Europe, and one that remains a standard ensemble even today.

The oboe and clarinet also appeared early on together in two landmark works by

Mozart and Beethoven for the unique instrumentation of oboe, clarinet, bassoon, horn

and piano. Mozart’s quintet was written in 1784, and Beethoven’s quintet in 1796-97

6
following Mozart’s precedent in instrumentation. Again, like the Harmonie groups, this is

an instrumentation that has been reused by several composers after Beethoven, albeit not

as common as the wind octet.

Another standard chamber ensemble including both oboe and clarinet that likely

developed out of the Harmonie group at the beginning of the nineteenth century was the

woodwind quintet (flute, oboe, clarinet, bassoon and horn). Nikolaus Schmitt and

Giuseppe Maria Cambini composed the earliest quintets for woodwinds, the latter being

published by Sieber in 1802 (Rice, 2003 p. 197). This, too, has become a staple grouping

for winds and has enjoyed a large repertoire with many professional wind quintets

existing throughout history. As a point of reference, both wind quintets and wind octets

(Harmonie) are standard enough ensembles to have their own entries in the New Groves

Encyclopedia of Music.

A fourth standard chamber ensemble using our duo is that of a trio for oboe,

clarinet and bassoon. This grouping is not as common as wind octets or quintets, and

developed much later during the early twentieth century. French composer Ange Flegier

(1846-1937) wrote one of the earliest works for reed trio titled Concert Suite in 1897.

While the reed trio, or trio d’anches, does not have its own listing in the New Groves

Encyclopedia of Music, this combination has remained a favorite for composers

throughout the 1900s and beyond, and is thought of as a reasonably standard ensemble.

It is interesting that two instruments that were at one time nearly interchangeable,

or at the very least treated as a double for oboists, developed into two distinct tone colors,

each finding their place in many orchestras, Harmonie groups, and other chamber

groupings. It is equally interesting that these two highest voices of the Harmonie group,

7
while enjoying membership (albeit in pairs) in chamber music of the late 1700s, and

combined with other wind voices, have been largely ignored by composers as a duo

combination or wind combination paired with strings and/or piano in chamber music until

much later in the late nineteenth and twentieth centuries. Granted, chamber music

involving pairs of unlike winds is a rarity. However, having exclusively researched the

repertoire, this seems even more the case for the oboe and clarinet combination. I will

discuss these historical developments further in the repertoire chapters that follow.

Likewise, it was also not until the twentieth century that composers began to use

instrument family members of the oboe and clarinet in chamber music.

I have decided to research this specific combination because of the scarcity of this

repertoire and the difficulties associated with locating pieces for performance and study. I

will also explain how I researched this repertoire, as I have found that resources for

locating obscure chamber music can be quite elusive. This document will deal with

compositions for: 1) oboe and clarinet duos; 2) trios including oboe and clarinet with

piano (including orchestral reductions as noted) or strings; 3) quartets and larger groups

that include the oboe and clarinet with one or more string instrument with and without

piano and/or percussion; and 4) double soloists with chamber orchestra or wind

ensemble. Compositions utilizing bass clarinet, English horn and other family members

individually or as doubles in the aforementioned combinations will also be included,

provided that there remains only one performer on each instrument. Early chamber

settings such as woodwind trios, quartets, quintets, and other Harmonie ensembles as

mentioned above, will not be addressed; rather the focus will be on compositions utilizing

only oboe and clarinet as their dominant woodwind voices.

8
 While the compilation of a repertoire list has encompassed a large portion of this

project, I will also comment on the following topics, as they play a crucial role in the

music discussed:

1) What do texts on orchestration say about combining these instruments and how

are they treated in combination in orchestral music? Does this have any

implication on performance practice? (Chapter Two)

2) What performers have been influential in helping to build the repertoire under

study? (Chapter Three)

3) What are some resources available to all musicians useful in locating nonstandard

chamber groupings? (Chapter Four)

Because this project is preparation for future performances and recording projects

involving chamber music and double concerti for oboe and clarinet, I will provide a

general history for as many of the combinations as possible, found at the beginning of

each associated chapter. Biographies of associated musicians as found in Chapter Three

will be included in the Appendix B.

9
 CHAPTER 2

ORCHESTRATION ISSUES WITH

EXAMPLES FROM THE ORCHESTRAL REPERTOIRE

When looking at repertoire for the oboe and clarinet combination, and the

possibilities and problems inherent with this choice of instrumentation, a logical starting

place is to ask what role orchestration issues play in the composing process. These issues

can be identified and studied by consulting a select sample of the authoritative books on

orchestration that are available. In beginning this study, we will first ask what

considerations should one be mindful of in pairing the oboe and clarinet-including range,

timbral issues, dynamics and intonation-that are pertinent to performance? Secondly,

what examples are there in the orchestral repertoire that can assist in this study?

Range and Registral Characteristics

To begin looking at the possibilities and limitations of composing for the oboe

and clarinet, let us first consider the instruments’ ranges and registral characteristics.

Figure 1 and Figure 2 outline the ranges and registral characteristics for the oboe, B-flat

clarinet, English horn and bass clarinet, as described by Samuel Adler.

10
Figure 1: Oboe and clarinet ranges and characteristics (Adler, 2002, pp. 194-195 and 206)

Figure 2: English horn and bass clarinet ranges and characteristics (Adler, 2002, pp. 199
and 212-213)

While these listed ranges are conservative and several works discussed in this

document exceed these limits, one can conclude from this information that the oboe and

clarinet share a nearly identical upper range. In the lower range, the clarinet is able to

play a minor 6th (for B-flat clarinet) or a major 6th (for A clarinet) below the lowest note

of the oboe. Because the oboe’s low register is thick and heavy in character and very
11
difficult to play in a soft manner, composers are limited in how they can effectively orient

these instruments to one another in certain ranges. Using the oboe, for example, as an

accompaniment to the clarinet around “middle C” at a soft dynamic will prove quite

difficult for the oboist and, due to the resulting struggle, the musical line may be possibly

affected in a negative manner. Although there is not much of a range difference between

the oboe and clarinet for composers to use as contrast in their writing, on a positive note,

both instruments’ varied registral characteristics, as noted above, open the door to a host

of timbral possibilities.

Timbre

With such a similar range, how the timbres of these two instruments combine will

play an even more important role in how and when composers will use the instruments

together. A logical starting place is to see what general observations authors make about

the individual instrument’s timbres, and then to consider the general observations they

make on the combination of the two.

Concerning the oboe, author Burton (1982) writes the following while discussing

writing for woodwinds: “Although any combination of tone colors could be used, the

oboe, with its rich overtones, blends less well with other instruments” (p. 189). The

clarinet is more favorably described in pairing possibilities by authors. Blatter (1997) for

example writes, “Clarinets, in spite of their distinctive tone color, blend with other

instruments more readily than any other woodwind” (p. 108). Burton (1982) also

mentions the clarinet’s unique blending quality, writing, “The flute, with its relatively

weak overtones, and the clarinet, with only odd-numbered harmonics, tend to blend best

12
with other instruments” (p. 342). Burton (1982) continues by mentioning a potential

problematic issue involving clarinets, stating, “Their tone is more easily absorbed and

dominated by the sound of other instruments” (p. 342).

The idea that a clarinet, which functions as a stopped-pipe, only has odd-

numbered harmonics sounding within its tone (as stated by Burton above) is a common

misconception. Through recent technology and breakthroughs using equipment for more

detailed sound analysis, it has become evident that the clarinet sound is in fact made up

of both even and odd-numbered harmonics as found in other instruments. This

misconception likely grew out of the fact that while the clarinet's chalumeau register does

contain even-numbered harmonics, they are comparatively suppressed. A modern

analysis shows that as the range of the clarinet is ascended, the even-numbered harmonics

become stronger, perhaps contributing to the marked differences between the clarinet’s

three registers of chalumeau, clarion, and altissimo. For further information on the

harmonic make up of the clarinet tone please consult the Website of The Ohio State

University Clarinet Studio/Research Group (http://hughes38.som.ohio-

state.edu/index.htm).

On the combination of the two instruments Burton (1982) specifically addresses

the oboe and clarinet and the problem mentioned above stating, “… the oboe lends a

certain bite to the tone of the flute or clarinet, though a true blend of oboe and clarinet is

difficult to achieve” (p. 189). He later adds, “Ob + Cl—oboe predominates, penetrating

sonority” (p. 343). Another author and composer, Rimsky-Korsakov (1902/1953), also

writes on the pairing, saying,

13
 Oboe+Clarinet. A fuller quality than that of either instrument heard
separately. The dark, nasal tone of the oboe will prevail in the low
register, the bright, “chest” quality of the clarinet in the high compass.
(p. 47)

Piston’s (1955) only comment on the duo is, “The best rhythmic staccato will be obtained

with oboe plus clarinet . . .” (p. 421), perhaps alluding to Burton’s description of a

“penetrating sonority.”

This inherent difficulty in effectively combining the oboe (described as the more

difficult woodwind to blend), and the clarinet (described as easier to blend) will be most

pronounced or apparent in the repertoire under study, particularly in duets and other small

chamber music settings. To better understand this pairing and the implications involved,

it will prove useful to look at the pairing within the orchestral repertoire. Two ways that

many orchestration books discuss the combining of timbres in the orchestral literature is:

1) unison writing for two instruments and 2) melodies that are doubled at the octave.

Melodies in Unison

Unison doublings involving woodwind instruments call for more consideration by

a composer than do unisons for string and brass instruments, which are much more

homogenous in tone color. Piston (1955) writes, “Furthermore, the greater disparity in

the different registers of each woodwind instrument renders the matter of their

combination more complex” (p.421). This “complexity” of timbre combination does

present difficulties to both composer and performer; however, while rare, these

combinations for oboe and clarinet do turn up with surprisingly effective results.

Perhaps the most famous instance of this pairing in the orchestral literature comes

from Schubert’s “Unfinished Symphony,” Symphony No. 8 first movement, first theme as

shown in Figure 3.
14
 Figure 3: Schubert, Symphony No. 8, movement 1, mm.13-20

Samuel Adler discusses this excerpt by addressing not only the difficulties

associated with it that many authors have written on, but also what makes the pairing

such an effective choice in this particular instance. Adler (2002) begins by mentioning

why Schubert chose to use the oboe and clarinet to present the first theme in unison. “The

theme carries well in both instruments, which can easily play pianissimo in this register”

(p. 230). He continues by mentioning the problems associated with this pairing as

described by Burton et al and reasons that orchestration books give to avoid using it:

1. The oboe, with its nasal quality, will overshadow the clarinet.
2. The conductor will have to balance the two by having the oboe play more
softly.
3. Clarinet and oboe may have difficulty staying in tune with each other.
(p. 233)

Adler next explains why he feels that this is such an effective pairing and perhaps not one

to be completely avoided by composers:

How fortunate that Schubert did not read any of these books! By doubling
the oboe with the clarinet, he created a passage with a mysterious color.
Every live performance of this passage will sound slightly different; the
instruments, the players, and the acoustics of the hall will all play a part.
(p. 233)

15
Adler also explains why using the flute in this instance rather than the oboe would have

been less effective, saying,

… we eliminate the bite of the oboe sound, but the clarinet stands out
almost exclusively: the flute is in a nonbrilliant register, contributing little
more than a thickening of the resulting tone. (p. 233)

Anthony Hopkins (1982) also addresses this theme of the symphony and its

“mysterious qualities,” stating,

The conductor needs to preserve the delicate ambivalence of the rhythm so

that the music maintains its air of mystery, a mystery further heightened
by the exact fusion of oboe and clarinet in the song-like melody which
soon appears. Either a solo oboe or a solo clarinet would be clearly
identifiable, as for the matter would the pair of them playing an octave
apart. As it is, the soft “woody” tone of the clarinet casts a slight shadow
over the more pungent, reedy tone of the oboe so that our ears are teased
by a sound that is neither one nor the other. (p.100)

Two other significant instances in the orchestral literature where the oboe and

clarinet play in unison are Brahms Ein deutsches Requiem (see Figure 4) and Debussy La

Mer (see Figure 5).

Figure 4: Brahms, Ein deutsches Requiem, movement 6, mm. 50-54

16
 Figure 5: Debussy, La Mer, movement 2, mm. 118-121

It is interesting to note that in each of these examples of unison writing for oboe

and clarinet, the composer uses the clarinet in A. (This choice is a topic that is

commented on later in this chapter.) Also interesting is that both Debussy and Schubert

use the identical register of notes, concert-key pitches A4 (or A#4) to F#5 (with C4 as

“middle C”). This choice of registers couples the oboe’s “warm, prominent, reedy, and

poignant” register with the clarinet’s “clarion register, bright, incisive, expressive.”

Brahms, on the other hand, presents the musicians with a much more difficult passage to

coordinate in regards to both range and dynamic implications, C#4 to C6, at a piano

dynamic. Both the oboist and clarinetist in this passage will have to work together to find

a compromise to the issues of blend, dynamics, and intonation (to be discussed later in

this chapter).

Melodies Doubled at the Octave

The authors of orchestration books also make some interesting points about the

oboe and clarinet doubled at the octave, which is relative to this discussion. First,

considering the clarinet one octave above the oboe, Rimsky-Korsakov (1902/1953)

writes,

17
 . . . the clarinet above the oboe or flute etc., creates an unnatural
resonance occasioned by the confusion of registers, the instrument of
lower compass playing in its high register and vice versa. The lack of
proper relationship between the different tone qualities then becomes
apparent. (p. 49)

In spite of this problem, composers have nevertheless used this arrangement, albeit only

rarely. The more famous instances can be found in Dvorak’s Carnival Overture (see

Figure 6) and Hindemith’s Symphony for Concert Band. Author Read (2004) discusses

why a composer might choose this particular orientation stating: “[on clarinet above

oboe] Obviously wishing to emphasize the bright and reedy tone of the clarinet in its

higher register above the oboe led the composer to this pairing” (p. 159).

Figure 6: Dvorak, Carnival Overture, mm. 105-118

18
 In doubling at the octave the more common arrangement is oboe above clarinet.

Examples include Beethoven Symphony 3 (see Figure 7) and Stravinsky Symphony in c

for orchestra (see Figure 8). (Read, 2004, p.157)

Figure 7: Beethoven, Symphony No. 3, movement 2, mm. 173-177

Figure 8: Stavinsky, Symphony in c minor, movement 1, mm173-179

Author Read (2004) writes, “This is a fairly common scoring procedure…” (p.157) and

one can see here that both Beethoven and Stravinsky use similar instrumental registers in

their writing for the pair.

19
 In my own performing experience, problematic blending issues between oboe and

clarinet have come up countless times in chamber music coaching and recording sessions.

It has been a struggle over the years to find a good balance between the oboe and clarinet,

particularly in such pieces as Bowles’ Duet for Oboe and Clarinet in A and Destenay’s

Trio for Oboe, Clarinet and Piano. More often than not, it is the oboe overshadowing the

clarinet, requiring the oboist to play at a softer dynamic. As the clarinetist, I have

experimented with equipment (mouthpieces, reeds, etc.) seating arrangements and

microphone placement (when making recordings) to help my sound equal that of the

oboe’s.

Intonation

An additional issue that Samuel Adler mentions in discussing the Schubert

example is intonation. It is crucial that performers be familiar with the pitch tendencies

of their instrument and those they play with. This is particularly important for chamber

musicians who play one to a part. Nicholas Cox (1995) makes the point (albeit a very

opinionated one) that the professional clarinetist must be mindful of characteristics of

“the different members of the wind section when examining tuning: Sharpness of oboe

and flute: to enhance audibility, certain instruments prefer to be heard than to blend”

(p. 160).

Considering intonation, there are at least three issues to be aware of when

combining clarinet with oboe:

1) Individual pitch idiosyncrasies, which differ from player to player, and

instrument to instrument, but can be generalized as found in Figure 9. (Please note that

oboe tendencies are listed above the staff and the clarinet tendencies below the staff. All

20
notes are in concert key.) The clarinet portion of the comparison is compiled from Larry

Guy’s (1995) book Intonation Training for Clarinetists (p. 2), and the oboe portion is

drawn from a personal interview (R. Dixon Costa, April 5, 2005).

Figure 9: Oboe and clarinet intonation comparison

2) Intonation tendencies at extreme volume levels and ranges. The clarinet’s pitch

generally gets flatter as volume increases, and sharper as volume decreases. The oboe

also follows this tendency but to a far lesser degree.

3) Switching between different instruments during a performance, which results

in having to play on an instrument that has been sitting and grown cold, and for that

reason, lower in pitch.

Regarding issue #1 above, one finds that the oboe and clarinet have some similar

tendencies. The most difficult notes to coordinate between the two instruments are

concert F5 to Bb5, where the oboe tends to be flat and the clarinet sharp. While the two

instruments seldom play in unison in the music under study for this project, this

21
information remains invaluable in tuning individual lines in counterpoint. This can be

even more of a concern when the duo is combined in a chamber setting with the piano

and its inflexible intonation. It is additionally important to mention that oboe intonation is

also effected by styles of reed-making which can differ from player to player and region

to region.

As discussed, the second issue, which concerns dynamics, is more of a concern

for the clarinetist, although it is helpful for the oboist to be aware of these tendencies

when a compromise is necessary. Because the clarinetist may need to work harder to

balance the timbre of the oboe, this may necessitate the clarinet to play louder and as a

result, on the flat side of the pitch.

This third issue is an obstacle for performances in which one or more of the

performers must play on multiple instruments. It is of course quite common for the

clarinetist to have to switch between B-flat and A clarinet from one piece to another and

in some rare cases from movement to movement within a work. Examples from the

works listed in this document that fall in this problematic category are Gabriel Marie’s

Feuilles au vent (Chapter Seven), and Judith Zaimont’s work titled . . .3:4, 5 . . . (Chapter

Nine) which require both B-flat and A clarinets. Likewise, several examples of works

listed in the document can be found that utilize several of the family members of the oboe

and clarinet, and require both musicians to switch instruments within the work. Two of

such works include Herbert Brün’s six for five by two in pieces (Chapter Six), and Cecilia

McDowall’s Le Temps Viendra (Chapter Seven). Without time to properly warm up an

22
instrument that has been sitting, it is quite difficult to match intonation and not play flat,

especially when the other performers have possibly grown sharp while playing for an

extended period of time.

Trio for oboe, clarinet and piano by Destenay (Chapter Seven) provides an

additional problem that is tied to both range and intonation for the clarinetist. The

problem here lies in that the second movement requires the clarinetist to play a written E3

on the A clarinet (as the note is unavailable on the B-flat instrument). Playing this

movement on the A clarinet to accommodate the range, requires the clarinetist to play in

the written keys of b minor and B major, which can be problematic both with intonation

and awkward fingerings. The movement would be much easier to play both technically

and pitch wise on the B-flat clarinet, which would put the movement in the written keys

of B-flat minor, and B-flat major, but again the concert C#3 would be unplayable.

Destenay likely chose the A clarinet for this movement to make use of its lower range

and to further add interest to the contrast possibilities inherent between the oboe and

clarinet. To compound the issue further, the oboe also has to play in difficult keys in this

movement, namely g-sharp minor and A-flat major. The choice to use the A clarinet for

the additional half step it offers rather than using it to make a key easier for the

performer, is also common in orchestral writing.

In the first five bars of the Largo of the New World Symphony (key Db
major) Dvořák wishes to use the bottom Db in bars 2 and 3. He has to
write it for A-clarinets. (Forsyth, 1982, p.258)

23
 English Horn and Bass Clarinet

Because a significant portion of the repertoire under study in this document

includes the English horn and bass clarinet, these instruments will be included in this

discussion, but in a limited capacity. In looking at these two instruments, one

immediately recognizes the greater range possibilities when they are used together, or

even more so in combination with oboe or clarinet (see Figures 1 and 2).

Within the orchestral literature, there are also some unique timbre qualities to take

note of utilizing English horn and bass clarinet. Author Gardner Read (2004) names two

examples of English horn and bass clarinet doubling at unison: Roussel Symphony en si

bémol, pp. 140-41, mm. 3-[57]; and Auric Suite Symphonique. Regarding this

combination he writes, “The tonally heavier contribution of the bass clarinet fuses fairly

satisfactorily with the alto double-reed, especially in its medium to lower register”

(p. 34).

Regarding instances where the English horn and bass clarinet are doubled at the

octave, Forsyth (1982) mentions the following effective example in his text. “In

Lohengrin (Act II.) Wagner uses the same dark and immovable tone-colour for the

expression of doubt and uneasiness” (p.277). Read (2004) also comments on this

particular arrangement pointing out two additional examples, Franck Symphony in D

minor, pp.94-96, mm. 199-207; and Bartok Dance Suite, p. 54, 2 mm. after [39].

This creates a richly hued sonority; in its mid-range the doubling is warm
and expressive. If the part of the double-reed stresses its upper register
unduly, the instrument’s natural tone thins out and weakens. (p. 158)

24
 Conclusion

Although the foregoing discussion has dealt largely with orchestral literature and

orchestration books dealing with that repertoire, the issues mentioned here are equally

important to this study of chamber music and double concerti for the oboe and clarinet.

The issues of blend and intonation will be even more concentrated in the chamber setting

where there are fewer instruments to dilute the combinatorial effects of these two

instruments. It is likely that the limitations and problems named by authors of

orchestration books have negatively influenced the amount of repertoire featuring these

two instruments. These difficulties are also important for performers to keep in mind

when playing the repertoire under study.

On a positive note, what makes this project exciting is the unique timbral

combination of oboe and clarinet. What Adler and Hopkins call a “mysterious color”

leads to a rare, versatile repertoire, which is unlike any other combination. As a teacher, I

have also come to recognize that this repertoire poses many educational possibilities for

young oboists and clarinetists that outweigh some of the intrinsic difficulties of this

combination. The recent addition of English horn and bass clarinet to this repertoire

makes even more striking range and timbral contrasts possible.

25
 CHAPTER 3

THE BUILDING OF A REPERTOIRE

There are many reasons why a composer will write music for a specific type of

ensemble. First, several popular combinations of instruments such as string quartets,

woodwind quintets, piano trios, etc., have long held favor with composers and audiences,

thereby enjoying a robust growth in repertoire over the years. There have been

numerous established ensembles throughout history that have made all or some of their

livelihood playing from this large collection of repertoire written specifically for their

popular-instrument combination. One such ensemble that has enjoyed terrific success

over the last thirty years is the Verdehr Trio. This group is made up of Walter Verdehr

(violin) Elsa Ludewig-Verdehr (clarinet) and Silvia Roederer (piano) and has contributed

at least seventeen recordings of trios. Writing for these standard instrumental

combinations gives composers a market in which to sell their music and have it

performed for the public alongside works by other great composers for the same

instrument combination. The composers thus gain outreach and publicity with musicians

and audiences outside of their immediate circle.

For many different reasons, a new piece of chamber music may be required that

does not employ the standard instrumentations mentioned above. Often nonstandard

ensemble combinations are formed not from the amount of available repertoire, but rather
26
from specific personal situations or relationships among the members such as siblings,

friendships or marriage. Ensembles of this type are the catalyst for expanding the

repertoire for their combination through commissions and creative arranging. A

composer may also write chamber music for a specific combination, as a gift offering for

their musician colleagues or out of their own personal inspiration. As a simple example,

a composer-colleague of mine, Dr. Donald Sloan of Ashland University (Ohio), recently

mentioned that his biggest composition success both in number of performances and

financial reward happens to be a duo for flute and clarinet that he composed for

colleagues. Since then, several married couples have contacted him regarding the piece,

looking for music that they can play on chamber music programs together. The Verdehr

Trio also contains a married couple, namely the clarinetist and violinist. They too, have

commissioned works for their ensemble, totaling some 170 new compositions, which

have been included on their recordings and performances.

Fortunately for the oboist and clarinetist, there have been several married couples

that have also had beneficial relationships with composers, and through friendship and/or

commissions have been responsible for many new works for the rare combinations

addressed by this document. These couples have been influential in promoting music for

the oboe and clarinet through commissioning, performing, recording, publishing,

republishing, and in one case, composing. These oboe and clarinet couples are (in

chronological order of their ensemble’s inception) 1) Wilma Zonn (oboe) and Paul

Martin Zonn (clarinet); 2) Joy Farrall (clarinet) and Nicholas Daniels (oboe); 3) Valarie

Anderson (oboe) and John Anderson (clarinet) and 4) Karen Dannessa (clarinet) and

Henry Grabb (oboe).

27
 Wilma and Paul Martin Zonn

The first couple, Wilma and Paul Martin Zonn (1938-2000), was extremely active

on the chamber music scene in the 1970s. As the duo d’anches, they performed

numerous recitals including duos for oboe and clarinet as well as individual solo works.

The focus of their performances both when playing together and individually was the

promotion and programming of “new music.” (Please find Wilma and Paul Martin

Zonn’s complete biographies in Appendix B)

A majority of the pieces performed on the Zonns’ recitals were composed

specifically for the couple during the 1970s. The pieces that were commissioned by the

Zonns, or written as a gift for their oboe and clarinet duo, include:

Accorda, (1968) by William Hellerman

Dialogue, (1970) by Franz Furrer

Six for five by two in pieces, (1971) by Herbert Brun

Zonnorities, (1974-75) (for oboe, clarinet and computer) by John Melby

Faces, (1975) by Stuart Smith

As an oboe and clarinet duo, the Zonns showcased some of this new repertoire

through performances at the International Double Reed Society (IDRS) conventions in

1973, 1979, and 1994. They further promoted both the oboe and clarinet duo and its

repertoire by recording Stuart Smith’s Faces and Franz Furrer’s Dialogue for oboe and

clarinet on the ASUC Recording Series (Advance Recording FGR-25S and UBRES CS-

301).

28
 Several other composers have written commissions and dedicated musical gifts to

the Zonns in the form of larger chamber works that use oboe and clarinet. Two of these

works include:

Music for Bass Clarinet, Oboe and Piano, (1966) by M. William Karlins

Departures, (1967) for oboe, clarinet, cello and piano by Stephen Syverud

Paul Martin Zonn, in addition to being a renowned clarinetist and accomplished

jazz, bluegrass, and “pop” artist, was also an acclaimed composer and had a vast

catalogue of music to his name. As might be expected, a portion of his compositions is

for oboe and clarinet in various chamber settings. Two noteworthy chamber music pieces

composed by Paul Martin Zonn that fall in the realm of the repertoire under study are:

Periphrasis, (1966) for oboe, clarinet, and cello

Those (Never-Ending) Memories, (1986) for oboe, clarinet, guitar, percussion,

and double bass

Paul Martin Zonn passed away in 2000. His wife Wilma is presently archiving

his life’s work, including documenting his numerous performances and compositions.

Mrs. Zonn will be donating her husband’s archives including correspondences, programs,

and photos, to the University of Illinois (Urbana, Champaign). An exhibit of his work

began in November of 2004.

Joy Farrall and Nicholas Daniel

Joy Farrall (clarinet) and Nicholas Daniel (oboe) are from England. Both

musicians are very active as chamber musicians and soloists, and each has a large number

of recordings to their names in both capacities. Ms. Farrell is also a member of several

orchestras throughout England, and is on faculty at the Guildhall School of Music and

29
Drama in London. Mr. Daniel remains active as a conductor and was recently appointed

“Prince Consort Professor” at the Royal College of Music in London. (Please see

Appendix B for their complete biographies) Both musicians are founding members of the

Haffner Wind Ensemble, a group that has done numerous commissions, and performs and

records in a variety of forms, including a woodwind quintet and larger octets and nonets.

Among their numerous endeavors, this married duo has been very influential promoting

music for the oboe and clarinet combination, through involvement with commissions,

numerous performances and the production of one particular recording.

Together with pianist Julius Drake, Ms. Farrall and Mr. Daniel created the Daniel

Trio and set out to showcase music written specifically for oboe, clarinet and piano. In

addition to performing concerts, the Daniel Trio recorded on the Leman Classics Label

(LC 44301) a disc of six trios in 1994. It was this recording that introduced me to a

sample of the repertoire under study and sparked my interest in researching for this

project. The recording in question contains four original trios for this combination along

with two arrangements written specially for the Daniel Trio. All six are world premiere

recordings. The works included are as follows:

Le Barbier de Séville, ouverture, by Gioacchino Rossini, arranged

by Gordon Davies

Favola in Musica (after Claudio Monteverdi), (1990) by John Woolrich

Trio en si mineur pour hautbois, clarinette et piano, op. 27, (1906) by Edouard
Destenay

Sunrise, Sunset, arranged by John Linton Gardner

Trio in sol mineur pour hautbois, clarinette et piano, (1924) by Paul Gilson

Ecossaises, by John Linton Gardner

30
 I should mention that in the liner notes for the CD, Romain Goldron (1994) writes

regarding Sunrise, Sunset that, “It was transcribed for trio by the composer himself”

(p. 8). This would seem to imply that John Linton Gardner is the composer, when

actually the melody comes from the musical Fiddler on the Roof with music by Jerry

Bock. It is likely that Gardner arranged the work for the trio and that the liner notes are

in error.

While the original works from this recording are all available from publishers

save Gardner’s Ecossaises, unfortunately the arrangements are not. This is because Mr.

Gardner is unreachable in this stage of his career and the arrangement by Mr. Davies has

been lost. Perhaps the highlight of this recording is the practically forgotten trio by

Destenay. Since this recording was released, the score has been republished by Jeanné,

Inc. and has again found favor with performers. The trio is scheduled to be performed at

the IDRS 2005 convention, and has since been recorded a second time by Fiati (2005).

In addition to bringing these six trios to the attention of a worldwide audience,

this couple has played an important role in the composing and performing of two double

concerti also for the oboe and clarinet combination. The Double Concerto for Oboe,

Clarinet and Orchestra by John McCabe was composed in 1988 and commissioned by

the English Heritage. It is published by Novello and was written specifically for an open-

air summer concert in which Joy Farrall and Nicholas Daniel were guest artists. A

second work, by composer Simon Bainbridge and also titled Double Concerto, was

commissioned by the Cheltenham Festival, in which Ms. Farrall and Mr. Daniel were

31
participants. The duo premiered the work at the 1990 Cheltenham Festival and it has

since been published by United Music Publishers. (Please see Chapter Eleven for further

details on these two works.)

Valarie and John Anderson

The third couple, Valarie and John Anderson has had undoubtedly the most

profound influence on music for oboe and clarinet chamber music. (Please find their

individual biographies in Appendix B) The couple formed the chamber ensemble Fiati in

1996 with the purpose of performing and recording chamber works for woodwind

instruments. A majority of Fiati’s output includes the repertoire under study in this

document. Ms. Valarie Jeanné Anderson, through her company, Jeanné, Incorporated

(established in 1990) has republished a number of early chamber works for oboe and

clarinet that had fallen out of print (namely the Destenay and Gabriel-Marie). Ms.

Anderson has also commissioned and published new works for the combination through

Jeanné, Inc. Since its inception, Fiati has been active recording the wind literature. Two

of their four recordings, include some of the earliest works for oboe and clarinet in a

chamber setting along with several new additions to the repertoire. The two Fiati

recordings that pertain to the music in question are as follows:

1) Fiati: “Blend” (recorded in 2001) includes the following associated repertoire:

Quintet, op. 39, (oboe, clarinet, violin, viola and bass) (1924) by Prokofiev

. . . 3: 4, 5 . . ., (oboe, clarinet, violin, viola and bass) (1997) by Judith Lang

Zaimont (Premiere recording; commissioned by Fiati)

Curved Mirrors (oboe, clarinet, piano) (1994) by Lloyd Ultan

(Premiere recording; commissioned by Fiati)

32
2) Fiati: “Impressions” (recorded in 2005) includes the following associated repertoire
for oboe, clarinet and piano:

Trio en si mineur pour hautbois, clarinette et piano, op. 27, (1906) by Edouard
Destenay

The Windrush Madrigals, (2001) by Margaret Griebling-Haigh,

(Premiere recording; commissioned by Fiati)

Feuilles au vent, (1910) by Gabriel-Marie

A Wedding Waltz, (1986) by Andre Previn (adapted by Fiati)

The Center of the Known World, (2002) by Randall Davidson

(Premiere recording; commissioned by Fiati)

The Previn work listed above was originally written for two oboes and piano. Fiati has

effectively altered the score and has given the second oboe part to the clarinet.

In addition to the commissions, recordings and publishing, the Jeanné, Inc.

website provides a terrific resource for chamber music (http://www.jeanne-inc.com/).

With the success of Jeanné, Inc. and Fiati, the Andersons will no doubt continue to

contribute to this specialized repertoire.

Karen Dannessa and Henry Grabb

Another married couple that has been active commissioning, performing and

recording is Karen Dannessa (clarinet) and Henry Grabb (oboe). Ms. Dannessa is

presently on faculty at Clarion University in Pennsylvania, and Mr. Grabb is currently

Professor of Oboe at West Chester University of Pennsylvania. (Please see Appendix B

for their complete biographies) Both musicians are active as chamber musicians and

orchestral players. Together, this couple began playing as a duo in 1996 and officially

formed the ensemble Duo del Sol in 2004. They have been actively performing

repertoire for both duos and trios with piano. Much of their repertoire is written for the

33
combination of clarinet and English horn. This couple has performed from this repertoire

at IDRS conventions and programs at both Carnegie and Weill Hall. To date,

Dannessa/Grabb have commissioned and premiered the following pieces:

Felinity, (2003) (clarinet and English horn) by Howard Buss

t-zero, (2003) (clarinet and English horn) by Jason Haney (premiered in Carnegie
hall)

Dance Suite, (clarinet and English horn) by Matthew Herman

Trees Dream of Dancing, (2003) (English horn, clarinet and piano) by Katherine
Murdock (premiered in Weill Hall June 2003)

Two American Sketches. (1996) (English horn, clarinet and piano) by Mark Sfrorzini

Karen Dannessa’s compact disc recording titled American Lyrique, includes

Sforzini’s American Sketches played with her husband. This CD is available from

Tundradogs Music (www.tundradogsmusic.com). The couple has recorded a new CD to

be released soon that will include Haney’s t-zero and Herman’s Dance Suite as well as

several reed trio works.

34
 CHAPTER 4

HOW TO FIND REPERTOIRE

FOR NONSTANDARD INSTRUMENTAL COMBINATIONS

Chamber musicians often have two distinct reasons for finding chamber music

repertoire. In many cases, musicians hear a specific piece or become interested in a

specific composer and then choose to study and perform this music due to its artistic

appeal. In other instances, and for me specifically while participating in “Chamber

Music America’s” Rural Residency Program and in my college teaching, musicians end

up seeking music, out of necessity, for very specific instrumental combinations. This

sought out music may be previously composed and found through research, or may be

newly commissioned by the musician to meet a particular need.

To further explore this concept of what I call “repertoire out of necessity,” it may

prove useful to look at a specific example. Ensembles that participate in the “Chamber

Music America” Rural Residency Program undergo a series of screening processes. One

of the considerations that the reviewing board takes into account is whether or not the

particular ensemble, specifically considering its instrumentation, will be able to

effectively function within the duties of a residency with the repertoire that is available to

it. Functioning, as defined by this program, necessitates having music for both concert

performances and educational programs appropriate and relevant for students from
35
kindergarten through college. Speaking in the case of my chamber group, the Razbia

Ensemble, the board was comfortable allowing our group to function as a clarinet, cello

and piano trio, for which there is a healthy repertoire, but they had reservations about

letting us enroll as a quartet consisting of oboe, clarinet, cello, and piano. Their

reservation, and rightfully so, centered on the lack of repertoire for this quartet

combination and the difficulty we would face with this deficiency. In order to make it

possible for the Razbia Ensemble to function under these repertoire requirements,

Chamber Music America included Razbia on their ensemble roster, but as an ensemble

that played as a quartet and in different trio and duo configurations. Again, this redefining

of our quartet was because we would have been quite handicapped and ineffective due to

the lack of repertoire for such a unique instrumentation. By redefining ourselves as a

quartet that also performed in trio and duo combinations the door was opened to a more

versatile collection of repertoire that would better serve our needs and that of our

audience. It was at this point that I began researching repertoire as a necessity to find

compositions for performances and education programs that were appropriate for

different age groups.

While the Razbia Ensemble’s situation is unique and perhaps extreme, ensembles

involved with many performances and especially educational programs that today must

coincide with specific state funding requirements as outlined by the state educational

board in order to be funded, are constantly looking for new repertoire to aid them in their

endeavors. College professors, too, are faced with finding a variety of music for different

chamber settings depending on the pool of students available. Professors are also

required to meet outlined requirements for their own promotion and tenure as defined by

36
the college or university that they are affiliated with, and establishing a woodwind quintet

or trio with fellow faculty members to meet these requirements may not always be a

possibility. An alternative for many professors (including the musicians discussed in

Chapter Three of this document) is to form non-traditional ensembles with colleagues to

meet these employment requirements.

The Resources

There are several different types of resources to consult when looking for

repertoire out of necessity. A few of these resources also prove helpful in researching

and contacting composers in order to commission works. These sources include:

1) books and publications, 2) publisher and retail catalogues, 3) music information

centers and musical organizations, and 4) Internet search engines. The following is a list

of sources that has proven useful for researching the clarinet repertoire, including its

numerous chamber settings. Many of these sources are equally useful in finding music for

other instruments and standard and nonstandard chamber groupings.

Books and Publications

There are bibliographies for individual instruments that include a variety of

repertoire, both solo and chamber combinations. While these sources have proven to be

only minimally helpful in searching for obscure oboe and clarinet chamber music, these

books remain important resources in researching the clarinet repertoire in general and

many contain useful annotations. The sources on the clarinet repertoire, and books on the

clarinet including a repertoire discussion pertinent to this project are as follows: (Please

see List of References for full citation)

37
Brixel, Eugen. Klarinetten-Bibliographie. (1977)

Brymer, Jack. Clarinet (1976)

Foster, Levin Wilson. A Directory of Clarinet Music. (1940)

Heim, Norman M. Clarinet Literature in Outline. (1984).

Kroll, Oskar. The Clarinet (1965)

Opperman, Kalmen. Repertory of the Clarinet. (1960)

Pino, David. The Clarinet and Clarinet Playing (1980)

Rendall, Geoffrey. The Clarinet (1954)

Wilkins, Wayne. The Index of Clarinet Music. (1975) (supplements in 1976-77, and
1978)

A much more useful collection of books for researching chamber music are those

addressing chamber music repertoire for mixed ensembles. The following books have

been crucial in researching this project. In dealing with a repertoire that is primarily a

recent convention, the two books by Secrist-Schmedes in particular have been invaluable

in that they are recent and contain helpful annotations. These books, along with others

that have been useful include: (Please see List of References for full citation)

Heller, George N. Ensemble Music for Wind and Percussion Instruments: A Catalog.
(1970)

Helm, Sanford M. Catalog of Chamber Music for Wind Instruments. (1969)

Hinson, Maurice. The Piano in Chamber Ensemble, an annotated guide. (1978)

Houser, Roy. Catalogue of Chamber Music For Woodwind Instruments. (n.d.)

Rasmussen, Mary and Donald Mattran. A Teacher’s Guide to the Literature of

Woodwind Instruments. (1966)

Secrist-Schmedes, Barbara. Wind Chamber Music: For Two to Sixteen Winds: an

Annotated Guide. (2002)

38
Secrist-Schmedes, Barbara. Wind Chamber Music: Winds with Piano and Woodwind
Quintets: an Annotated Guide. (1996)

Voxman, Himie and Lyle Merriman. Woodwind Ensemble Music Guide. (1973).

An important resource on general topics of chamber music, its repertoire, history and

research is: (Please see List of References for full citation)

Baron, John H. Chamber Music: A Research and Information Guide, Second Revised
Edition. (2002)

Publishers and Retail Catalogues

Many of the bibliographies listed above tend to neglect specialized or more

obscure chamber music works, and chamber musicians often have to turn to other sources

in order to supplement their repertoire. Another way to find both old and new repertoire

is to peruse individual publishers’ catalogues. These catalogues are often available for

free, by request, and many publishers, such as G. Schirmer Incorporated have a

newsletter, which can be subscribed to for free. These newsletters include information on

recent works, premieres, commissions, and national performances of repertoire from their

catalogue. On a side note, these newsletters can also be a wonderful means of advertising

a concert to a large audience often at no cost. Ensembles simply must send a note to the

publisher that they are performing one of their works on a future concert and often they

will include the information in their newsletter. The contact information for music

publishers used to research this project is included in Appendix D.

Many publishers, in addition to their mailed catalogues, now have websites that

allow you to search their collections either via “adobe acrobat” or directly on their

website. The Adobe acrobat reader that is necessary to view these pages is available for

free from the Adobe website: http://www.adobe.com/products/acrobat/readstep2.html.

39
 This browsing of catalogues can be a timely undertaking, as many of the

catalogues do not allow you to search for specific instrument combinations leaving no

choice but to comb through the entire repertoire listings and seek out desired

combinations. Another problem is that some websites are vague on instrumentation,

necessitating a phone call or e-mail to find out further details. It is however a worthwhile

task and a great deal of the repertoire listed in this document, has been found

painstakingly going through individual company’s catalogue in this way. The “find (on

this page)” {Control +F} tool under “Edit” in Microsoft Explorer proves very helpful in

this task.

Also with the inception of the Internet, a number of music retail store websites

have proven to be quite helpful in researching chamber music. Some retailers own their

own publishing companies such as Dorn Publications, Inc and Jeanné, Inc. Others have

provided a venue for composers to sell self-published works, such as Luyben Music.

Listed here are a number of retailers/publishers and their websites that are useful to

chamber musicians in particular:

Brixton Publications: http://www.brixtonpublications.com/index.html (Home of

Brixton Publications (ASCAP) and Howard J. Buss Publications (BMI) contains
music for a number of chamber music combinations)

Dorn Publications, Inc.: http://www.dornpub.com/ (a publisher and retailer who

carries many other publisher’s works of chamber music)

Frog Peak Music: http://www.frogpeak.org/index.html (an artist-run organization

devoted to publishing and producing experimental and unusual works, distributing
artist-produced materials, and in general providing a home for its artists carries
scores, recordings, writings and other works by hundreds of artists internationally-
Frog Peak Music is also has a CD label and several publications)

Jeanné, Inc.: http://www.jeanne-inc.com/ (publisher and retailer of a large collection

of chamber music)

40
Luyben Music: http://www.luybenmusic.com/default.htm (a publisher and retailer
who carries as many as 250 publisher’s music and many self-published works)

Smith Publications and Sonic Arts Editions: http://www.smith-publications.com/

(carries a large collection of standard and non-standard chamber music)

Theodore Presser Company: http://www.presser.com/index.cfm (The United States

agent for many European publishers of chamber music)

As with any business, individual publishers go in and out of existence, making

tracking down specific scores at times quite a challenge. There are two useful websites

that list many of the world’s publishers, their contact information, and perhaps even more

importantly, updates on what mergers have occurred between companies. These include:

1) E Music Quest: http://www.emusicquest.com/pubind.htm

2) Musical Publishers Association: http://host.mpa.org/

Music Information Centers and Musical Organizations

Another excellent source for contemporary published and non-published works

are music information centers. These centers represent composers and their works from

numerous countries and regions. Many are open to the public without membership, and

offer large libraries of sheet music and sound archives. Some centers maintain collections

of biographical and research material, and issue publications and recordings. These

centers benefit chamber musicians greatly in that they provide databases of international

composers with lists of their music and contact information, offering a relatively new

means to locate a diverse chamber music repertoire for programming purposes. Some

centers maintain copies of composers’ music that you can request for perusal or purchase.

The International Association of Music Information Centers (IAMIC) oversees forty-two

members in thirty-six countries as of 2005. Its website is located at:

http://www.iamic.net/index.html.
41
 Several of these individual music centers that have been particularly helpful for

this project include: (please find their full contact information in Appendix D)

The American Composers Alliance: http://www.composers.com/

The American Composers Forum: http://www.composersforum.org/

The American Music Center: http://www.amc.net/

Association for the Promotion of New Music Subito Music Corporation:

http://www.subitomusic.com/APNM.htm

The Australian Music Centre: http://www.amcoz.com.au/

Canadian Music Center: http://www.musiccentre.ca/home.cfm

Contemporary Music Centre Ireland: http://www.cmc.ie/

Icelandic Music Information Centre: http://www.mic.is/eng/

Israel Composers’ League: http://www.geocities.com/israelcomposers/

Music Information Centre Norway (Norsk):

http://www.mic.no/mic.nsf/home/kunstmusikk

Norwegian Music Information Centre (N-MIC):

http://www.notam02.no/nmi/kataloger/woo7.html

“Web magazines” can also be helpful in finding new music. One that is

particularly useful is the “New Music Box,” (http://www.newmusic box.org/) which is

the web magazine from the American Music Center. Associated with this magazine is

the “New Music Jukebox”, (http://www.newmusic jukebox.org/) which is an online

library and listening room that provides immediate access to scores, streaming audio, and

vital information about music by American composers.

Two additional websites specializing in clarinet music used for research in this

project are associated with the International Clarinet Association (ICA). The first of

these, the “Clarinet Composition Database” lists a great deal of repertoire including
42
chamber music. Unfortunately, several mistakes have been found in their listings during

the course of this study, including the mislabeling of instrumentation. The database

however remains a worthy asset. The second website is the ICA’s catalog of its score

collection, currently held at the University of Maryland. This website serves two fold in

that it is a terrific recourse to find existing pieces (some of which are out of print) and a

means to borrow scores for perusal and performance as a member of the association.

These two websites are as follows:

1) Clarinet Composition Database (The Clarinet Pages, AKA Sneezy):

http://www.woodwind.org/Databases/Composers/index.html

2) “International Clarinet Association” (ICA) Research Center:

http://www.lib.umd.edu/PAL/SCPA/icarcinfo.html

Another resource that has proved helpful is the website for the International

Double Reed Society (IDRS). This site offers information from past conventions

including biographies of performers and composers, as well as listings of past

performances of the studied repertoire. The IDRS associated link to “The Double Reed

Archaeologist” site is also a noteworthy resource containing chamber music and

concertos for oboists and bassoonists (Charles-David Lehrer, General Editor).

International Double Reed Society (IDRS): http://idrs.colorado.edu/

Internet Search Engines

One other research approach that has been used in this study with worthwhile

results is Internet searches. It is the timeliest process mentioned in this chapter, yet

several new pieces have been uncovered using it. By using a number of Internet search

engines it is possible to locate music and composers who do not have relationships with

publishers or organizations. The “Google” search engine (www.google.com) has proven

43
to be the most productive in this endeavor. Refining searches by defining parameters

with quotations and “ands” will help to expedite the process. For instance, search for

“oboe and clarinet and piano” or any other instrument combination that is desired.

Again, this will involve sifting through many unrelated websites, but the benefits are

worthwhile.

Repertoire for this project has also been located through the use of online library

catalogues. These have been helpful in finding works listed in other resources and

locating scores that are out of print and unavailable by any other means. It is not

uncommon that a deceased composer’s compositions (including published works and

unpublished manuscripts) are willed or donated to libraries of college and university that

the composers were associated with. Compositions of this type are often available to

musicians from colleges through interlibrary loans. These online library catalogues

include:

1) OhioLINK (holdings of over 70 academic libraries)

2) Committee on Institutional Cooperation (C.I.C.) Virtual Catalog (holdings of “Big

Ten” universities’ libraries and the University of Chicago library)

3) WorldCat (collection of records available in libraries worldwide)

Having utilized all of the aforementioned resources and approaches, I have not

found any single resource that provides a representative survey of the chamber music for

oboe and clarinet in its entirety. Rather it has been a combination of all of these resources

and approaches listed in this chapter that has led to the repertoire listed in this document.

As use of the Internet develops, and more international organizations provide catalogues

on their websites of composers and their works, researching obscure chamber music will

become less labor intensive.

44
 CHAPTER 5

INTRODUCTION TO REPERTOIRE

The following chapters list repertoire for the oboe and clarinet combination.

Works utilizing their family members including the English horn, oboe d’amore, bass

oboe, E-flat clarinet, basset horn, and bass clarinet have also been included with one

performer required per family grouping. The chapters are divided by size of ensemble

and then instrumental combinations within those limits. Each individual ensemble type

(duo, trio, etc.) begins with an introduction and general information about the

combinations that follow. Herein, particular works of interest that are significant to the

ensemble type and overall collection will also be addressed.

Citations of works in the following bibliography that are featured on recordings

will contain a “discography reference number” (labeled as drn#). This number can be

cross-referenced with the discography located in Appendix C to find further details on the

recordings and the names of oboist and clarinetist featured. Each bibliographic entry in

Chapters Six through Twelve will contain the information as found in the following

example:

composer’s last name, composer’s first name, composer’s middle initial.

(composer’s birth date-death date) Title of Work. instrumentation. (year of
composition or copyright (c.), publisher or note on availability). Timing.
(information on commissions, premieres, or performance notes). (drn#)

45
 A list of abbreviations used for instrumentation is located in the document on

page viii. The “/” mark used in some listings for instrumentation, for example ob/eh or

cl/bcl, indicates that one player will perform on each listed instrument for that piece.

When a number accompanies an instrument abbreviation it indicates that multiple players

will be needed for that instrument type, for example “2-vln” would indicate two violinists

are required. In listings for piano, a number paired with “h” indicates multiple hands on

one keyboard. For citations in Chapter Twelve, when available, orchestration

requirements for works using a larger ensemble (such as chamber orchestra or wind

ensemble) are added to the instrumentation section of the bibliographic entry offset by

parentheses. These orchestration listings are by family and ordered as follows: flute,

oboe, clarinet, bassoon / French horn, trumpet, trombone and tuba / violin I, violin II,

viola, cello, double bass. In citations where only the descriptor “strings” is listed, the

composer has not required an exact number of players. Contact information for

publishers, composers, libraries, music information centers, and composers’

organizations can be found in Appendix D.

The selections included in the following repertoire lists are works deemed easily

available from the sources listed in Appendix D. Obscure works that would prove

difficult to acquire have been avoided. In cases where compositions are only available

from a particular library, the corresponding call numbers have been included whenever

possible. The majority of the included compositions are written specifically for the oboe

and clarinet timbre, as well as their family members. Over recent years, there has been a

growing number of works published to be playable by variable instrumental

combinations, including the oboe and clarinet. Several of such works have been included

46
in the following lists but in a limited capacity. Due to their nature, researching and

categorizing this genre of composition is a significant undertaking, and best left a

separate project from the one at hand.

A separate listing of this repertoire, alphabetized by composer, can be found in

Appendix A. This alphabetical list will serve as a condensed reference to the complete

bibliography in Chapters Six through Twelve, and will therefore contain an abbreviated

amount of information on each piece. Entries in Appendix A are in the following format:

Composer’s last name, composer’s first name, composer’s middle initial.

Title of Work. instrumentation. chapter reference.

Again, the following chapters include an exhaustive list and musicians will need

to rely on their own personal assessment of the repertoire in deciding what works are

worthy of study and performance. While much of this music is challenging and not

appropriate for young musicians, a selection of it is worthy of consideration for advanced

amateur and college level musicians. The following is a short list of works that I have

deemed appropriate for this level of musician. In some cases only portions of a work will

be appropriate (an individual movement, etc.). Herein, I am including duos for oboe and

clarinet and trios for oboe, clarinet and piano, as this is likely the most common

instrumentation for this level of musician.

Duos (see Chapter Six for complete citation):

1) Andraud Duos concertants

2) Arbatsky From A to Z

3) Bauer Duo, Op. 25

4) Beekum Easy Duets

5) Kelley Music for Two

47
Trios (see Chapter Seven for complete citation):

1) Beethoven Duo

2) Bruniau Toi et moi

3) Gabriel-Marie Feuilles au vent

4) Gilson Trio

5) Ibert Aria

6) Kennaway Downstream

7) Kopsch Trio

8) Maganini Concert Album

9) Paessler Concerto

10) Stringfield To A Star

11) Vogel Sonata

While this document is not an annotated listing, advanced musicians seeking repertoire

for recital programming may refer to the introductory sections of the following chapters

for discussions on pertinent pieces, and to Appendix C for previously recorded works of

this repertoire.

For a point of reference, a general timeline of events discussed in Chapter One

along with landmark works found in the following chapters has been provided in Table 1.

48
 Date Event

1716 Vivaldi uses both oboes and clarinets in his oratorio Juditha
triumphans, with parts likely played by one player.
ca.1740 Vivaldi composes two concerti for the solo group of two oboes paired
with two clarinets.
1750s Clarinet first enters the orchestra (replaceable by flute or oboe).
1770 Oboes and clarinets play in Harmonie groups together (earliest work by
composer Ernst Eichner).
1780-1790 Clarinets become more available and commonly used in orchestras
(sometimes replacing the oboe).
1784 Mozart composes his Piano and Wind Quintet using both oboe and
clarinet.
1796/7 Beethoven composes his Piano and Wind Quintet using both oboe and
clarinet.
1800 Schmitt and Cambini write first woodwind quintets that use oboe and
clarinet.
ca.1810 Oboe and clarinets are used in orchestras as equals.
1897 One of the earliest trios with oboe, clarinet and bassoon is composed by
Flegier.
1905 Schoenberg begins draft of his quintet for oboe, clarinet, violin, cello
and piano.
1906 Destenay writes the first trio for oboe, clarinet and piano.
1924 Prokofiev writes his quintet for oboe, clarinet, violin, viola, and double
bass.
1927 Höffding composes the first (?) duo for oboe and clarinet.
1932 Martinu composes septet for oboe, clarinet, four violins and cello.
1939 Marion Bauer composes her sextet for oboe, clarinet and string quartet
1940 Thompson composes the first trio for oboe, clarinet and viola.
1942 First duet written for oboe and bass clarinet composed by Homs.
1951 Stockhausen composes his sextet for oboe, bass clarinet, piano and
three percussion.
1991 Knussen composes possibly the first duo for English horn and clarinet.
1996 Several duos for bass oboe and bass clarinet are composed.
1998/9 Carter composes his quintet for soprano, oboe, clarinet, violin and
cello.
2003/4 First double concerto for oboe, clarinet and wind ensemble composed
by Lefkowitz.

Table 1: Chronological overview of repertoire development for the oboe and clarinet

49
 CHAPTER 6

DUOS

Despite Mary Rasmussen’s (1966) claim in discussing duos in A Teacher’s Guide

to the Literature of Woodwind Instruments that “Oboe and clarinet have no real repertoire

. . .” (p. 187), the duo setting for oboe and clarinet offers by far the largest chamber music

repertoire available for the pairing. Each of these instruments has long enjoyed duets in

homogenous settings (two oboes and two clarinets).

The duet for two flutes, two oboes, or two bassoons, which was used in
the baroque period largely for pedantic purposes or for the private
enjoyment of two amateur players, was continued in the late 18th and 19th
centuries. (Baron, 1998, p. 282)

Being the youngest of the wind instruments, the clarinet duet literature obviously

developed much later. However, by the late 1760s, clarinet duets were among the most

popular works of chamber music. (Rice, 2003, p.183) In his dissertation on the “Clarinet

Duet,” David Randall writes,

The earliest duets which include clarinet as one of several possible pairs of
instruments which could perform them were published in Amsterdam ca.
1715 and were seemingly written for amateurs; only the upper part of the
register was used. (as cited in Baron, 1998, p. 282)

It is not until 1765 in a Paris clarinet method (author unknown) that we see the

50
first duet collection specifically for clarinet. It is during this time that many wind

duos can be found, including works written for teaching purposes and

arrangements of opera selections and popular songs.

Regarding the first mixed duos including the clarinet and another instrument, we

find published duets for clarinet and bassoon in the 1780s. The duo for oboe and clarinet,

including arrangements and original works, did not come into existence until much later.

The earliest of these compositions date from the beginning of the twentieth century,

including duos of the Danish composer Finn Höffding, written in 1927, and the American

composer Paul Bowles, written in 1931. Höffding’s work, titled Dialogues, is a suite of

five movements, all based on conversations that two people might share (I. General

conversation, II. Serious conversation, III. Wrangling, IV. Elevated conversation, and V.

Cheerful conversation). The duo by Bowles was written while the composer studied

composition with Aaron Copland. In the last of three movements, the composer models

his first theme from a famous Dadaist poem titled Ursonate by Kurt Schwitters (1887-

1948). It is interesting to mention that Paul Bowles is also the famous author of the novel

The Sheltering Sky.

There are several collections of duets for oboe and clarinet that include

arrangements of popular classical melodies, duets by composers such as Mozart and Bach

and original works. These collections prove useful for both performance and educational

purposes. These collections include: 1) three volumes by Albert Andraud; 2) four

volumes titled Music for Two published by Last Resort Music (which includes versions

51
for oboe and clarinet) edited by Daniel Kelley; and 3) a collection by Yury Arbatsky

titled From A to Z: a collection of original and unoriginal duets for flute or oboe and

clarinet.

The following list also contains works utilizing English horn, bass oboe, E-flat

clarinet, and bass clarinet with or without doubling or tripling, found categorized

separately. Because of the contributions of Duo del sol (see Chapter Two) and the

renowned English composer Oliver Knussen, the repertoire for the duo of English horn

and clarinet has grown significantly during recent years. While not as vast as that for

oboe and clarinet, this combination has found its place in a growing number of

performances and recordings.

Also included in the duo listings are several interesting works for the rarely used

bass oboe paired with the bass clarinet. In 1995 bass oboist Lawrence Cherney (Canada)

and bass clarinetist Henri Bok (Holland) together formed the duo ensemble Bass

Instincts. Bass Instincts performed some thirty concerts in 1996 and 1997, with a

program presented at the International Double Reed Society convention in Florida in

1996. While details involving the relationship of this ensemble and the composers who

wrote for this unique duo are vague at this time, it is suspected that a number of these

works were written for and commissioned by this ensemble all around 1996. (Because

the bass oboe is such a rare instrument, it warrants noting that this woodwind is similar in

appearance to a large English horn and sounds exactly one octave below the oboe, see

Chapter Two for a discussion on instrument ranges). The instrument is a favorite among

52
early twentieth century English composers and can be found in a select number of

orchestral compositions perhaps the most popular being Gustav Holst’s The Planets.

(Burgess and Haynes, 2004, p. 186)

Completing the duo list are several works that involve doubling or tripling by one

or both of the musicians. Of particular interest is Herbert Brün’s six for five by two in

pieces, op. 41, in which the composer provides detailed instructions in the score on

staging for the two performers as they perform on the oboe, English horn, E-flat clarinet,

B-flat clarinet and bass clarinet.

(2) Oboe and Clarinet

Alexander, William. (b. 1927) quatre pour duex. ob, cl. (2001, available from
composer). 10:30.

Allen, Harold. (1917-1983) Duo. ob, cl. (1969, British Music Information Centre). 11:00.

Ames, William T. (b.1901) Pieces for Oboe and Clarinet. ob, cl. (American Composers
Alliance).

Andraud, Albert J. Duos concertants. (in three series) ob, cl. (c. 1935, Southern Music
Publishing Company).

Aperghis, Georges. (b. 1945) A Bout de Bras. ob, cl. (1989, Éditions Salabert). 5:00.

Arbatsky, Yury. From A to Z: a collection or original and unoriginal duets for flute or
oboe and clarinet. ob, cl. (1964, McGinnis and Marx Music Publishers).

Balbo. 3 Etchings. ob, cl. (Sam Fox Music Corp.).

Bauer, Marion. (1887(?)-1955) Duo Op. 25. ob, cl. (1932, C.F. Peters Corporation). 7:00.

Bauer, Marion (1887(?)-1955) Improvisation and Pastoral, Op. 22. ob, cl. (c. 1997,
Editions Viento). 3:00.

Beekum, J. Easy Duets. ob, cl. (Emerson Edition, Ltd).

Berger, Arthur. (1912-2003) Duo for Oboe and Clarinet. ob, cl. (1952, C.F. Peters
Corporation). 9:00. (drn#14).

53
Beyer, Johanna. (1888-1944) Suite for Oboe and Clarinet. ob, cl. (1939, American Music
Center).

Bland, Ed. One on One. ob, cl(or bcl). (1996, Osmund Music, Inc.).

Blank, Allan. (b. 1925 or 1929?) Four Bagatelles. ob, cl. (1958/9, Seesaw Music Corp.).
10:00.

Brings, Allen. Duologue. ob, cl. (Dorn Publications, Inc.).

Bowles, Paul. (b. 1910) Sonata for Oboe and Clarinet. ob, cl. (1931, available from Irene
Herrmann). 10:00. (drn#10).

Childs, B. Divertimento. ob, cl. (Composers Facsimile Edition).

d’Estrade Guerra, Oswald. Sonatine Pastorale. ob, cl. (Jobete Music Company). 10:00.

Donatelli, Vincent. (1892-1956) Duet #1. ob, cl. (c. 1965, Western International Music).
3:00.

Donatelli, Vincent. (1892-1956) Duet #2. ob, cl. (c.1965, Western International Music).
3:00.

Edwards, Ross. (b. 1943) Four Bagatelles. ob, cl. (1994, Australian Music
Centre). 5:00. (Commissioned by Eva Griffith in memory of Heinz Harant).

Ehrlich, Abel. Sunbeam. ob, cl. (1997, Israel Composer’s League). 4:55.

Etler, Alvin. (1913-1973) Duet. ob, cl. (1945, New Valley Music Press).

Evans, R. Duet Suite. ob, cl. (1965, Canadian Music Centre).

Fongaard, Bjorn. (1919-1980) Duo for Oboe and Clarinet in A, Op. 127 No. 4. ob, Acl.
(1974, Norwegian Music Information Centre). 9:00.

Furrer-Munch, Franz. (b. 1924) Dialogue. ob, cl. (1970, Boosey & Hawkes).
8:00. (Written for Paul and Wilma Zonn).

Ghent, Emmanuel. (1925-2003) Two Duos. version for ob, cl. (1963, Oxford University
Press).

Glaser, Werner Wolf. (b. 1910) Duo. ob, cl. (1984, Stim Svensk Musik). 6:00.

Glaser, Werner Wolf. (b. 1910) Liten Duett. ob, cl. (1967, Stim Svensk Musik). 2:00.

Glazer, Stuart. Duo. ob, cl. (c.1981, Dorn Publications, Inc.).

54
Goossens, Sir Eugene. (arr/ed. Schmidt, W.). The Old Music Box. version for ob, cl. (c.
1996, Western International Music). 1:00.

Gordon, Christopher. (b. 1949) Sonatina for oboe and clarinet. ob, cl. (Janus Music).

Griebling, Mary Ann. Three Duets for Oboe and Clarinet: -- Aquatics; Newly Hatched;
Water Sprite. ob, cl. (available from composer).

Hafemeister, Katherine. Duo. ob, cl. (New York Public Library-AMC M289 H138 D9).

Hartzell, Eugene. (b.1932) Workpoints 2. ob, cl. (1977, Doblinger Musikverlag). 8:00.

Harvey, Paul. (b. 1918) All At Sea. ob, cl. (c. 1965, Boosey & Hawkes).

Henshilwood, Donald. (b. 1930) Ambit. ob, cl. (British Music Information Centre). 5:00.

Höffding, Niels Finn. (b.1899) Dialogues for Oboe and Clarinet, Op. 10. ob, cl. (1927,
Skandinavisk Musikforlag). 8:49. (for Waldmar Wolsing and Paul Allin Erichsen
Tilegnet). (drn#13).

Kats-Chernin, Elena. Totchki. ob, cl. (1992, Australian Music Centre). 4:00. (“For Cathy
and Carol,” commissioned by Cathy Milliken with the assistance of Performing
Arts Board of the Australian Council).

Keane, David. (b. 1943) Twee vlinders. ob, cl. (1996, Canadian Music Center).

Kelley, Daniel (ed.). Music for Two. (four volumes) version for ob, cl. (Last Resort Music
Publishing).

Kibbe, Michael. (b. 1945) Canonic Pieces Op. 78. ob, cl. (available from composer).
8:00.

Klug, E. Divertimento ticinese. ob, cl. (Heinrichshofen Verlag).

Kolberg, Kåre (b. 1936) Duo for Oboe and Clarinet. ob, cl. (1962, Norwegian Music
Information Centre). 6:00.

Kocsar, M. Ungaresca. ob, cl. (Broekmans & Van Poppel B.V.).

Kupferman, Meyer. (1926-2003) Infinities #32. ob, cl. (c. 1992, Soundspells
Productions).

Lemeland, Aubert. (b.1932) Suite Dialogue, Op. 65. ob, cl. (c. 1977, Gérard Billaudot
Editeur). 10:30.

55
Lerstad, Terje Bjørn (b. 1955) Divertimento for Oboe and Clarinet, Op. 50. ob, cl.
(1974, Norwegian Music Information Centre). 11:00.

Lunde, Jr., Ivar. (b. 1944) A L'ecole (At School), Op. 11. ob, cl. (1963, Shawnee Press,
Inc.). 5:00.

Maganini, Q. Air and Double. ob, cl. (Carl Fischer, LLC).

McBride, Robert. (b. 1911) Hot-Shot Divertimento. ob, cl. (American Composers
Alliance).

Murto, Matti Jrjo Juhani. (b. 1947) Duo. ob, cl. (1972, Finnish Music Information
Centre).

Nixon, Roger. (b.1921) Four Duos. ob, cl. (c.1966, Theodore Presser Co.). 6:00.

O'Riordan, Kirk. (b. 1968). Longings. ob, cl. (available from composer). (Premiered by
Michael Mattner).

Parik, I. Hudba pre Troch. ob, cl. (Schmitt, Hall & McCreary Co.).

Phillips, Gordon. (b1908) Suite in B-Flat Major. ob, cl. (c.1950, Schott & Company,
Ltd.). 6:00.

Rahbee, Dianne Goolkasian. (b. 1938) Wind duo, Op. 30. ob, cl. (1989, available from
composer).

Rahbee, Dianne Goolkasian. (b. 1938) Wind duo, Op. 33. ob, cl. (available from
composer).

Regt, Hendrik de. (b. 1950) Musica, Op. 31. ob, cl. (1973, Donemus Amsterdam). 13:00.

Reizenstein, Franz. (1911-1968) Duo for Oboe and Clarinet. ob, cl. (1965, Galliard
Ltd.). 8:00. (Premiered by J. Craxton and C. Bradbury).

Riegger, Wallingford. (1885-1961) Duos, Op.35. ob, cl. (1944, Merion Music). (drn#21).

Ross, Walter. (b.1936) Didactic duos . ob, cl. (1989, Dorn Publications, Inc.).

Samkopf, Kjell. (b. 1952) Duo (score). ob, cl. (1976, Music Information Centre Norway).
8:00.

Schmidt, William. (b. 1926) Duo with Cadenzas. ob, cl. (1976, Western International
Music, Inc.). 8:00. (Dedicated to Peter Christ and David Atkins).

Schneider, Gary M. (b. 1957) Life. ob, cl. (1975, American Composers Alliance). 5:00.
56
Schwadron, Abraham A. (1925-1987) Duo. ob, cl. (c. 1966, Providence Music Press).

Smith, Stuart. (b.1948) Faces. ob, cl. (1975, Smith Publications). 5:44. (Commissioned
by Paul and Wilma Zonn). (drn#20).

Solomons. Professor Burbie's 3rd Invention. ob, cl. (Dorn Publications, Inc.).

Stanhope, Paul. Air. ob, cl. (2001, Australian Music Centre). 3:00. (Premiered by the
Southern Cross Soloists, Queensland Conservatorium Theatre, 18 October 2001).

Stefansson, Fjolnir. (b. 1930) Duo. ob, cl. (Icelandic Music Information Centre). 6:00.

St. John, Kathleen. Duo: six etudes. ob, cl. (1980, American Music Center).

Stearns, Peter Pindar. (b.1931) Three Short Studies. ob, cl. (1968, American Music
Center and American Composers Alliance). 7:00.

Sydeman, William. (b. 1928) Music for Oboe and Clarinet. ob, cl. (c.1966, Peer Music
Classical). 8:00.

Thorne, Nicholas. (b. 1953) Three Folk Song Settings. ob, cl. (1984, G. Schirmer
Incorporated). 9:00.

Turk, Daniel. (1756-1813) Cuckoo. ob, cl. (Studio Music Publishing Co.).

Un, Ekrem Zeki. (1910-1985) Dialogo (Soylesi-original). ob, cl. (Edition de Musique
Contemporaine Turque [Remzi Kitavevi, Istanbul, Turkey]).

Voirpy. A Propos de W.A. ob, cl. (c.1980, Éditions Amphion).

Von Kreisler, Alexander. (1894-1969) Two Pieces. ob, cl. (c.1970, Southern Music
Publishing Co.).

Watkins, Bedford. (b. 1925) Bicinia: for oboe and B-flat clarinet. ob, cl. (1970, available
from composer). 6:00.

Watson. Duo Gems. ob, cl. (Emerson Editions).

White, David Ashley. (b. 1944) Suite. ob, cl. (1968, Southern Music Publishing Co.).
8:00.

Wigglesworth, Frank. (1918-1996) Duo for Oboe and Bb Clarinet. ob, cl. (1956, Merion
Music/1961, Dorn Publications). 4:00. (Dedicated to Robert Bloom and Walter
Trampler).

57
Wilson, Richard. (b.1941) Dithyramb. ob, cl. (1982, Peer Music Classical). 5:30.
(Premiered at Carnegie Hall (1983) by Margaret Helfer (oboe) and Meyer
Kupferman (clarinet). (drn#19).

Wolpe, Stefan. (1902-1972) Suite im Hexachord for oboe and Clarinet. ob, cl. (1936,
c. 1964, Josef Marx Music Company). 15:00. (Two copies needed for
performance). (drn#12, 15 and 16).

Wurzburger, Walter. (?-1995)Fanfare-toccata. ob, cl. (c. 1984, Janus Music).

Wurzburger, Walter. (?-1995) Ensemble Studies No. 2. ob, cl. (Thames Publishing).

Zbar, Michel. Lignes Doubles. version for ob, cl. (1991, Ricordi Edizioni).

(2) English Horn and Clarinet

Binder, John A. Five Sorts. eh, cl. (1992, New York Public Library, AMC M289 B6125
S7). 20:00.

Brophy, Gerard. Bisoux. eh, cl. (1994, Australian Music Centre).

Buss, Howard. Felinity. eh, cl. (2003, Brixton Publications). 8:30. (Commissioned by
“Duo del Sol”).

Griebling, Karen. (b. 1957) Summer Muse for Clarinet and English Horn. eh, cl. (1992,
available from composer). (for Richard Kravchak and Julia Heinen).

Herman, Matthew. Dance Suite eh, cl. (2004, available from composer). 7:40.
(Commissioned by Duo del Sol).

Knussen, Oliver. (b.1952) Elegiac Arabesques (Op. 26a). eh, cl. (1991, Faber Music,
Ltd.). 4:00.

Parker, Michael. (b. 1948) In Memoriam, Op. 43e. eh, cl. (1991, available from
composer). 15:00.

Sforzini, Mark. (b. 1969) Two American Sketches. eh, cl. (1996, available from Luyben,
published by composer). (drn#23).

Haney, Jason. t-zero eh, cl. (2003, published by composer, available from Luyben Music)
7:00. (Commissioned by Duo del Sol. and premiered in Carnegie hall).

(2) Oboe and Bass Clarinet

Bland, Ed. One on One. ob, bcl (or cl). (1996, Osmund Music, Inc.).

58
Homs, J. Sonata. ob, bcl. (1942, Seesaw Music Corp.).

Nemiroff, Isaac. (1912-1977) Duo. ob, bcl. (1973, McGinnis & Marx Music Publishers).

Planzer, Mani. (1939-1997) Umranda. ob, bcl. (1984, Music & Wort). 10:00.

Sermila, Jarmo. (b. 1939) Danza 4B. ob, bcl. (1993, Edition Wilhelm Hansen AS).
8:30.

(2) Bass Oboe and Bass Clarinet

Brophy, Gerard. Iza. bass ob, bcl. (1996, Australian Music Centre).

Cherney, Brian. In The Great Museum of our Memory. bass ob, bcl. (1994-2006,
Canadian Music Centre). 12:00.

Keane, David. (b. 1943) Twee vlinders. bass ob, bcl. (1996, Canadian Music Centre).

Parker, Michael. (b. 1948) Six lowly variations on the Flying Dutchman (in Canada).
bass ob, bcl. (1996, Canadian Music Center). 13:00.(Commissioned and
premiered in 1997 by Lawrence Cherney and Henri Bok).

(2) Duos Involving Doubling orTripling

Brün, Herbert. (1918-2000) six for five by two in pieces (op. 41). ob/eh, cl/Eb cl/Bcl.
(1971, Smith Publications and Sonic Art Editions). (Written for Paul and Wilma
Zonn).

Erixon, Per Anders. (b. 1930) Duo, Op. 9. ob/eh, cl. (1964, Stim Svensk Musik). 5:30.

Eyser, Eberhard. (b. 1932) The Missing Link: Duo. ob/eh, cl/bcl. (1993, Edition Con
Brio). 10:00.

Gasser, Ulrich. Steinstucke II. ob/eh, cl/bcl. (1978/9, Ricordi Edizioni).

20:00.

Koivula, Kari. (1951-1988) Reeds. ob, cl/bcl. (1985, Finnish Music Information Centre).

Melby, John. (b. 1941) Zonnorities. ob/eh, cl/bcl, computer synth. tape. (1974-1975,
Theodore Presser Co.). 11:00. (for Paul and Wilma Zonn).

59
 CHAPTER 7

TRIOS

The next most prolific setting for oboe and clarinet after the duet is the unique

piano trio including this pair. While some of the earlier works listed here are double

concerti with piano reduction, it appears that the first true trio for this combination is

dated 1906, by the Algerian composer Edouard Destenay. The French conductor and

composer Gabriel Marie followed soon after with his Feuilles au vent (1910). Both of

these pieces remain staples of this setting, and have been recorded and performed

frequently. Regarding this piano trio, we have seen in Chapter Three that the Daniel Trio

and Fiati Ensemble have each made recordings featuring music exclusively for the oboe,

clarinet and piano, with both ensembles drawing from a surprisingly rich repertoire.

A particularly interesting work for this trio grouping is by English composer

Cecilia McDowall and is titled La Temps Viendra, which translates “the time will come.”

This piece is based on Henry VIII’s second wife Anne Boleyn and her premonition of

death. This composition is for oboe and clarinet in the first half of the work and English

horn and bass clarinet in the second half, all in combination with piano. Noteworthy also

is a rare usage of E-flat clarinet paired with the oboe in the work Pieces by Scott Anthony

Schell. Listed also is an offering by Ruth Gipps who was a prolific British composer and

founding member of the British Music Information Centre. Gipps was an equally

60
talented oboist who studied with Leon Goosens and performed in several English

orchestras. In 1942 Gipps married clarinetist Robert Baker. It is interesting to note that

during the 1940s she composed two chamber works for oboe and clarinet, including her

Opus 16 for oboe, clarinet and string trio (unavailable at this time) and Opus 10 for oboe,

clarinet and piano, presumably to perform with her husband. Ruth Gipps studied

composition with Vaughan Williams and Gordon Jacob.

The Duo for oboe and basset horn from Beethoven’s The Creatures of

Prometheus is interesting for two reasons in particular. First, this is the only time that the

composer ever wrote for the basset horn (the work is published by Amadeus with a

version for B-flat clarinet as well). Secondly, Beethoven himself wrote a piano reduction

for the ballet in 1801, which serves as the piano reduction in the Amadeus version. Editor

Willy Hess simply added the duet for oboe and basset horn from the original

orchestration to Beethoven’s 1801 reduction. Through a technicality, this could be

considered the earliest trio treatment for the instruments in question, though it likely was

never the intention of Beethoven for this work to be performed in this form.

Like the series of duets for oboe and clarinet mentioned in Chapter Six, there are

two collections of trios for two variable winds and piano that have been arranged and

edited by Quinto Maganni. These collections contain arrangements of popular classical

works and are titled Paris Soir and Concert Album. I have included the versions for oboe

and clarinet in the trio list that follows.

Another chamber music setting that has found favor with a respectable number of

composers is the trio for oboe, clarinet and cello. This particular grouping of instruments

is represented by the third largest collection of repertoire using oboe and clarinet. This

61
combination resembles the instrumental range relationship found in the wind trio

comprised of oboe, clarinet and bassoon, which is a standard grouping with a substantial

repertoire (some of which, due to range similarities, can be easily adapted for oboe,

clarinet and cello). The combination of oboe, clarinet and cello was first composed for in

the 1940s.

Although not as common as the trio with cello, the repertoire for oboe, clarinet

and viola does include two noteworthy works. The first of these works was by the prolific

American chamber music composer Alvin Etler, and the second by the American

composer and music educator Randall Thompson. Thompson’s teaching career included

positions at the University of California (1937), the Curtis Institute of Music (1939) and

Harvard University (1948). His trio, titled Suite for oboe, clarinet and viola, was

composed while working in Philadelphia in 1940 and remains a popular work for

programming on chamber music concerts.

(3) Oboe, Clarinet (and/or Family Members) with Piano

Alexander, William. (b.1927) Cambridge Trio. ob, cl, pn. (American Music Center).
(commisioned by Cambridge Players).

Alexander, William. (b.1927) Huntingdon Trio. ob, cl, pn. (Conneauttee Composers
Press). 12:30. (commisioned by Huntingdon trio).

Alexander, William. (b.1927) Wynnewood Trio. ob, cl, pn. (Conneauttee Composers
Press).

Bastien, Roland. Les arbres en fleurs. ob, cl, pn. (available from composer and ICA
Research Center catalog #6652).

Beethoven, L. V. (1770-1827) Duo for Ob and Cl Op. 43/14. ob, bh or cl, pn. (c. 1981,
Amadeus Verlag). 6:00. (from The Creatures of Prometheus, piano reduction by
Beethoven).

Bruniau, A. Toi et moi, fantaisie-duo. version for ob, cl, pn. (available from ICA
Research Center catalog #6730; Dorn Publications, Inc.).
62
Cavadini, Claudio. (b. 1935) Intarsio: omaggio a Vivaldi. ob, cl, pn. (1996, Pizzicato
Verlag Helvetia).

Cooman, Carson P. Star Canticle: Vision Vibrant, Op.490. ob, cl, pn. (2003, Wehr’s
Music House). 3:25. (“For Toni, Alex, and Paul,” Commissioned by Toni Marie
Marchioni).

Cunningham, Michael. Piano Trio No. 8, Op. 212a. ob, cl, pn. (c. 2003, Seesaw
Music Corp.). 10:00. (Premiered in the Spring of 2002 in St. Petersburg, Russia
by music faculty of the Univ.Wisonsin-Oshkosh Music Department).

Davidson, Randall. The Center of the Known World. ob, cl, pn. (2002, Jeanné, Inc.)
15:00. (Commissioned by Fiati). (drn#6).

Destenay, Eduard. (1850-1924) Trio in si mineur. ob, cl, pn. (1906, Jeanné, Inc.) 23:00.
(Dedicated to oboist Bleuzet [Paris Conservatory] and clarinetist Stiewenard
[Lamoureux]). (drn#1 and 6).

Fiala, Josef. (1748-1816) Concertante in Bb eh, cl, pn. (orch. reduction). (1790, Musica
Rara). 20:00. (See Chapter 10 for additional information).

Fiorillo, Federigo. (1753-1823) Sinfonia Concertant in F Major. ob, cl, pn.

(Kunzelmann). (See Chapter Ten for additional information).

Fuller, Donald S. Sonatina for oboe, clarinet, and piano. ob, cl, pn. (1940, University of
Oregon Library). 7:30.

Fuller, Donald S. Sonatina for oboe, clarinet, and piano. ob, cl, pn. (1947 revision,
Arizona State University). 7:30.

Gabriel-Marie. (1852-1928) Feuilles au vent: No. 1Dialogue Tendre; No. 2 Dans la

calme nuit; and No. 3 En se jouant. ob, cl, pn. (1910, Jeanné, Inc.). (drn#6).

Gattermann, Ph. Fantaisie Concertante, Op. 38. version for ob, cl, pn. (Editions
Constallat). (dedicated to Charles Triébert).

Geng, Charles. Melodie-Duettino. version for ob or eh, cl, pn. (Editions Constallat;
Vandoren).

Gilson, Paul. (1865-1942) Trio for Oboe, Clarinet & Piano. ob, cl, pn. (1924,
McGinnis and Marx Music Publishers; available from ICA Research Center
catalogue #3608). 11:56. (drn#1).

63
Gipps, Ruth. (1921-1999) Trio Op. 10. ob, cl, pn. (1940, British Music Information
Centre). 18:00

Grieg, Edvard. (arr/ed. Davis, S.) Four Lyric Pieces. ob, cl, pn. (Western International
Music).

Griebling-Haigh, Margaret. The Windrush Madrigals. ob, cl, pn. (2001, Jeanné, Inc.).
17:00. (commisioned by Valerie Jeanné and John Anderson). (drn#6).

Gyring, Elizabeth. (1909-1970) Trio. ob, cl, pn. (1951, Washington State University
Libraries).

Ibert, Jacques. (version nouvelle par Arthur Hoeree) Aria. version for ob, cl, pn.
(1931, Alphonse Leduc).

Karlins, M. William. Music for Oboe, Bass Clarinet and Piano. ob, bcl, pn.
(1966, American Composers Alliance and American Music Center). 5:00.
(written for Wilma and Paul Zonn).

Kennaway, Lamont. Downstream [for] oboe, clarinet, and piano. ob, cl, pn. (1962,
Hinrichsen Edition, Ltd.). 2:30.

Klose, Hyacinthe-Eleonore. Duo sur des Motifs de "La Sonnambula" de Bellini, Op. 20.
ob, cl, pn. (Editions Costallat; available from ICA Research Center catalogue
#4998).

Kopsch, Julius. (b. 1887) Trio for Oboe, Clarinet & Piano. ob, cl, pn. (1929, Universal
Edition AG.).

MacKay Jr., John G. (b.1935) Romance for Oboe, Clarinet and Piano. ob, cl, pn. (1997,
Tundradogs Music Publishing). 6:00. (drn#23).

Maganini, Quinto (arranger and editor). (1897-1974)Paris Soir. version for ob, cl, pn.
(c.1955, Edition Musicus). (collection of eight short arrangements including: 1)
Reverie du Soir, Saint-Saens; 2) Gavotte from “Armide,” Gluck; 3) Air de Ballet,
Lully; 4) Scherzo, Chedeville; 5) Excerpt from “Carmen,” Bizet; 6) Dance of the
Flowers, Rameau; 7) Air of the Deserter, Monsigny; and 8) The Postillion’s Song,
Adam).

Maganini, Quinto (arranger and editor). (1897-1974) Concert Album. version for
ob, cl, pn. (Theodore Presser Company).

Masseus, Jan. (b. 1913) Introduction and Allegro, Op. 19. ob, cl, pn. (1952-53,
Donemus Amsterdam). 8:00.

64
Masseus, Jan. (b. 1913) Sept pieces breves: opus 55. ob, cl, pn. (1980, Donemus
Amsterdam). 15:00.

McDowall, Cecilia. La Temps Viendra. ob/eh, cl/bcl, pn. (1998, British Music
Information Center; Gemini Publications). 6:11. (drn#7).

Meier, Margaret Shelton. Rejoicing: recessional: from Ratagm suite.

ob, cl, pn. (1994, American Music Center). 2:00.

Muller, Iwan. (1786-1854) Concertante, op. 23. version for ob, cl, pn. (Editions
Costallat).

Murdock, Katherine. Trees Dream of Dancing. eh, cl, pn. (2003, publ. by composer).
8:00. (Commissioned by Duo del sol and premiered in Weill Hall June 2003).

Paessler, Carlo. (1774-1865) Concerto for Oboe, Clarinet, and Orchestra. ob, cl ,pn,
(orch. Reduction). (Kunzelmann). (See Chapter 10 for additional information).

Pillevestre. Idylle Bretonne. version for ob, cl, pn. (Alphonse Leduc).

Pisk, Paul A. (1893-1990) Suite for Oboe, clarinet, and Piano Op. 85. ob, cl, pn.
(1955, American Composers Alliance). 12:00.

Ravel, Maurice. (1875-1937) Pavane Pour Infante. (arranger unknown) Version for
ob, cl, pn. (Theodore Presser Company).

Robbins, Scott. Awakening Autumn. eh, cl, pn. (1997, available from composer and ICA
Research Center catalogue #6626). 9:00.

Rougnon, Paul. (1846-1934) Andante and Polonaise. ob, cl, pn. (Alphonse Leduc).

Sambin, V. Duo de la Somnambule. ob, cl, pn. (Éditions Salabert).

Saygun, A. Adnan. (1907-1991) Trio for Oboe, Clarinet and Piano Op. 55. ob, cl, pn.
(1975, Peer Music).

Schollum, Robert. (1913-1987) Trio Op. 71. ob, cl, pn. (1965-66, Doblinger
Musicverlag).

Schwarz, Ira-Paul. (b.1922) Baroque Reflections. version for ob, cl, pn. (2002, Jeanné,
Inc.). 4:00.

Schwarz, Ira-Paul. (b.1922) Classical Souvenir. version for ob, cl, pn. (2002, Jeanné,
Inc.). 4:00.

65
Schwarz, Ira-Paul. (b.1922) Romantic Memento. version for ob, cl, pn. (2002, Jeanné,
Inc.). 4:00.

Schwarz, Ira-Paul. (b.1922) Impressions of a Cloud. version for ob, cl, pn. (2002, Jeanné,
Inc.). 4:00.

Schwarz, Ira-Paul. (b.1922) A Modal Mood. version for ob, cl, pn. (2002, Jeanné,
Inc.). 4:00.

Schwarz, Ira-Paul. (b.1922) Twelve-Tone Tune. version for ob, cl, pn. (2002, Jeanné,
Inc.). 4:00.

Schubert. Two Songs. version for ob, cl, pn. (Dorn Publications).

Shell, Scott Anthony. Piece for Oboe and Eb clarinet with Piano Accompaniment.
ob, Eb cl, pn. (1990, American Music Center). 20:00.

Smaldone, Edward. (b. 1956) Icons. ob, cl, pn. (1990, available from composer). 9:00.

Smith, Stuart Saunders. (b. 1948) Gifts. version for ob, cl, org or pn or hpsd.
(1974, Smith Publication and Sonic Art Editions).

Stringfield, Lamar. To A Star. ob, cl, pn. (c. 1948, Edition Musicus). 2:00.

Sumera. Scenerio. version for ob, bcl, pn. (Antes Edition).

Teason, Deborah Fischer. Concatenation. ob, cl, pn. (1988, American Music Center).
22:00. (Commissioned by and dedicated to Barbara LaFitte).

Tschaikowsky. (1840-1893)Three Pieces from Album for Children. (arranger unkown)

version for ob, cl, pn. (Theodore Presser Company).

Tsuda, Hajime. And Now autumnal sunlight glitters brilliantly. ob, cl, pn. (1993,
Tokyo: Japan Federation of Composers).

Uccellini, Marco. (1603-1680) Die Hochzeit der Henne und des Kuckucks Ob, Cl in C,
Continuo" version for ob, C cl, continuo. (1642, Thomi-Berg).

Ultan, Lloyd. (b.1929) Curved Mirrors. ob, cl, pn. (1994, Jeanné, Inc.). 11:17.
(Premiered in 1995 by Valerie and John Anderson). (drn#8).

Vercken, Francios. (b. 1928) Divertissement. ob, cl, pn. (Editions MusicalesDurand).

Vogel, Ernst. (1926-) Sonata. ob, cl, pn. (1953, Doblinger Musikverlag).

66
Woolrich, John. (b.1954) Favola in Musica (after Claudio Montiverdi). ob, cl, pn.
(1990, Faber Music, Ltd.). 8:00. (drn#1).

Williams, David Russel. Suite for Oboe, clarinet, and Piano [sic]. ob, cl, hpsd or
pn. (1954, American Music Center). 5:00. (dedicated to Courtenay V. Caublé and
Susan Cogan).

Zagwijn, Henri. (1878-1954) Trio. ob, cl, pn. (1952, Donemus Amsterdam).
12:00.

(3) Oboe, Clarinet and Viola

Beale, James Macarthur. (b. 1924) Three Miniatures, op.3. ob, cl, vla. (1947, American
Composers Alliance). 4:00.

Etler, Alvin. (1913-1973) Sonata. ob, cl, vla. (1945, New Valley Music Press).

Roosevelt, J. Williard. (b. 1918) Song and Dance Suite. ob, cl, vla. (1979, American
Composers Alliance).

Thompson, Randall. (1899-1984) Suite for Oboe, Clarinet and Viola. ob, cl, vla.
(1940, G. Schirmer, Inc.). 14:00. (drn#11).

(3) Oboe, Clarinet and Cello

Adler, Samuel. (b. 1928) Music for Three. ob, cl, vcl. (1984, Soundspells Productions).

Ardevol, Jose. (1911-1981) First Sonata. ob, cl, vcl. (Southern Music Publishing Co.).

Ardevol, Jose. (1911-1981) {Dos} Sonatas a tre. ob, cl, vcl. (c. 1943, Peer Music
Classical).

Bottje, Will Gay. Brief Acquaintances. ob, cl, vcl. (revised 1997, American Composers
Alliance). 9:00.

Riley, Dennis. (b. 1943) Fantasia after Orlando Gibbons. ob, cl, vcl. (1983, C.F. Peters
Corporation). 2:00.

Slyck, Nicholas van. Twelve for Three. ob, cl, vcl. (available from ICA Research Center
catalogue #3489).

Starobin, Michael. Three Short Pieces for Trio. ob, cl, vcl. (1988, Soundspells
Productions). 5:00.

Thorne, Francis. Burlesk Pit Music. ob, C cl, vcl. (c. 2000, Theodore Presser Company).
3:00.
67
Verrall, Pamela (arr.). Old English Music [from organ works of John Stanley (1713-
1786] and Samuel Wesley (1766-1837). ob, cl, vcl. (available from ICA Research
Center catalogue #1613).

Wennäkoski, Lotta. (b. 1970) "Vaie" for oboe, clarinet and cello. ob, cl, vcl. (1995,
Finnish Music Information Centre; Silence). 8:30. (Premiered by Kustaa Jaroma,
oboe, Niina Selin, clarinet, Sami Mäkelä, cello, Ears Open! Society Concert,
Helsinki, December 1, 1995).

Zonn, Paul Martin. (1938-2000) Periphrasis. version for ob, cl, vcl. (1966, American
Composers Alliance). 10:00.

(3) Oboe, Bass Clarinet and Harp

Oboe Lee, Thomas. The Mad Frog. ob, bcl, hp. (1974, Margun/Gunmar Music
Inc./ American Music Center). 9:24. (drn#9).

(3) Oboe, Bass Clarinet and Percussion

Kitzke, M. William. The Big Gesture. ob, bcl, perc. (1987, American Composers
Alliance and American Music Center). 15:00.

(3) Oboe, E-flat Clarinet/Bass Clarinet, Vibes and Tape

Zonn, Paul Martin. (1938-2000) Turnaround. ob, Eb cl/bcl, vib, and tape. (American
Composers Alliance).

(3) English Horn, Bass Clarinet and Violin

Binder, John A. Trio. eh, bcl, vln. (1991, American Music Center). 17:00.

68
 CHAPTER 8

QUARTETS

Considering quartets utilizing oboe and clarinet, the largest collection of

repertoire is for the ensemble of oboe, clarinet, cello and piano. The standard chamber

ensemble that this combination most resembles is the piano quartet for violin, viola, cello

and piano, for which such composers as Mozart, Beethoven and Brahms composed.

Oboe, clarinet, cello and piano is also the instrumentation of the Razbia Ensemble in

which I am a founding member.

The following list of quartets includes several works that the Razbia Ensemble

commissioned during a two-year residency in Mississippi County, Arkansas. One such

piece by Gay Holmes Spears, Sudbury Suite (named after a local Arkansas elementary

school) is a terrific piece for educational programs and has short movements based on

school activities. The arrangement of Poulenc’s piano work titled Villageoises that

organist/composer Barry Baker wrote for the Razbia Ensemble, is also a welcome

addition to the quartet repertoire and equally useful in school programs. The Suite for

Oboe, Clarinet, Cello and Piano written for Razbia by the prolific American composer

Seymour Barab is a rewarding concert piece for both audience and musicians displaying

a strong jazz influence. A significant quartet by the late Meyer Kupferman (not a

commission of Razbia) is a very challenging selection for all musicians involved,

69
compounded by the fact that the parts are in manuscript and difficult to read. Despite its

inherent difficulties, this piece along with Rhapsody by John Yannelli is a strong

composition for this quartet combination and deserving of consideration for

programming.

Martin Williams Karlin’s composition Infinity is notable in that it makes use of a

rare member of the oboe family, the oboe d’amore. This instrument is pitched in A (like

the clarinet in A) and is rarely found in chamber music and orchestral works. Perhaps the

most famous use of the oboe d’amore is in Richard Strauss’ Sinfonia Domestica where

the instrument represents the composer’s son as a baby (Burgess and Haynes, 2004, p.

190).

(4) Oboe, Clarinet, Violin and Cello

Delvaux, Albert. (b. 1913) Cassazione. ob, cl, vln, vcl. (1966, CeBeDeM -Centre Belge
de Documentation Musicale). 15:00.

Fine, Irving. (1914-1962) One Two Buckle My Shoe. ob, cl, vln, vcl. (1959, Boosey &
Hawkes, Inc. [rental]; Luyben Music [for sale]). 5:00.

Lewin, Frank. (1925-) Dunlap's Creek. eh (or ob), cl, vln, vcl. (1953, American Music
Center). 3:00.

(4) Oboe, Clarinet, and Two Miscellaneous String Instruments

LeFanu, Nicola. (b. 1947) Lament. ob/eh, cl/bcl, vla, vcl. (1988, Chester Music and
Novello and Co.). 16:00. (Commissioned by Capricorn).

Leppälä, Kimmo. (b. 1963) Oboekvartetto I (Oboe Quartet I). ob, cl/bcl, vln, vla. (1987,
Uusinta Publishing Company). 8:00.

Maconchy, Elizabeth. (1907-1994) Reflections. ob, cl, vla, hp. (1960, Chester Music
Ltd.; Oxford University Press). 12:00.

Sowash, Rick. (b. 1950) A Little Breakfast Music. ob, cl, 2vln. (1976, available from
composer). 23:28.

70
 (4) Oboe, Clarinet, Violin and Keyboard Instrument

Abel, Carl Friedrich. (1723-1787) Sinfonia Concertante in B-flat (1765). ob, cl, vln, pn,
(orch. reduction). (Musica Rara). 17:29. (See Chapter 10 for additional
information). (drn#24).

Glesser, Frederic. (1956) Chamber Sonata. ob, cl, vln, hpsd. (1977, New York Public
Library- AMC M422 G5585 C4). 8:30.

(4) Oboe, Clarinet, Cello and Piano

Alexander, William. (b.1927) Wynnewood quartet. ob, cl, vcl, pn. (1996, available from
composer).

Barab, Seymour. (b. 1921) Suite for Oboe, Clarinet, Cello, and piano. ob, cl, vcl, pn.
(1996, Seesaw Music Corp.). 17:00. (Written for and premiered by the Razbia
Ensemble).

Carbon, John. (b. 1951) Troika. eh, cl, vcl, pn. (1989, available from composer). 12:00.
(Commissioned by Tamara Field and premiered by Chicago Lyric Chamber
Players in 1989).

Kupferman, Meyer. (1926-2003) Soundspells #4. ob, cl, vcl, pn. (1992, Soundspells
Productions).

Lubbers, Arend Donselaar. Evocation. ob, cl, vcl, pn. (1983, American Music Center).

Poulenc, Francis. (1899-1963) Villageoises. ob, cl, vcl, pn. (1997, arranged by Barry
Baker, available from Anthony Costa). (Commissioned and premiered by the
Razbia Ensemble).

Richter, Marga. (b. 1926) Exequy. ob, cl, vcl, pn. (1983, American Music Center) 2:07.

Spears, Gay Holmes. Sudbury Suite. ob, cl, vcl, pn. (1996, available from composer).
16:00. (Commissioned and premiered by the Razbia Ensemble).

Syverud, Stephen L. Departures. ob, cl, vcl, pn. (1967, Seesaw Music Corp.). (written
for Wilma and Paul Zonn).

Yannelli, John. Rhapsody (1983). ob, cl, vcl, pn. (1983, Soundspells Productions). 10:00.

(4) Oboe, Clarinet, Cello and Percussion

Lieberman, Glenn. (b. 1947) Dialectic. ob, cl, perc, vcl. (1978, American Music Center).
10:18. (Commissioned by New Music Consort).
71
 (4) Oboe D' Amore, Clarinet, Soprano and Viola

Karlins, Martin Williams. (b. 1932) Infinity. ob D'A, cl, sop, vla. (1978, American
Music Center). 9:30.

72
 CHAPTER 9

QUINTETS

The quintet for oboe, clarinet, violin, viola, and double bass has had a noteworthy

tradition and history. The first piece for this combination was the quintet written by

Russian composer Sergei Prokofiev in 1924. This work was a revision by the composer

of an earlier unpublished ballet suite titled Trapeze. The earlier ballet music was

commissioned by a roving dance troupe for a program based on circus life. This work in

six movements has found favor with performers and audiences alike and has been

recorded by at least seven different chamber ensembles (see Appendix C for three such

recordings). Because of the quintet’s success and popularity, a number of other

composers have written for the same instrumentation, including Ivo Petric (1964), David

Anderson (1994), and most recently Judith Lang Zaimont (1997). These three individual

pieces are commonly paired together with the Prokofiev on recitals and concerts. All but

the Petric are available on recording.

Another quintet setting that warrants mention is the oboe and clarinet pairing

combined with the traditional piano trio, namely violin, cello, and piano. An important

work to note here is the incomplete Ein Stelldichein by Schoenberg. The first draft of

this work was started in 1905, but the work remained unfinished at the time of the

composer’s death in 1951. Despite the quintet’s state of incompletion, two performance

73
possibilities for ensembles exist: 1) play only what Schoenberg wrote (starting at the

beginning through measure 90), and 2) play what Schoenberg wrote and sketched with

the additions of composer Friedrich Cerha. Schoenberg based this quintet on poetry of

Richard Dehmel (1863-1920). Utilizing the same instrumentation, the work by Goodrich

was commissioned by the Razbia Ensemble, and written as a celebration of Dr. Martin

Luther King’s life and work. It was premiered in 1996 as part of the ensemble’s work in

the Rural Residency Program of “Chamber Music America.”

Also included below is a recent work by American composer Elliot Carter titled

Tempo e Tempi, which uses soprano with oboe (doubling on English horn), clarinet

(doubling on bass clarinet), violin and cello. Carter based this work on poems by

Ungaretti and Quasimodo with the subject being the passage of time. The Bridge

Records recording of this piece with soprano Susan Narucki was a 2003 Grammy

Nominee for “Best Vocal Recording.” The other work listed here using voice is by

American composer Richard Wernick. His composition Two for Jan is for two singers

(soprano and mezzo-soprano) with oboe (doubling on English horn), bass clarinet and

cello, and is based on poetry by London born Bernard Jacobson.

(5) Oboe, Clarinet, Violin, Viola and Cello

Lange, Hans. (1884-1960) Quintett op. 66. ob, cl, vln, vla, vcl. (University of California,
San Diego-M562 L35 op.66 1900z).

(5) Oboe, Clarinet, Violin, Viola and Bass

Prokofiev, Serge. (1891-1953) Quintet, op. 39. ob, cl, vln, vla, db. (1924, Boosey &
Hawkes, Inc.). 19:30. (drn#4, 8 and 25).

Zaimont, Judith Lang. …3:4,5…ob, cl, vln, vla, db. (1997, Galaxy Music Corp.). 21:42.
(drn#8).

74
Anderson, David. (b. 1962) Quintet for Oboe, Clarinet, Violin, Viola, and String Bass.
ob, cl, vln, vla, db. (1994, available from composer). 25:00. (Commissioned and
recorded by Kentucky Center Chamber Players). (drn#18).

Petric, Ivo. (b. 1931) Hommage a Sergej Prokofiev: variacije op. 39 ob, cl, vln, vla, db.
(1964, ed. 1996, Pizzicato Verlag Helvetia).

(5) Oboe, Clarinet, Violin , Cello and Harp

Dinerstein, Norman Myron. (1937-1982) Serenade. ob, cl, hp, vln, vcl. (1963,
available from Nelga Dinerstein). 5:30. (awarded Koussevitzky Tanglewood
Composition Prize in 1963, First Prize for Chamber music).

(5) Oboe, Clarinet, Violin, Cello and Piano

Fine, Vivian. (b.1913) Quintet (after paintings by Edvard Munch). ob, cl, vln, vlc, pn.
(Edition Peters).

Goodrich, Joseph. A Molimo For Martin. ob, cl, vln, vlc, pn. (1996, available from
composer). (Commisioned and premiered by the Razbia Ensemble).

Schoenberg, Arnold. (1874-1951) Ein Stelldichein (incomplete). ob, cl, vln, vlc, pn.
(c. 1980, Universal Edition). (Supplemented by Friedrich Cerha and edited by
Rudolf Stephan).

Tiensuu, Jukka. (b. 1948) Tango lunaire. ob, cl, vln, vlc and any keyboard instrument.
(1985, Finnish Music Information Centre). 7:00. (Premiered by Avanti Lunaire!,
Tampere Biennale, February 15, 1986).

(5) Oboe, Clarinet, Cello and 4-Hand Piano

Goodrich, Joseph. Mississippi County Suite. ob, cl, vcl, 4-hand pn. (1997, available from
composer). (Commissioned and premiered by the Razbia Ensemble).

(5) Oboe, Clarinet, Guitar, Double Bass and Percussion

Zonn, Paul. (1938-2000) Those (Never-Ending) Memories. ob, cl, gtr, perc, db.
(1986, available from Wilma Zonn). 12:00. (Commissioned and premiered by
Nashville New Music Consort on Nov. 23, 1986).

(5) English Horn, Clarinet, Viola , Prepared Piano and Marimba

Seyfrit, Michael. Dupont Cycle. eh, cl, mar., prepared pn, vla. (1981, American
Composers Alliance).13:00.

75
 (5) English Horn, Bass Clarinet, Viola, Cello and Piano

Erickson, Robert. (b. 1917) Fives. eh, bcl, pn, vla, vcl. (1988, Smith Publications and
Sonic Art Editions).

(5) English Horn, Clarinet/Bass Clarinet, Cello, Bass and Piano/Jews’ Harp

Barry, Gerald. (b. 1952) Quintet. eh, cl/bcl, vlc, db, pn+jews’ hrp. (1994, Contemporary
Music Centre Ireland; Oxford University Press). 10:00.

(5) Soprano, Oboe/English Horn, Clarinet/Bass Clarinet, Violin and Cello

Carter, Elliot. (b. 1908) Tempo e Tempi.. Sop, ob/eh, cl/bcl, vln, vcl. (1998-9, Boosey &
Hawkes [rental]). 17:00.

(5) Soprano, Mezzo Soprano, Oboe/English Horn, Bass Clarinet and Cello

Wernick, Richard. (b.1934) Two for Jan. sop, mezsop, ob/eh, bcl, vcl. (1991,
Theodore Presser Company). 7:00.

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 CHAPTER 10

LARGE ENSEMBLES

The following are works for oboe and clarinet in sextet and septet settings. The

only combinations in this category that have a repertoire of more than one work is that for

oboe, clarinet and string quartet or quintet. Included in this combination is a work by

American composer Marion Bauer who has also contributed to the repertoire under study

with two duos. Bauer’s Concertino is a later work than her two duets, and is occasionally

performed on chamber concerts as a sextet or as a larger showpiece using a full string

ensemble. Marion Bauer was co-founder of both the American Music Center and the

American Music Guild. Ezra Laderman’s sextet is one of the few works found written

for the pairing of English horn and bass clarinet here used with string quartet. The piece

uses the full range of both woodwind instruments and is recorded by the Pittsburgh

Chamber Music Project who both commissioned and premiered the work. The recording

features Pittsburgh Symphony Orchestra members Harold Smoliar on English horn and

Richard Page on bass clarinet.

77
 Two additional works by well-known composers include a sextet by German

composer Karlheinz Stockhausen called Kruezpiel (meaning “cross-play”) which requires

microphones and amplification, and a charming septet for oboe, clarinet, four violins and

cello in two movements, by Czech composer Bohuslav Martinu that has been recorded by

clarinetist Michele Zukovsky.

The two septets using string quintets by American composer John Harbison and

Norwegian composer Knut Nystedt are unique in that they may be performed as a smaller

septet ensemble, or with the two winds paired against a full string complement (see

Chapter Eleven). The difference between the two is that Harbison writes for the oboe and

Nystedt for the English horn.

(6) Oboe, Clarinet and String Quartet

Bauer, Marion. (1887(?)-1955) Concertino for Oboe, Clarinet, &Strings Op. 32b. ob, cl,
string quartet (single or ensemble). (1939/42, Boosey & Hawkes [rental]). 15:00.
(Commissioned by the League of Composers). (*See Chapter 10 for additional
information).

Steptoe. Dance Suite for Oboe, Clarinet & String Quartet. ob, cl, string quartet. (Stainer
& Bell, Ltd.).

Laderman, Ezra. Sextet for English Horn, Bass Clarinet and Strings. eh, bcl, string
quartet). (1998, G. Schirmer Inc. [rental]) 21:00 (Commissioned by the Pittsburgh
Chamber Music Project). (drn#5).

(6) Oboe, Clarinet, Viola, Cello, Celeste and Piano

Sarda, Albert (b. 1943). Isorritme. ob, cl, vla, vcl, cel, pn. (1971, Da Capo Music). 8:00.

(6)Oboe, Bass Clarinet, Viola, Double Bass, Piano and Percussion

Mead, Andrew Washburn. Chamber Symphony. ob, bcl, perc, pn, vla, db.
(1985, American Music Center). 23:00.

78
 (6)Oboe, Clarinet, Piano and 3-Percussion

Scheiermacher, Steffan. (b. 1960) Gesang des Apsyrtos. ob, cl, pn, 3-perc. (1985, Boosey
& Hawkes [rental]). 11:00

(6) Oboe, Bass Clarinet, Piano and 3-Percussion

Stockhausen, Karlheinz. (b.1928) Kruezspiel, opus 1/7.ob, bcl, pn/woodblock, 3-Perc.

(also requires 4 microphones, 2X2 loudspeakers, mixing console, sound
projectionist). (1951, Universal Edition/The British Library). 12:00.

(6) English Horn, Clarinet, Cello and Prepared Piano (6-hands)

Seyfrit, Michael. Continum vacuum residum. eh, cl, prepared pn (6h), vcl. (1971,
American Composers Alliance).

(7) Oboe, Clarinet and String Quintet

Harbison, John. (b.1938) Concerto for Oboe, Clarinet and Strings. ob, cl, 2-vln, vla, vcl,
db. (1985, AMP [rental]). 14:00. (*See Chapter 10 for additional information).
(drn#2 and 3).

Nystedt, Knut. (b. 1915) Concertino for Clarinet, English horn and strings, Op. 29. cl,
eh, 2-vln, vla, vcl, db.(1952/91, Music Information Centre Norway; ICA Research
Center catalog #5356). 19:00. (Premiered 1954 Oslo Philharmonic Orchestra).
(drn#22).

(7) Oboe, Clarinet, 4-Violins and Cello

Martinu, Bohuslav. (1890-1959) Serenada III. ob, cl, 4-vln, vcl. (1932, Edwin F. Kalmus
and Company, Inc.). 7:30. (drn#17).

(7) Oboe, Clarinet, String Quartet and Piano

Imbrie. Dandelion Wine. ob, cl, string quartet, pn. (Shawnee Press).

(7) Oboe, Bass Clarinet, Cello, Double Bass, Harp, Piano and Percussion

Lundborg, Erik. (b. 1948) Combone. ob, cl, perc, hp, pn, vcl, db. (1975, Association
for the Promotion of New Music).

(7) Oboe, Bass Clarinet, Cello and 4-Percussion

Boguslaw Schaeffer. (b.1929) Septet for oboe, bass clarinet, cello and percussion. ob,
bcl, vcl and 4-perc. (1995, Polish Music Information Center).

79
 CHAPTER 11

DOUBLE CONCERTI AND SYMPHONIES CONCERTANTES

While researching this project it was surprising to find that the oboe and clarinet

have been paired together not only for a unique collection of chamber music, but also

appear as paired soloists with orchestral accompaniment. Perhaps most surprising, is

how early in the life of the clarinet these pieces for oboe, clarinet and orchestra were first

composed. Many works in this genre appear much earlier than the chamber music that

includes the oboe and clarinet. While the earliest works in this medium did so by

doubling the duo forces (two clarinets and two oboes) or with the addition of a violin,

these pieces warrant mention for their courage and skill in combining these two

idiosyncratic timbres. Due to the uniqueness of these double concerti and symphonies

concertantes, I have chosen to comment on each of them briefly, in the order that they

were composed (see Table 2). I have included in the following bibliography information

for the works available for purchase or rental with full accompanying ensemble.

Otherwise, the works cited are only available with piano reduction at this time, and listed

as such.

80
 Date Composer Work

ca. 1740 Vivaldi (1678-1741) Two Concerti in C Major RV

559+560

1765+ or 1781? Abel (1723-1787) Sinfonia Concertante in Bb

Major

Unknown Fialla (1749-1816) Concertante in Bb Major

Unknown i Fiorillo (1753-1823) Sinfornia Concertante in F

Major

Unknown Paessler (1774-1865) Concerto for Oboe and Clarinet

1939/42 Bauer (1887-1955) Concertino

1952 Nystedt (b. 1915) Concertino, op. 29

1985 Harbison (b. 1938) Concerto

1987 Kirlin (b. 1910) Double Concerto

1988 McCabe (b. 1939) Double Concerto

1990 Bainbridge (b. 1952) Double Concerto

2003/4 Lefkowitz (b. 1964) Double Concerto

Table 2: Chronology of Double Concerti and Symphonies Concertantes

The earliest of these works for orchestra with oboe and clarinet soloists are by the

Italian composer Antonio Vivaldi (1678-1741). He is credited with two pieces that

combine these two instrumental timbres, 1) Concerto In C Major for 2 Oboes, 2

Clarinets, Strings and Basso Continuo RV559, and 2) Concerto in C major for two oboes,

two clarinets, and strings and Basso Continuo, RV560.

81
 Colin Lawson (1981) explains how Vivaldi, one of the first composers to use the

clarinet, first utilized the early two-keyed instrument in a performance of his Latin

oratorio Juditha triumphans in 1716. This concert, which took place at the Pietà where

Vivaldi was employed, involved students of the orphanage playing wind parts for

recorders, oboes, soprano chalumeau, trumpets, and clarinets (p.162).

On Vivaldi’s two concerti for oboe and clarinet Colin Lawson (1989) writes:

In the concertos RV 559 and 560 with pairs of oboes and clarinets, Vivaldi
proves himself the first composer to recognize the agility of the clarinet
and the different tonal possibilities of it contrasting registers. He was
almost alone in the 18th century in exploiting the combination of oboes
and clarinets, heard to telling effect in the unaccompanied quartet which is
the slow movement of RV 559. (pp. 193-4)

Although an exact date of composition is unknown, Johnston (1988) writes that these two

concerti and a third that also used clarinet in a different solo grouping were finished

about a year before his death, or circa 1740 (p. 44). This estimate is supported by the fact

that payment towards the repair of two of the Pietà’s clarinets was made in 1740 (Rice,

1995, p.99). By using two of each woodwind in these concerti, Vivaldi gives the solo

grouping a more homogenous sound than just combining the timbre of oboe and clarinet

singularly.

Another early work using oboe and clarinet as soloists is by Carl Friedrich Abel

(1723-1787). Unfortunately the history of this work is unclear and there exists today a

small degree of controversy surrounding it. Having worked in the Dresden court

orchestra early in his career, Abel moved to London in 1758 to escape the Seven Years’

War. It was after moving to England that he became acquainted with Johann Christian

Bach and his music. For Abel’s symphonie concertante, “a concert genre of the late 18th

and early 19th centuries for solo instruments (usually two, three or four) and orchestra”
82
(Sadie, 1988, p. 743), he chose a unique combination of violin, oboe, and clarinet for his

solo group. On Abel’s Sinfonia Concertante in B flat major for violin, oboe, and

clarinet, clarinetist Dieter Klöcker (2004) writes,

Abel’s Sinfonia concertante accordingly reveals all the positive

characteristics of Chr. Bach’s music: elegantly shaped melodic material,
brilliant string writing full of Italianate warmth, solid command of form.
In addition, it is one of the earliest works in this medium which give a solo
part to the clarinet, an instrument that was just coming into fashion. The
combination of three high registered instruments is unique in the classical
repertoire. (p. 29)

While the manuscript owned by the Thurn and Taxis court library does not

indicate a year of composition, it does reveal the first three soloists as Schirl (clarinet),

Kaffka (violin) and Hanish (oboe). Klöcker (2004) writes that “ . . . it can be assumed

that the Concertante was not written before 1765” (p. 29), although he does not explain

why this is the case.

Albert Rice (2003), on the other hand believes that this concerto is not the original

form, and “likely an arrangement of a concerto for violin, oboe, and cello published in

1781” (p. 250). Himie Voxman (1984b), who edited the version for piano reduction by

Musica Rara in 1984, is more definitive, stating that this work is definitely a transcription

of the work utilizing cello, and was published in 1781 by J.S. Hummel. Voxman

describes the transcription as including numerous changes from the original, particularly

in articulation and dynamics. He also takes note of an added cadenza, which was not

present in the original work (¶3-4). Dr. Richard B. Hervig provides the piano reduction

and cadenzas found in the outer movements contained in the Musica Rara version. The

work is in three movements, marked Allegro, Adagio (-Allegretto-Menuetto grazioso),

and Allegretto. Whether or not Rice and Voxman mean to say that the transcription

83
utilizing clarinet in place of the cello was the work of Karl Friedrich Abel or that of a

publisher (J.S. Hummel perhaps) remains unclear. Abel was alive in 1781 when J.S.

Hummel supposedly published the version with clarinet and it is conceivable that the

later version was also by Abel. While the information on this piece at present time is

unclear, the fact remains that the clarinet writing in the version for violin, oboe, and

clarinet is quite idiomatic of the instrument both in range (E3 to D6) and virtuosity.

Hopefully further study and research will solve this mysterious issue in the near future.

The Sinfonia Concertante by the Bohemian composer/oboist Josef Fiala (ca.1754-

1816) for clarinet, English horn and orchestra was for a long time categorized as a

clarinet concerto due to a missing English horn part. Another point of confusion

stemmed from the composer’s use of the term “Talie” on the title page, which was used

frequently at the time to refer to the English horn, but also occasionally as a reference to

the viola. (Voxman, 1984a, ¶5). This work is in three movements with cadenzas for the

clarinet and English horn playing together in the first and second movements. For the

version with piano in place of orchestra published by Musica Rara, Dr. Block provides

the piano reduction and cadenza in the second movement. Recently the orchestra parts of

this piece have been made available by Charles-David Lehrer at the International Double

Reed Society’s (IDRS) website (through the link for “the double reed archaeologist”).

These parts are free to download to IDRS members and are in Finale (music notation

software) files.

It is unclear if Italian composer Federigo Fiorillo (1753-1823) intended his

Sinfonia Concertante in F to be played by two oboes, two clarinets in C, or combinations

of the two. The parts are simply marked Oboe I (or clarinet in C) and Oboe II (or clarinet

84
in C). It is likely that the inclusion of the clarinet in C in the version for winds and piano

was a publisher’s addition. The piano reduction published by Kunzelmann is by Hans

Steinbeck. This work is unusual in that it is in two fast movements with the first marked

Allegro (in sonata form) and the second marked Rondo Allegretto. This work has been

programmed and performed successfully by the Razbia Ensemble with oboe playing the

Oboe I part and clarinet playing the Clarinet in C II part. It can be found recorded by two

oboes and orchestra.

The Concerto for Oboe, Clarinet and Orchestra written by the composer Carlo

Paessler (1774-1865) is a new discovery and has only recently (2002) been published and

recorded. Paessler who was born in Naples, is best known for his collection of studies for

oboe. He was a well-respected oboist who also played clarinet quite proficiently

(Zanettovich and Bulfone, 2002, ¶ 1). As discussed in Chapter Two, this was not

uncommon, and musicians often played more than one instrument in the eighteenth

century. The title page of this work reads “Concerto for clarinet, oboe and orchestra

accompaniment composed by Sir Carlo Pässler for the use and the disport of the kingly

Sir Ridolfo de Colleredo.” Rudolfo di Colloredo (1778-1874) was an amateur clarinetist

who acquired works for clarinet from several composers in the Italian city of Udine

including Paessler, Guiseppe Ferlendis and Wenzel Wratny (Nassimbeni, ¶ 7-9, 2002).

Italian clarinetist Nicola Bulfone has recently discovered several works by Paessler for

clarinet including this double concerto, and serves as the editor of the published version

of this edition. The piece is in two movements with the first marked Allegro vivace, and

the second (a theme and variation) beginning Larghetto and ending Allegretto. There are

85
cadenzas in the first movement for the winds individually as well as paired together. The

edition published by Kunzelmann also contains a copy of the original clarinet part in the

back of the piano score.

The Concertino by Marion Bauer (1887(?)-1955) was a commission by the

League of Composers, which was founded in New York City in 1923, and is dedicated to

Mr. and Mrs. Frederick Jacobi. As stated in Chapter Ten, the work may be performed

either with oboe, clarinet and string quartet or with winds and string orchestra. Extra

parts for the strings, including those for double bass are available from the publisher.

(Please see the discussion in Chapter Ten for further details.) The work is in three

movements marked, Allegretto, Andantino, and Allegro giocoso, with a “quasi cadenza”

in the final movement.

Norwegian composer Knut Nystedt (born in 1915) has served during his career as

a composer, conductor and organist in Oslo. He studied composition with Aaron

Copland and Bjarne Brustad. Nystedt’s Concertino for Clarinet, English horn and

strings, Op. 29 was composed in 1952, and mirrors the solo grouping used by Josef Fiala.

The work had its premier in 1954 with the Oslo Philharmonic Orchestra and at this time

is only available as a manuscript from the Music Information Centre Norway.

Concertino is in three movements marked, Andantino, Vivace assai, and Largo-allegro

vivace, and uses the clarinet frequently in its altissimo register. As discussed in Chapter

Ten, Concertino is also playable using a string quintet with clarinet and English horn.

American composer John Harbison (born in 1938) composed his Concerto for

Oboe, Clarinet and Strings in 1984 for a Consortium Commission sponsored by the

National Endowment for the Arts. This piece is playable in two versions: 1) as a

86
chamber septet with winds and string quintet (premiered as such by Alan Vogel and

David Shifrin at Chamber Music Northwest in 1985); and 2) with winds and a string

orchestra (premiered as such by Sara Lambert Bloom and Charles Russo at the Sarasota

Music Festival). This is a very difficult piece and contains a C7 for the clarinetist. The

work is in three movements marked, Declamando, Larghetto, and Furioso.

American composer/conductor June Kirlin (born in 1910) wrote her Double

Concerto for Oboe, Clarinet and Orchestra in 1987. The piece was written for clarinetist

Kathleen Jones-Cleary and oboist David Bourns, a member of the Puerto Rican group

Camerata Caribe. Ms. Kirlin also wrote a version of this piece for flute, oboe, clarinet,

bassoon and piano that was premiered in 1994 by Camerata Caribe. The concerto is in

three movements marked Allegro, Andante, Allegro scherzando, and contains cadenzas

for both instruments in the final movement. This work is available as a rental from the

composer and is in manuscript.

The double concerto by English composer John McCabe (born in 1939) was

composed for Nick Daniel (oboe) and Joy Farrall (clarinet). McCabe’s Double Concerto

for Oboe, Clarinet and Orchestra was composed in 1988 and commissioned by the

English Heritage. The work shows the influence of minimalism being built on a simple

four-note phrase followed by two chords. It uses the solo instruments largely as a unit

throughout (even in many of its cadenzas) rather than individual voices in dialogue. The

piece is played as a whole with no pauses; only tempo changes outline the different large

sections (Largo-Vivo-Andante-Allegro-Lento-Allegro deciso-Lento) (John McCabe, n.d.).

It is published by Novello and company and was written specifically for an open-air

summer concert in which Joy Farrall and Nicholas Daniel were guest artists.

87
 Simon Bainbridge’s (born in 1952) Double Concerto was commissioned by the

Cheltenham Festival, in which Ms. Farrall and Mr. Daniel were participants. The duo

premiered the work at the 1990 Cheltenham Festival and it has since been published by

United Music Publishers. Composer Bainbridge writes the following about the work:

In the Double Concerto, the focal point is of course the oboe and
clarinet, who are assigned a melodic thread which provides the foundation
for a linear continuity existing throughout the piece. During the course of
the piece this thread, which remains intact, is entangled and woven
through many different varieties of orchestral fabric, relentlessly drawing
the music through a lengthy acceleration process to its inevitable
conclusion. at the same time, the two soloists are gradually freed from the
heterophonic and harmonic confines of the orchestral backcloth, finally
emerging triumphantly over a tense, craggy two part string counterpoint
and fully flowering melodic line which is heard through the whole
orchestra, and which leads the music towards the final double bar.
(Simon Bainbridge, n.d.)

The last work listed here is a particularly unique one combining the solo group of

oboe and clarinet with a wind ensemble. Composer David S. Lefkowitz is on faculty at

the University of California (Los Angeles) and wrote his double concerto titled Of Love

and Loss in 2003 and 2004. It was dedicated to and premiered the same year by oboist

Marion Kuszyk, clarinetist Gary Gray, and conductor Thomas Lee with the UCLA Wind

Ensemble. The work is in three movements with the first titled Love Dance (Introduction

and Rondo), the second marked Lullaby (Berceuse), and the third marked Lament

(Threnody). While Mr. Lefkowitz originally intended the clarinetist to double on E-flat

clarinet in the third movement, it is also playable remaining on the B-flat clarinet, with

the composer including an alternate version in the clarinet solo part in order to do so.

The range for the clarinet poses some difficulty if the solo part is played from the

alternate B-flat clarinet version, including several instances of C7 and one D7. This

double concerto includes a large percussion battery requiring six players.

88
 On a side note, although not double concerti, two important works for solo oboe

and orchestra, Richard Strauss’ Oboe Concerto and Jean Francaix’s The Flower Clock,

warrant mention for both featuring prominent clarinet writing. Both of these works were

associated with oboist John de Lancie, the Francaix through a commission, and the

Strauss through inspiration. After the careful study of the timbre combination of the oboe

and clarinet found in Chapter Two, it is interesting to note that when John de Lancie

recorded Strauss’ concerto in 1987, with the composer’s earlier approval, he rewrote

some of the oboe parts into the clarinet part, for purposes of breathing.

Oboe, Clarinet and String Orchestra

Bauer, Marion. (1887(?)-1955) Concertino for Oboe, Clarinet, &Strings Op. 32b. ob, cl,
str. ensemble. (1939/42, Boosey & Hawkes [rental]). 15:00. (Commissioned by
the League of Composers).

Harbison, John. (b.1938) Concerto for Oboe, Clarinet and Strings. ob, cl, str. (44332)
(1985, AMP [rental]). 14:00. (drn#2 and 3).

Nystedt, Knut. (b. 1915) Concertino for Clarinet, English horn and strings, Op. 29. cl,
eh, str. ensemble. (1952/91, Music Information Centre Norway; ICA Research
Center catalog #5356). 19:00. (Premiered 1954 Oslo Philharmonic Orchestra).

Vivaldi, Antonio (1678-1741) Concerto In C Major for 2 Oboes 2 Clarinets Strings and
Basso Continuo RV559. 2-ob, 2-cl, str, cont. (Casa Ricordi). 10:47. (arr. Angelo
Ephrikian)

Vivaldi, Antonio (1678-1741) Concerto in C major for two oboes two clarinets and
strings, RV560. 2-ob, 2-cl, str, cont. (Casa Ricordi). 9:18. (arr. Angelo Ephrikian)

Oboe, Clarinet and Chamber Orchestra

Abel, Carl Friedrich. (1723-1787) Concertante in Bb for violin, oboe, clarinet and
orchestra. vn, ob, cl and orch (0200/2000/strings). (Boosey & Hawkes
[rental]). 20:00. (drn#24).

Bainbridge, Simon. (b. 1952) Double Concerto. ob, Acl, chamber orch.
(2112/2200/strings:86442). (1990, United Music Publishers). 18:00. (for Farrall
and Daniel).
89
Fiala, Josef. (1748—1823) Concertante in Bb. eh, cl, orch. (2000/2000/strings). (full set
of parts available from “the double reed archaeologist” found on the IDRS
website).

Fiorillo, Federigo. (1753-1823) Sinfonia Concertante in F Major. version for ob, cl, pn.
(Kunzelmann).

Kirlin, June. (b. 1910) Double Concerto for Oboe, Clarinet and Orchestra. ob, cl, orch.
(1987, available from composer [rental]).

McCabe, John. Double Concerto. ob, cl, chamber orch. (2222/2200/timp/stings). (1988,
Chester Music and Novello and Co.). 20:00. (written for Farrall and Daniel).

Paessler, Carlo. (1774-1865) Concerto for Oboe, Clarinet, and Orchestra. ob, cl, pn.
(Kunzelmann)

Oboe, Clarinet and Wind Ensemble

Leflowitz, David. Double Concerto "Of Love and Loss.” ob, cl, wind ensemble. (2004,
presently available from composer, soon to be published by MMB Music, Inc.).
25:30.

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 CHAPTER 12

ARRANGEMENT POSSIBILITIES

It is not uncommon for composers to publish their chamber music for a number of

instrumentation possibilities. This is because several instruments share a similar range,

and with more possibilities for instrumental combinations, composers stand to enjoy a

greater financial return for their work. For instance, a number of the works listed in the

preceding chapters were composed for oboe or flute. In this spirit, listed here are five

works that have been successfully performed by the Razbia Ensemble with a slight

arranging license. Included are two works playable as a trio with piano, and three

quartets playable with cello and piano. I have included a copy of my arrangement for the

Mozart “Kegelstatt” Trio No. 4 in Appendix E with English horn replacing the original

viola part. As seen in the preceding repertoire lists, chamber works from the classical era

for this combination are rare and this arrangement using English horn has been performed

on several occasions with great success. The Folk suite No. 4 by well-known African-

American composer William Grant Still is a very effective work with the original flute

parts easily playable by oboe.

Trios for Oboe, Clarinet and Piano

Klughardt, August. (1847-1902) Schilflieder Funf Fantasiestucke Op. 28. ob, Acl
(replaces va), pn. (1872, Amadues Verlag).

91
Mozart. Trio No.4. cl, eh (replaces va), pn. (arranged by Anthony Costa, See
Appendix E.)

Quartets for Oboe, Clarinet, Cello and Piano

Haieff, Alexei.(1914-1994) Serenade. ob, cl, vcl (replaces bsn), pn. (c.1980, General
Music Publishing Company).

Rheinberger, J. Quartet in F. ob, cl (replaces horn), vcl, pn. (1857, Musica Rara). 12:00.

Still, William Grant. (1895-1978) Folk Suite No. 4. ob (replaces fl), cl, vcl, pn.
(International Opus). 6:00.

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 CHAPTER 13

CONCLUSION

The initial purpose of this project was to find repertoire that I could play in

chamber settings in the years to come. While serving my personal needs in this regard,

the results have proven quite beneficial in other areas as well. Having researched this

material, I have learned of many new resources that I was unaware of during my

residency work with “Chamber Music America.” Some of these materials would have

been a tremendous help during those years, had I been aware of them, while others were

not available at the time and are recent additions to the pertinent scholarship literature. I

feel confident that my continued work as an educator and performer will be enhanced as

a result of this project. I intend to apply these new skills and information to my work as

follows:

1) As a college professor, continue as an advocate for the importance of chamber

music in our colleges as part of a well-rounded education for music students.

2) As a college professor, help direct students to find repertoire for any chamber
music setting needed.

3) As a college professor, help students to make contacts within the networks of

information centers and musician associations that will prove beneficial
throughout their careers as performers and educators.

4) As a college professor, direct students in making educated choices in

programming for chamber music performances within the framework of audience
and funding possibilities.
93
5) As a performer, actively promote chamber music within my community as
outreach and further arts advocacy through creative programming.

6) As a performer, further develop relationships with composers and educators that

open the door to the possibilities of exchanged guest recitals, partnerships, and
further commissions

7) As a performer, grow in my awareness of idiosyncrasies particular to the oboe and

clarinet and work to better my performance of representative repertoire.

8) As a performer continue the work of this document in discovering new repertoire

to perform and record.

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 APPENDIX A

ALPHABETICAL LIST OF COMPOSERS AND PIECES

Abel, Carl Friedrich. (1723-1787) Concertante in Bb for violin, oboe, clarinet and
orchestra. vn,ob,cl and orch. Chapter Seven and Eleven.

Adler, Samuel. (b. 1928) Music for Three. ob,cl,vcl. Chapter Seven.

Alexander, William.(b. 1927) quatre pour duex. ob,cl. Chapter Six.

Alexander, William. (b.1927) Cambridge Trio. ob,cl,pn. Chapter Seven.

Alexander, William. (b.1927) Huntingdon Trio. ob,cl,pn. Chapter Seven.

Alexander, William. (b.1927) Wynnewood quartet. ob,cl,vcl,pn. Chapter Eight.

Alexander, William. (b.1927)Wynnewood Trio. ob,cl,pn. Chapter Seven.

Allen, Harold. (1917-1983) Duo. ob,cl. Chapter Six.

Ames, William T. (b.1901) Pieces for Oboe and Clarinet. ob,cl. Chapter Six.

Anderson, David. (b. 1962) Quintet for Oboe, Clarinet, Violin, Viola, and String Bass.
ob,cl,vln,vla,db. Chapter Nine.

Andraud, Albert J. Duos concertants. (in three series) ob,cl. Chapter Six.

Aperghis, Georges. (b. 1945) A Bout de Bras. ob,cl. Chapter Six.

Arbatsky, Yury. From A to Z: a collection or original and unoriginal duets for flute or
oboe and clarinet. ob,cl. Chapter Six.

Ardevol, Jose. (1911-1981) {Dos} Sonatas a tre. ob,cl,vcl. Chapter Seven.

Ardevol, Jose. (1911-1981) First Sonata. ob,cl,vcl. Chapter Seven.

95
Bainbridge, Simon. (b. 1952) Double Concerto. ob,Acl, and chamber orch. Chapter
Eleven.

Balbo. 3 Etchings. fl(ob),cl. Chapter Six.

Barab, Seymour. (b. 1921) Suite for Oboe, Clarinet, Cello, and piano. ob,cl,vcl,pn.
Chapter Seven.

Barry, Gerald. (b. 1952) Quintet. eh,cl/bcl,vlc,db,pn+jews’hp. Chapter Nine.

Bastien, Roland. Les arbres en fleurs. ob,cl,pn. Chapter Seven.

Bauer, Marion (1887(?)-1955) Improvisation and Pastoral, Op. 22. ob,cl. Chapter Six.

Bauer, Marion. (1887(?)-1955) Duo Op. 25. ob,cl. Chapter Six.

Bauer, Marion. (1887(?)-1955) Concertino for Oboe, Clarinet, &Strings Op. 32b. ob,cl,
and string quartet or string orchestra. Chapter Ten and Eleven.

Beale, James Macarthur. (b. 1924) Three Miniatures, op.3. ob,cl,vla. Chapter Seven.

Beekum, J. Easy Duets. ob,cl. Chapter Six..

Beethoven, L. V. (1770-1827) Duo for Ob and Cl op43/14. ob,bh or cl,pn. Chapter Seven

Berger, Arthur. (1912-2003) Duo for Oboe and Clarinet. ob,cl. Chapter Six.

Beyer, Johanna. (1888-1944) Suite for Oboe and Clarinet. ob,cl. Chapter Six.

Binder, John A. Five Sorts. eh,cl. Chapter Six.

Binder, John A. Trio. eh,bcl,vln. Chapter Seven.

Bland, Ed. One on One. ob,bcl or cl. Chapter Six.

Blank, Allan. (b. 1925 or 1929?) Four Bagatelles. ob,cl. Chapter Six.

Boguslaw Schaeffer. (b.1929) Septet for oboe, bass clarinet, cello and percussion. ob,
bcl,vcl and 4-perc. Chapter Ten.

Bottje, Will Gay. Brief Acquaintances. ob,cl,vcl. Chapter Seven.

Bowles, Paul. (b. 1910) Sonata for Oboe and Clarinet. ob,cl. Chapter Six.

Brings, Allen. Duologue. ob,cl. Chapter Six.

96
Brophy, Gerard. Iza. bass ob,bcl. Chapter Six.

Brophy, Gerard. Bisoux. eh,cl. Chapter Six.

Brün, Herbert. (1918-2000) six for five by two in pieces (op. 41). ob/eh,cl/Eb cl/Bcl.
Chapter Six.

Bruniau, A. Toi et moi, fantaisie-duo. version for ob,cl,pn. Chapter Seven.

Buss, Howard. Felinity. eh,cl. Chapter Six.

Carbon, John. (b. 1951) Troika. eh,cl,vcl,pn. Chapter Seven.

Carter, Elliot. (b. 1908) Tempo e Tempi. Sop,ob/eh,cl/bcl,vln,vcl. Chapter Nine.

Cavadini, Claudio. (b. 1935) Intarsio: omaggio a Vivaldi. ob,cl,pn. Chapter Seven.

Cherney, Brian. In The Great Museum of our Memory. bass ob,bcl. Chapter Six.

Childs, B. Divertimento. ob,cl. Chapter Six.

Cooman, Carson P. Star Canticle: Vision Vibrant (Op. 490). ob,cl,pn. Chapter Seven.

Cunningham, Michael. Piano Trio No. 8, opus 212a. ob,cl,pn. Chapter Seven.

d’Estrade Guerra, Oswald. Sonatine Pastorale. ob,cl. Chapter Six.

Davidson, Randall. The Center of the Known World. ob,cl,pn. Chapter Seven.

Delvaux, Albert. (b. 1913) Cassazione. ob,cl,vln,vcl. Chapter Seven.

Destenay, Edouard. (1850-1924) Trio in si mineur. ob,cl,pn. Chapter Seven.

Dinerstein, Norman Myron. (1937-1982) Serenade. ob,cl,hp,vln,vcl. Chapter Nine.

Donatelli, Vincent. (1892-1956) Duet #1. ob,cl. Chapter Six.

Donatelli, Vincent. (1892-1956) Duet #2. ob,cl. Chapter Six.

Edwards, Ross. (b. 1943) Four Bagatelles. ob,cl. Chapter Six.

Ehrlich, Abel. Sunbeam. ob,cl. Chapter Six.

Erickson, Robert. (b. 1917) Fives. eh,bcl,pn,vla,vcl. Chapter Nine.

Erixon, Per Anders. (b. 1930) Duo, Op. 9. ob/eh,cl. Chapter Six.
97
Etler, Alvin. (1913-1973) Duet. ob,cl. Chapter Six.

Etler, Alvin. (1913-1973) Sonata. ob,cl,vla. Chapter Seven.

Evans, R. Duet Suite. ob,cl. Chapter Six.

Eyser, Eberhard. (b. 1932) The Missing Link: Duo. ob/eh,cl/bcl. Chapter Six.

Fiala, Josef. (1748-1816) Concertante in Bb eh,cl,pn. Chapter Seven and Eleven.

Fine, Irving. (1914-1962) One Two Buckle My Shoe. ob,cl,vln,vcl. Chapter Seven.

Fine, Vivian. (b.1913) Quintet (after paintings by Edvard Munch). ob,cl,vln,vlc,pn.

Chapter Nine.

Fiorillo, Federigo. (1753-1823) Sinfonia Concertant in F Major. ob,cl,pn. Chapter Seven

and Eleven.

Fongaard, Bjorn. (1919-1980) Duo for Oboe and Clarinet in A, Op. 127 No. 4. ob,Acl.
Chapter Six.

Fuller, Donald S. Sonatina for oboe, clarinet, and piano. (1940) ob,cl,pn. Chapter Seven.

Fuller, Donald S. Sonatina for oboe, clarinet, and piano. (1947) ob,cl,pn. Chapter Seven.

Furrer-Munch, Franz. (b. 1924) Dialogue. ob,cl. Chapter Six.

Gabriel-Marie. (1852-1928) Feuilles au vent. ob,cl,pn. Chapter Seven.

Gasser, Ulrich. Steinstucke II. ob/eh,cl/bcl. Chapter Six.

Gattermann, Ph. Fantaisie Concertante, Op. 38. version for ob,cl,pn. Chapter Seven

Geng, Charles. Melodie-Duettino. version for ob or eh,cl,pn. Chapter Seven.

Ghent, Emmanuel. (1925-2003) Two Duos. version for ob,cl. Chapter Six.

Gilson, Paul. (1865-1942) Trio for Oboe, Clarinet & Piano. ob,cl,pn. Chapter Seven.

Gipps, Ruth. (1921-1999) Tio Op. 10. ob,cl,pn. Chapter Seven.

Glaser, Werner Wolf. (b. 1910) Duo. ob,cl. Chapter Six.

Glaser, Werner Wolf. (b. 1910) Liten Duett. ob,cl. Chapter Six.

Glazer, Stuart. Duo. ob,cl. Chapter Six.

98
Glesser, Frederic. (b. 1956) Chamber Sonata. ob,cl,vln,hpsd. Chapter Seven.

Goodrich, Joseph. A Molimo For Martin. ob,cl,vln,vlc,pn. Chapter Nine.

Goodrich, Joseph. Mississippi County Suite. ob,cl,vcl,4-hand pn. Chapter Nine.

Goossens, Sir Eugene. (arr/ed. Schmidt, W.). The Old Music Box. version for ob,cl.
Chapter Six.

Gordon, Christopher. (b. 1949) Sonatina for oboe and clarinet. ob,cl. Chapter Six.

Griebling, Karen. (b. 1957) Summer Muse for Clarinet and English Horn. eh,cl. Chapter
Six.

Griebling, Mary Ann. Three Duets for Oboe and Clarinet:-- Aquatics; Newly
Hatched;Water Sprite. ob,cl. Chapter Six.

Griebling-Haigh, Margaret. The Windrush Madrigals. ob,cl,pn. Chapter Seven.

Grieg, Edvard. (arr/ed. Davis, S.) Four Lyric Pieces. ob,cl,pn. Chapter Seven.

Gyring, Elizabeth. (1909-1970) Trio. ob,cl,pn. Chapter Seven.

Hafemeister, Katherine. Duo. ob,cl. Chapter Six.

Haieff, Alexei.(1914-1994) Serenade. ob,cl,vcl(replaces bsn),pn. Chapter Twelve.

Haney, Jason. t-zero eh,cl. Chapter Six.

Harbison, John. (b.1938) Concerto for Oboe, Clarinet and Strings. ob,cl,str. Chapter
Ten and Eleven.

Hartzell, Eugene. (b.1932) Workpoints 2. ob,cl. Chapter Six.

Harvey, Paul. (b. 1918) All At Sea. ob,cl. Chapter Six.

Henshilwood, Donald. (b. 1930) Ambit. ob,cl. Chapter Six.

Herman, Matthew. Dance Suite eh,cl. Chapter Six.

Höffding, Niels Finn. (b.1899) Dialogues for Oboe and Clarinet, Op. 10. ob,cl. Chapter
Six.

Homs, J. Sonata. ob,bcl. Chapter Six.

99
Ibert, Jacques. (version nouvelle par Arthur Hoeree) Aria. version for ob,cl,pn. Chapter
Seven.

Imbrie. Dandelion Wine. ob,cl,str. quartet, pn. Chapter Ten.

Karlins, M. William. Music for Oboe, Bass Clarinet and Piano. ob,bcl,pn. Chapter
Seven.

Karlins, Martin Williams. (b. 1932) Infinity. ob D'A,cl,sop,vla. Chapter Seven.

Kats-Chernin, Elena. Totchki. ob,cl. Chapter Six.

Keane, David. (b. 1943) Twee vlinders. bass ob,bcl. Chapter Six.

Keane, David. (b. 1943) Twee vlinders. ob,cl. Chapter Six.

Kelley, Daniel (ed.). Music for Two. (four volumes) version for ob,cl. Chapter Six.

Kennaway, Lamont. Downstream [for] oboe, clarinet, and piano. ob,cl,pn. Chapter
Seven.

Kibbe, Michael. (b. 1945) Canonic Pieces Op. 78. ob,cl. Chapter Six.

Kirlin, June. (b. 1910) Double Concerto for Oboe, Clarinet and Orchestra. ob,cl,orch.
Chapter Eleven.

Kitzke, M. William. The Big Gesture. ob,bcl,perc. Chapter Seven.

Klose, Hyacinthe-Eleonore. Duo sur des Motifs de "La Sonnambula" de Bellini, Op. 20.
ob,cl,pn. Chapter Seven.

Klug, E. Divertimento ticinese. ob,cl. Chapter Six.

Klughardt, August. (1847-1902) Schilflieder Funf Fantasiestucke Op. 28.ob,Acl(replaces

va),pn. Chapter Twelve.

Knussen, Oliver. (b.1952) Elegiac Arabesques (Op. 26a). eh,cl. Chapter Six.

Koivula, Kari. (1951-1988) Reeds. ob,cl/bcl. Chapter Six.

Kolberg, Kåre (b. 1936) Duo for Oboe and Clarinet. ob,cl. Chapter Six.

Kopsch, Julius. (b. 1887) Trio for Oboe, Clarinet & Piano. ob,cl,pn. Chapter Seven.

Kocsar, M. Ungaresca. ob,cl. Chapter Six.

100
Kupferman, Meyer. (1926-2003) Infinities #32. ob,cl. Chapter Six.

Kupferman, Meyer. (1926-2003) Soundspells #4. ob,cl,vcl,pn. Chapter Seven.

Laderman, Ezra. Sextet for English Horn, Bass Clarinet and Strings. eh,bcl,str.
quartet). Chapter Ten.

Lange, Hans. (1884-1960) Quintett op. 66. ob,cl,vln,vla,vcl. Chapter Nine.

LeFanu, Nicola. (b. 1947) Lament. ob/eh,cl/bcl,vla,vcl. Chapter Seven.

Leflowitz, David. Double Concerto "Of Love and Loss.” ob,cl, wind ensemble. Chapter
Eleven.

Lemeland, Aubert.(b.1932) Suite Dialogue, Op. 65. ob,cl. Chapter Six.

Leppälä, Kimmo.(b. 1963) Oboekvartetto I (Oboe Quartet I). ob,cl/bcl,vln,vla. Chapter

Seven.

Lerstad, Terje Bjørn (b. 1955) Divertimento for Oboe and Clarinet, Op. 50. ob,cl.
Chapter Six.

Lewin, Frank. (b. 1925) Dunlap's Creek. eh(or ob),cl,vln,vcl. Chapter Seven.

Lieberman, Glenn. (b. 1947) Dialectic. ob,cl,perc,vcl. Chapter Seven.

Lubbers, Arend Donselaar. Evocation. ob,cl,vcl,pn. Chapter Seven.

Lundborg, Erik. (b. 1948) Combone. ob,cl,perc,hp,pn,vcl,db. Chapter Ten.

Lunde, Jr., Ivar. (b. 1944) A L'ecole (At School), Op. 11. ob,cl. Chapter Six.

MacKay Jr., John G. (b.1935) Romance for Oboe, Clarinet and Piano. ob,cl,pn. Chapter
Seven.

Maconchy, Elizabeth. (1907-1994) Reflections. ob,cl,vla,hp. Chapter Seven.

Maganini, Q. Air and Double. ob,cl. Chapter Six.

Maganini, Quinto (arranger and editor). (1897-1974) Concert Album. version for
ob,cl,pn. Chapter Seven.

Maganini, Quinto (arranger and editor). (1897-1974) Paris Soir. version for ob,cl,pn.
Chapter Seven.

Martinu, Bohuslav. (1890-1959) Serenada III. ob,cl,4-vln,vcl. Chapter Ten.

101
Masseus, Jan. (b. 1913) Introduction and Allegro, Op. 19. ob,cl,pn. Chapter Seven.

Masseus, Jan. (b. 1913) Sept pieces breves: opus 55. ob,cl,pn. Chapter Seven.

McBride, Robert. (b. 1911) Hot-Shot Divertimento. ob,cl. Chapter Six.

McCabe, John. Double Concerto. ob,cl,chamber orch. Chapter Eleven.

McDowall, Cecilia. La Temps Viendra. ob/eh,cl/bcl, pn. Chapter Seven.

Mead, Andrew Washburn. Chamber Symphony. ob,bcl,perc,pn,vla,db. Chapter Ten.

Meier, Margaret Shelton. Rejoicing: recessional: from Ratagm suite. ob,cl,pn. Chapter
Seven.

Melby, John. (b. 1941) Zonnorities. ob/eh,cl/bcl, computer synth. tape. Chapter Six.

Mozart. Trio No. 4. cl,eh(replaces va),pn. Chapter Twelve and Appendix E.

Muller, Iwan. (1786-1854) Concertante, op. 23. version for ob,cl,pn. Chapter Seven.

Murdock, Katherine. Trees Dream of Dancing. eh,cl,pn. Chapter Seven.

Murto, Matti Jrjo Juhani. (b. 1947) Duo. ob,cl. Chapter Six.

Nemiroff, Isaac. (1912-1977) Duo. ob,bcl. Chapter Six.

Nixon, Roger. (b.1921) Four Duos. ob,cl. Chapter Six.

Nystedt, Knut. (b. 1915) Concertino for Clarinet, English horn and strings.
cl,eh,2-vln,vla,vcl,db(or ensemble). Chapter Ten and Eleven.

Oboe Lee, Thomas. The Mad Frog. ob,bcl,hp. Chapter Seven.

O'Riordan, Kirk. (b. 1968). Longings. ob,cl. Chapter Six.

Paessler, Carlo. (1774-1865) Concerto for Oboe, Clarinet, and Orchestra. ob,cl,pn.
Chapter Seven and Eleven.

Parik, I. Hudba pre Troch. fl(ob),cl. Chapter Six.

Parker, Michael. (b. 1948) In Memoriam, Op. 43e. eh,cl. Chapter Six.

Parker, Michael. (b. 1948) Six lowly variations on the Flying Dutchman (in Canada).
bass ob,bcl. Chapter Six.

102
Petric, Ivo. (b. 1931) Hommage a Sergej Prokofiev: variacije op. 39 ob,cl,vln,vla,db.
Chapter Nine.

Phillips, Gordon. (b. 1908) Suite in B-Flat Major. ob,cl. Chapter Six.

Pillevestre. Idylle Bretonne. version for ob,cl,pn. Chapter Seven.

Pisk, Paul A. (1893-1990) Suite for Oboe, clarinet, and Piano Op. 85. ob,cl,pn. Chapter
Seven.

Planzer, Mani. (1939-1997) Umranda. ob,bcl. Chapter Six.

Poulenc, Francis. (1899-1963) Villageoises. ob,cl,vcl,pn. (arr. Barry Baker). Chapter

Seven.

Prokofiev, Sergei. (1891-1953) Quintet, op. 39. ob,cl,vln,vla,db. Chapter Nine.

Rahbee, Dianne Goolkasian. (b. 1938) Wind duo op. 30. ob,cl. Chapter Six.

Rahbee, Dianne Goolkasian. (b. 1938) Wind duo op. 33. ob,cl. Chapter Six.

Ravel, Maurice. (1875-1937) Pavane Pour Infante. Version for ob,cl,pn. Chapter Seven.

Regt, Hendrik de. (b. 1950) Musica, Op. 31. ob,cl. Chapter Six..

Reizenstein, Franz. (1911-1968) Duo for Oboe and Clarinet. ob,cl. Chapter Six.

Rheinberger, J. Quartet in F. ob,cl(replaces French horn),vcl,pn. Chapter Twelve.

Richter, Marga. (b. 1926) Exequy. ob,cl,vcl,pn. Chapter Seven.

Riegger, Wallingford. (1885-1961) Duos op.35. ob,cl. Chapter Six.

Riley, Dennis. (b. 1943) Fantasia after Orlando Gibbons. ob,cl,vcl. Chapter Seven.

Robbins, Scott. Awakening Autumn. eh,cl,pn. Chapter Seven.

Roosevelt, J. Williard. (b. 1918) Song and Dance Suite. ob,cl,vla. Chapter Seven.

Ross, Walter. (b.1936) Didactic duos. ob,cl. Chapter Six.

Rougnon, Paul. (1846-1934) Andante and Polonaise. ob,cl,pn. Chapter Seven.

Sambin, V. Duo de la Somnambule. ob,cl,pn. Chapter Seven.

Samkopf, Kjell. (b. 1952) Duo (score). ob,cl. Chapter Six.

103
Sarda, Albert (b. 1943). Isorritme. ob/cl/cel/pn/vla/vlc. Chapter Ten.

Saygun, A. Adnan. (1907-1991) Trio for Oboe, Clarinet and Piano Op. 55. ob,cl,pn.
Chapter Seven.

Scheiermacher, Steffan. (b. 1960) Gesang des Apsyrtos. ob,cl,pn,3-perc. Chapter Ten.

Schmidt, William. (b. 1926) Duo with Cadenzas. ob,cl. Chapter Six.

Schneider, Gary M. (b. 1957) Life. ob,cl. Chapter Six.

Schoenberg, Arnold. (1874-1951) Ein Stelldichein (incomplete). ob,cl,vln,vlc,pn.

Chapter Nine.

Schollum, Robert. (1913-1987) Trio Op. 71. ob,cl,pn. Chapter Seven.

Schubert. Two Songs. version for ob,cl,pn. Chapter Seven.

Schwadron, Abraham A. (1925-1987) Duo. ob,cl. Chapter Six.

Schwarz, Ira-Paul. (b.1922) A Modal Mood. version for ob,cl,pn. Chapter Seven.

Schwarz, Ira-Paul. (b.1922) Baroque Reflections. version for ob,cl,pn. Chapter Seven.

Schwarz, Ira-Paul. (b.1922) Classical Souvenir. version for ob,cl,pn. Chapter Seven.

Schwarz, Ira-Paul. (b.1922) Impressions of a Cloud. version for ob,cl,pn. Chapter Seven.

Schwarz, Ira-Paul. (b.1922) Romantic Memento. version for ob,cl,pn. Chapter Seven.

Schwarz, Ira-Paul. (b.1922) Twelve-Tone Tune. version for ob,cl,pn. Chapter Seven.

Sermila, Jarmo. (b. 1939) Danza 4B. ob,bcl. Chapter Six.

Seyfrit, Michael. Continum vacuum residum. eh,cl,prepared (6-h)pn,vcl. Chapter Ten.

Seyfrit, Michael. Dupont Cycle. eh,cl,mar,prepared pn,vla. Chapter Nine.

Sforzini, Mark. (b. 1969) Two American Sketches. eh,cl. Chapter Six.

Shell, Scott Anthony. Piece for Oboe and Eb clarinet with Piano Accompaniment. ob,
Eb cl,pn. Chapter Seven.

Slyck, Nicholas van. Twelve for Three. ob,cl,vcl. Chapter Seven.

Smaldone, Edward. (b. 1956) Icons. ob,cl,pn. Chapter Seven.

104
Smith, Stuart Saunders. (b. 1948) Gifts. version for ob,cl,org or pn or hpsd. Chapter
Seven.

Smith, Stuart. (b.1948) Faces. ob,cl. Chapter Six.

Solomons. Professor Burbie's 3rd Invention. ob,cl. Chapter Six.

Sowash, Rick. (b. 1950) A Little Breakfast Music. ob,cl,2-vln. Chapter Seven.

Spears, Gay Holmes. Sudbury Suite. ob,cl,vcl,pn. Chapter Seven.

St. John, Kathleen. Duo: six etudes. ob,cl. Chapter Six.

Stanhope, Paul. Air. ob,cl. Chapter Six.

Starobin, Michael. Three Short Pieces for Trio. ob,cl,vcl. Chapter Seven.

Stearns, Peter Pindar. (b.1931) Three Short Studies. ob,cl. Chapter Six.

Stefansson, Fjolnir. (b. 1930) Duo. ob,cl. Chapter Six.

Steptoe. Dance Suite for Oboe, Clarinet & String Quartet. ob,cl, str. quartet. Chapter
Ten.

Still, William Grant. (1895-1978) Folk Suite No. 4. ob(replaces fl),cl,vcl,pn. Chapter
Twelve.

Stockhausen, Karlheinz. (b.1928) Kruezspiel, opus 1/7.ob,bcl,pn/woodblock and 3-Perc.

Chapter Ten.

Stringfield, Lamar. To A Star. ob,cl,pn. Chapter Seven.

Sumera. Scenerio. Version for ob,bcl,pn. Chapter Seven.

Sydeman, William. (b. 1928) Music for Oboe and Clarinet. ob,cl. Chapter Six.

Syverud, Stephen L. Departures. ob,cl,vcl,pn. Chapter Seven.

Teason, Deborah Fischer. Concatenation. ob,cl,pn. Chapter Seven.

Thompson, Randall. (1899-1984) Suite for Oboe, Clarinet and Viola. ob,cl,vla. Chapter
Seven.

Thorne, Francis. Burlesk Pit Music. ob,C cl,vcl. Chapter Seven.

Thorne, Nicholas. (b. 1953) Three Folk Song Settings. ob,cl. Chapter Six.
105
Tiensuu, Jukka. (b. 1948) Tango lunaire ob(or fl),cl,vln,vlc and any keyboard instrument.
Chapter Nine.

Tschaikowsky. (1840-1893)Three Pieces from Album for Children. version for ob,cl,pn.
Chapter Seven.

Tsuda, Hajime. And Now autumnal sunlight glitters brilliantly. ob,cl,pn. Chapter Seven.

Turk, Daniel. (1756-1813) Cuckoo. ob,cl. Chapter Six.

Uccellini, Marco. (1603-1680) Die Hochzeit der Henne und des Kuckucks" version for
ob,C cl,cont. Chapter Seven.

Ultan, Lloyd. (b.1929) Curved Mirrors. ob,cl,pn. Chapter Seven.

Un, Ekrem Zeki. (1910-1985) Dialogo (Soylesi-original). ob,cl. Chapter Six.

Vercken, Francios. (b. 1928) Divertissement. ob,cl,pn. Chapter Seven.

Verrall, Pamela, arr." Old English Music” ob,cl,vcl. Chapter Seven.

Vivaldi, Antonio (1678-1741) Concerto In C Major for 2 Oboes 2 Clarinets Strings and
Basso Continuo RV559. 2ob,2cl, and str. orchestra. Chapter Eleven.

Vivaldi, Antonio (1678-1741) Concerto in C major for two oboes two clarinets
and strings, RV560. 2ob,2cl, and str. orchestra . Chapter Eleven.

Vogel, Ernst. (b. 1926) Sonata. ob,cl,pn. Chapter Seven.

Voirpy. A Propos de W.A. ob,cl. Chapter Six.

Von Kreisler, Alexander. (1894-1969) Two Pieces. ob,cl. Chapter Six.

Watkins, Bedford. (b. 1925) Bicinia: for oboe and B-flat clarinet. ob,cl. Chapter Six.

Watson. Duo Gems. ob,cl Chapter Six.

Wennäkoski, Lotta. (b. 1970) "Vaie" for oboe, clarinet and cello ob,cl,vcl. Chapter
Seven.

Wernick, Richard. (b.1934) Two for Jan. sop, mezsop, ob(eh), bcl, vcl. Chapter Nine.

White, David Ashley. (b. 1944) Suite. ob,cl. Chapter Six.

Wigglesworth, Frank. (1918-1996) Duo for Oboe and Bb Clarinet. ob,cl. Chapter Six.

106
Williams, David Russel. Suite for Oboe, clarinet, and Piano [sic]. ob,cl,hpsd or pn.
Chapter Seven.

Wilson, Richard. (b.1941) Dithyramb. ob,cl. Chapter Six.

Wolpe, Stefan. (1902-1972) Suite im Hexachord for oboe and Clarinet. ob,cl. Chapter
Six.

Woolrich, John. (b.1954) Favola in Musica (after Claudio Montiverdi). ob,cl,pn. Chapter
Seven.

Wurzburger, Walter. (?-1995) Ensemble Studies No. 2. ob,cl. Chapter Six.

Wurzburger, Walter. (?-1995)Fanfare-toccata. ob,cl. Chapter Six.

Yannelli, John. Rhapsody (1983). ob,cl,vcl,pn. Chapter Seven.

Zagwijn, Henri. (1878-1954) Trio. ob,cl,pn. Chapter Seven.

Zaimont, Judith Lang. …3:4,5…ob,cl,vln,vla,db. Chapter Nine.

Zbar, Michel. Lignes Doubles. version for ob,cl. Chapter Six.

Zonn, Paul Martin. (1938-2000) Periphrasis. version for ob,cl,vcl. Chapter Seven.

Zonn, Paul Martin. (1938-2000) Turnaround. ob, Eb cl/bcl,vib, and tape. Chapter Seven.

Zonn, Paul Martin. (1938-2000) Those (Never-Ending) Memories. ob,cl,gtr,perc,db.

Chapter Nine.

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 APPENDIX B

BIOGRAPHIES OF MUSICIANS DISCUSSED IN CHAPTER 3

(In Alphabetical Order By Last Name)

John Anderson is professor of music and head of woodwinds at the University of

Minnesota School of Music. In addition to regular performances of the standard

repertoire for clarinet from the 18th, 19th, and 20th centuries, he has established an

international reputation in contemporary clarinet performance and has premiered works

written specifically for him involving solo clarinet and clarinet with narrator, tape

recorder, synthesizer, interactive computer, and other sound manipulation devices.

Anderson has performed throughout the United States and in Canada, Norway, Sweden,

Denmark, Russia, China, and Taiwan. He has performed solo and chamber music recitals

at conferences including the International Clarinet Society, College of Music Society

[sic], and the International Conference of Electronic Arts (John Anderson, n.d.).

Valarie Anderson has performed extensively as a soloist and in chamber music

concerts in the United States, Canada, Germany and South America, including frequent

performances with the internationally acclaimed Audubon String Quartet. From 1983 to

1997, she was principal oboist with the Roanoke (VA) Symphony and Opera Roanoke.

She has performed concertos with the Prince George Symphony, Georgian Bay

108
Symphony, Gulf Coast Symphony (MS), and Roanoke Symphony, and has presented solo

recitals at International Double Reed Society Conferences. Ms. Anderson has studied

oboe with John Mack, solo oboist with the Cleveland Orchestra. Widely recognized as an

expert in acoustics and reed making equipment for the oboe, Ms. Anderson is the owner

of Jeanne-Inc. and now divides her time between performance and research into new

products for clarinetists and double reed performers (Valarie Anderson, n.d.).

One of the UK’s most distinguished and charismatic soloists, Nicholas Daniel is

at the forefront of music in Britain today. His career began in earnest when he won the

BBC Young Musician of the Year Competition - the first in a number of competition

successes.

Following his successful debut at the BBC Promenade Concerts in 1992 with the

Vaughan Williams Oboe Concerto he was invited to perform the Strauss Concerto in

1994 and in 1996 gave the world premiere of John Woolrich’s Oboe Concerto, which

was commissioned by the BBC. This work and performance met with unanimous critical

acclaim: "superbly played by Nicholas Daniel and the BBCSO under Matthias Bamert"

Independent on Sunday, "…composed for and played by the superlative Nicholas Daniel"

Financial Times, "…beautifully played" The Sunday Times. Following his atmospheric

performance of Britten’s Six Metamorphoses for Solo Oboe at the Proms in 1997, in

1998 he was invited to perform works for cor anglais and oboe by Diana Burrell and John

Tavener with the City of London Sinfonia conducted by Richard Hickox.

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 Nicholas Daniel’s career takes him all over the world. Highlights include his

Japanese and American debuts and recordings and performances with some of the

world’s finest orchestras and most distinguished soloists. He has conducted and directed

a number of orchestras including the English Chamber Orchestra, Bournemouth

Sinfonietta, City of London Sinfonia, Britten Sinfonia, Budapest Strings (Hungary),

Camerata Roman (Sweden) and Kristiansand Chamber Orchestra (Norway).

New music plays an important role in his repertoire and recent works premiered include

those of John Tavener, Diana Burrell and Howard Skempton. Some of the composers

who have written for him read like a ‘Who’s Who’ of British music: Michael Berkeley,

Sir Harrison Birtwistle, Colin Matthews, David Matthews, Thea Musgrave and Sir

Michael Tippett.

Nicholas Daniel has made over twenty CDs as soloist and director for companies

including ASV, Chandos, Collins, Hyperion, Virgin, Leman Classics, Meridian and BMG

Conifer.

A Fellow of both the Guildhall School of Music & Drama and the Royal

Academy of Music, Nicholas Daniel has recently been appointed Prince Consort

Professor at the Royal College of Music, London and was the first British oboist to be

appointed by an American University serving as Professor of Oboe with special

conducting responsibilities from 1997-1999 at Indiana University, Bloomington

(Nicholas Daniel, n.d.).

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 Clarinetist Karen Dannessa (DUO DEL SOL) is an avid and active soloist and

chamber musician and has performed across the United States at numerous regional,

national and international conventions such as the International Clarinet Association

Convention, the International Double Reed Society Convention, Montana Clarinet

Festival, NATS and the Oklahoma Clarinet Symposium. Her performances have been

described as “ especially lovely, with a full, centered, silky tone (The Clarinet) and

“perfectly in sync and in tune.”(New York Concert Review). Dannessa performs

extensively with DUO DEL SOL with her husband, oboist and English hornist Henry

Grabb. The duo has commissioned and premiered works for clarinet and English horn by

Mark Sforzini, Howard Buss, Katherine Murdock, Jason Haney and Matthew Herman.

Dannessa also performs with COLLOQUY, a chamber ensemble that promotes new

music and has commissioned numerous compositions. She has also appeared with The

Serenade Reed Trio, Audubon Quartet, and with various orchestras along the eastern

seaboard. Her compact disk recording, “American Lyrique,” features compositions of

Mark Sforzini and John MacKay. A recent review notes Dannessa’s “masterful control,

mature sensitive musicality and excellent ensemble.” (The Clarinet) Dannessa studied

with Frank Kowalsky, Elsa Ludewig-Verdehr and Joseph Edwards and holds a DM from

Florida State University. She is currently an assistant professor at Clarion University of

Pennsylvania (K. Dannessa, e-mail, March 20, 2005).

Joy Farrall is one of Britain’s most successful and highly respected wind

soloists. Her career is diverse and fascinatingly eclectic. She has performed as concerto

soloist with orchestras such as the Philharmonia, the English Chamber Orchestra, the City

111
of London Sinfonia, the London Mozart Players, The Ulster Orchestra and the Britten

Sinfonia, with whom she recently made her second recording of the Mozart Concerto for

BMG Conifer which went straight into the classical charts in its first week of release and

is now a best seller.

Joy is a founder member [sic] of the Haffner Wind Ensemble with whom she has

broadcast and toured widely. This ensemble has broken down many barriers with both its

education work, always led by Joy Farrall, which has introduced many hundreds of

children to hands on music making.

As a recitalist she has appeared at music societies and festivals all over Britain, at

the Purcell Room and the Wigmore Hall in London, as well as in Spain, Australia,

Finland, and Norway. In addition to this she has appeared as guest soloist with the

Vanbrugh, Kreutzer, Medea, Brindisi, New Leipzig, Schidloff and Pellegrini String

Quartets. Festival appearances include Aldeburgh, Cheltenham, Kuhmo, Stockholm,

Leicester and Cambridge.

Joy has great enthusiasm for new music and has had many new works written for

and dedicated to her, most notably Simon Bainbridge’s Double concerto and Clarinet

Quintet, works by Oliver Knussen and John McCabe and most recently Edward Cowie’s

"Elysium".

As a recording artist Joy has had special success critically for her releases. They

include the complete Mozart Clarinet works on three discs on Meridian, the Strauss Duet

Concertino for EMI, the Mozart concerto on BMG Conifer, which she performs on the

Bassett Clarinet, and various chamber music works for both Chandos and Hyperion.

112
Joy Farrall is a dedicated teacher who has done a great deal to Influence the shape of

British clarinet playing in the last fifteen years through her work as a professor at the

Guildhall School of Music and Drama as well as in her frequent master classes both at

home and abroad (Joy Farrall, n.d.).

Henry Grabb (DUO DEL SOL) holds a Bachelor of Fine Arts from the

University of Central Florida, Master of Music from Northwestern University, and a

Doctor of Music from Florida State University. His principal teachers have been Patricia

Stenberg, Ray Still, and Eric Ohlsson. He is currently Professor of Oboe at West Chester

University of Pennsylvania where in addition to his teaching load, he serves as director of

the Community Music School. Previously he has been a faculty member at Berry

College, Humboldt State University, University of Kansas and Stetson University. Grabb

performs extensively as a member of DUO DEL SOL with his wife, clarinetist Karen

Dannessa. The duo has commissioned and premiered works for clarinet and English horn

by Mark Sforzini, Howard Buss, Katherine Murdock, Jason Haney and Matthew Herman.

Grabb has been described as " a storyteller who captures his listeners with flair and

zeal… and who plays with the richest sonorities on English horn." (New York Concert

Review). He is also a member of the Lancaster Symphony and previously served as

principal oboist with the Naples Philharmonic and Brevard (FL) Symphonies. He is an

active free lancer in the greater Philadelphia area and performed a Weill Recital Hall

Concert of contemporary music in 2003. In addition he serves as Director of

Development for Cat Angel Network, Inc., a no-kill animal rescue group (K. Dannessa,

e-mail, March 20, 2005).

113
 Paul Martin Zonn (1938-2000), born in Boston, was an innovator both in

composition and clarinet performance. His performance credits were many and varied:

clarinet soloist at Carnegie Hall, the Miami Philharmonic, and the New Orleans Eagle

Band: mandolin with the Juilliard Quartet's cellist, saxophone and slide trombone with

Anthony Braxton. He won many awards and honors and was commissioned by such

diverse sponsors as Joel Krosnick, the Tennessee Dance Theatre and the Intergalactic

Alphorn Quartet.

Writing about his own music, Zonn said, "My music has always been concerned

with the very new and the very old, and the integration of diverse elements. Each

composition is a unique project with specific musical problems to be solved, and I

frequently use the many languages of the world's music, binding them together with

common syntax. All of my musical interests and performance skills reveal themselves

very naturally in my own compositions."

Zonn was on the faculty of the University of Illinois School of Music from

1970 to 1996, where he served as division chair of the Theory-Composition Department.

There he performed as clarinetist and conductor of the Contemporary Chamber Players.

Upon retirement from UI, he resided full-time in Nashville, TN, where he continued to

compose, as well as conduct the Nashville Mandolin Ensemble (W. Zonn, e-mail, May 6,

2005).

Wilma Zonn is an oboist of considerable renown. She has performed as

soloist for music festivals in New Hampshire, Banff, Ravinia, Tanglewood,

Hawaii, Las Vegas, Nashville, Miami and New York City. Her expertise as an

114
artist performer of the most demanding contemporary scores is well-documented by

recordings on CRI, UBRES, Advance, Crystal and Zuma. Her many professional credits

include principal oboe with the Oregon Symphony, solo oboe for the UI Contemporary

Chamber Players, Iowa Woodwind Quintet and Nashville New Music Consort. She has

been a Fellow of the Berkshire Music Center and a Fromm Player at Tanglewood and in

New York City. She has taught at the University of Portland, the University of Iowa,

Grinnell College, the University of Illinois, Vanderbilt's Blair School of Music and

the Governor's School for Excellence in the Arts at MTSU. Her teachers were Harold

Gomberg, Ray Still and Julian Balogh. Presently, she performs and records in Music

City, USA, where until recently she was also a music specialist and Career Ladder Level

III Master Teacher in the Metropolitan Nashville Public Schools (W. Zonn, e-mail, May

6, 2005).

115
 APPENDIX C

SELECTED DISCOGRAPHY OF CHAMBER MUSIC AND DOUBLE CONCERTI

FOR OBOE AND CLARINET

DRN# Performers of Oboe CD Title Recording Company,

and Clarinet or Catalogue Number,
Ensembles Year

1 Nicholas Daniel, oboe; The Daniel Trio Leman Classics, LC

Joy Farrall, clarinet; 44301, 1994

2 Peggy Pearson, oboe; John Harbison: At First Archetype Records,

Jo-Ann Sternberg, Light 60106, 1998
clarinet;
Scott Yoo, conductor;
3 Sara Lambert Bloom, Premiere Chamber Works Centaur Records Inc.,
oboe; CRC 2217, 1995
Charles Neidich,
clarinet;
4 Allan Vogel, oboe; Chamber Music Northwest Delos International,
David Shifrin, clarinet; Inc., DE 3136, 1993

5 Harold Smoliar, The Music of Ezra Albany Records, Troy

English horn; Richard Laderman, Volume 5 537, 2002
Page, bass clarinet;

6 Valarie Anderson, Fiati: Impression Jeanne Digital

oboe; John Anderson, Recordings, JDR 2252,
clarinet; 2005

116
7 Emma Feilding, Piper’s Dream: Cecilia Deux-Elles, DXL 1033,
oboe/English horn; McDowall 2002
Fiona Cross,
clarinet/bass clarinet;
8 Valarie Anderson, Fiati: Blend Jeanné Digital
oboe; John Anderson, Recordings, JDR 2250,
clarinet; 2001

9 Fredric T. Cohen, oboe; Symbiosis GM Recordings, GM

Robert Annis, bass 2007CD, 1985/1997
clarinet;

10 Catherine Milliken, Paul Bowles: Migrations Hessischer Rundfunk

oboe; Carol Robinson, and Largo Records,
clarinet; Largo 5131, (LC8943)
(no date)
11 Peter Christ, oboe; Oboist Peter Christ Crystal Records,
David Atkins, clarinet; Digital CD321, 1986

12 Darrel Randall, oboe; Wolpe: Suite im Hexachord Crystal Records, S355,

Floyd Williams, 1983
clarinet;

13 Niels Eje, oboe; Bo Selandia Ensemble: Wind Kontrapunkt, 32032,

Sand, clarinet; Chamber Music I 1989

14 Phyllis Lanini, oboe; An Arthur Berger New World Records,

Don Stewart, clarinet; Retrospective NW 80360, 2000

15 unkown Wolpe: Music for Any Col Legno, AU 31809,

Instruments/Ensemble 2000
Avance

16 Stephen Taylor, oboe; Stefan Wolpe Bridge, 9043, 1993

Allen Blustine, clarinet;

117
17 David Weiss, oboe, Intermezzo-Works of Summit Records, DCD
Michele Zukovsky, Martinu/Zukofsky, 246, 1999
clarinet; Bohemian Ensemble

18 Kentucky Center Betweentdes- Takemitsu, Centaur Records, CRC

Chamber Players Jolivet, etc/Kentucky 2555, 2002
Chamber

19 Randall Wolfgang, Richard Wilson: Chamber Opus One, (LP) 1986?

oboe, Larry Guy, Music, Selections
clarinet;

20 Wilma Zonn, oboe; Dimensions, No. 1 Advance Recordings,

Paul Zonn, clarinet; FGR-25S, c1979

21 New York Woodwind Wallingford Riegger: Music Bridge Records, 9068,

Quintet for piano & winds 1996

22 Marja Haapamäki: Knut Nystedt Hemera Music, HCD

clarinet 2902, 1993
Sanna Niemikunnas:
English Horn
23 Karen Danessa, American Lyrique Tundradogs music,
clarinet; Henry Grabb, 2002
oboe/English horn;

24 Dieter Klöcker, Symphonies Concertantes CPO Classics,

clarinet; and Academy 777 009-2, 2004
of St. Martin-in-the-
Fields
25 Richard Woodhams, Bartok, Liszt, Prokovief EMI Classics, 56816,
oboe; Michael Collins, 1999
clarinet;

118
 APPENDIX D

PUBLISHER, COMPOSER AND MUSIC CENTER INFORMATION

(Publishers are alphabetized by first word. Composers are alphabetized by last name)

Alexander, William American Composers Forum

116 Terrace Drive 332 Minnesota Street
Edinboro, PA 16412 Suite East 145
Email: [email protected] St. Paul, MN 55101-1300
Tel: 651-228-1407
Alphonse Leduc Website: www.composersforum.org/
175 rue Saint-Honore
75040 Paris Cedex 01 American Music Center
France 30 West 26th Street
Tel: +33 (0) 1 42 968911 Suite 1001
Fax: +33 (0) 1 42 860283 New York, NY 10010-2011
Email: [email protected] Tel: 212-366-5260x10
Website: www.slphonse/educ.com Fax: 212-366-5265
Website: www.amc.net/
Amadeus Verlag
CH-8045 Winterthur AMP
Postfach 473 *handled by Hal Leonard Publications
Switzerland
Tel: 52/2332038 Anderson, David
5718 Chattam Drive
American Composers Alliance New Orleans, LA 70122
73 Spring Street, Room 505 Tel: 504-282-4506
New York, NY 10012 Email: [email protected]
Tel: 212-362-8900 or 212-925-0458
Fax: 212-925-6798
Email: [email protected]
Website: www.composers.com/

119
Antes Edition Belgian Centre for Music
Hause Bella Musica Documentation
D77815 Buhl Havenlaan 86C bus 214 /
Baden, Germany Av. du Port 86C bte 214 BE-1000
Tel: 0-72 23-98 55 0 Brussels
Fax: 0-72 23-98 55 66 Tel: +32(0)2-230-9430
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Arizona State Library Email: [email protected]
Box 871006 Website: www.cebedem.be/
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Tel: 480-965-6164 Boosey & Hawkes, Incorporated
35 East 21st Street
Associated Music Publishers New York, NY 10010-6212
*handled by G. Schirmer Email: available at website
Website: www.boosey.com/
Association for the Promotion of New
Music (Subito Music Corporation) Breitkopf & Härtel KG
60 Depot Street Walkmuhlstrasse 52
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Tel: 973.857.3440 GERMANY
Fax:973.857.3442 Tel: (+49) 611 45008 0
Email: [email protected] Fax: (+49) 611 45008 59-61
Website: Website: www.Breitkopf.de/
www.subitomusic.com/APNM.htm U.S. Agent: G. Schirmer (rental)

Australian Music Centre British Music Information Centre

PO Box N690 1st Floor Lincoln House
Grosvenor Place, NSW 1220 75 Westminster Bridge Road
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Tel: +612-9247-4677 United Kingdom
Fax: +612-9241-2873 Tel. +44 (0)20 7928 1902
Email: [email protected] Fax. +44 (0)20 7928 2957
Website: www.amcoz.com.au/ Email: [email protected]
Website: www.bmic.co.uk/
Bastien, Roland
804-1905 Robson Street Brixton Publications
Vancouver BC V6G 1E6 4311 Braemar Avenue
Tel: 604-254-8164 Lakeland, FL 33813-1608
Email: [email protected] Tel/Fax: 863- 646-0961
Email:[email protected]
Website:www.brixtonpublications.com/i
ndex.html

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Broekmans & Van Poppel B.V. C.F. Peters Corporation
Van Baerlestraat 92-94 70-30 80th Street
1071 BB Amsterdam Glendale, NY 11385
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Tel: +31 (0)20 679 65 75 Fax: 718-416-7805
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Email: [email protected] or Website: www.edition-peters.com
[email protected]
Website:www.broekmans.com/en/defaul Chester Music and Novello and Co.
t.cfm 8-9 Frith Street
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Canadian Music Centre Tel: +44 (0) 20 7434 0066
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Tel: 416.961.6601 Website: www.chester-
Fax: 416.961.7198 novello.com/home/index.html
Email: [email protected]
Website:www.musiccentre.ca/home.cfm Composers Facsimile Edition
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Website: Edinboro, PA 16412
www.sibeliusmusic.com/html/sibeliusm Email: [email protected]
usic/cached_stores/33098_212.html
Contemporary Music Centre Ireland
Carl Fischer, LLC 19 Fishamble Street, Temple Bar
65 Bleeker Street Dublin 8 Ireland
New York, NY 10012 Tel: +353-673 1922
Tel: 212-777-0900 Fax: +353-1-648 9100
Fax: 212-477-6996 Email: available at website
Email: [email protected] Website: www.cmc.ie/
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Costa, Anthony J.
Casa Ricordi 2181 Green Island Drive
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Email: [email protected]
CeBeDeM - Centre Belge de
Documentation Musicale Costallat Editeurs
rue d'Arlon 75 - 77 *see Editions Jobert
B - 1040 Bruxelles Belgium

121
DaCapo Music ECS Publishing
112A Glebe Point Road 138 Ipswich Street
Glebe NSW Boston, MA 02215-3534
Australia 2037 Website: www.ecspublishing.com
Tel: +61 2 9660 1825
Fax: +61 2 9660 1268 Éditions Amphion (merged with Max
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Website: www.dacapo.com.au 4, place de la Bourse
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Dinerstein, Nelga Website: www.salabert.fr/
Peacehaven U.S. Agent:
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Tel: 864-468-4493
Email: [email protected] Edition Con Brio
Box 7457,
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Tel: +43 1 515 03-3 *see Edition Jobert
Fax: +43 1 515 03-51
Email: [email protected] Edition de Musique Contemporaine
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P.O. Box 206 Website: www.jobert.fr/cgi-
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Tel: +033 1 53 838450
Fax: +033 1 53 838160

122
Edition Musicus, Inc. Emerson Edition, Ltd.
PO Box 628 Windmill Farm, Ampleforth
Botsford, CT 06404 York YO6 4HF England

Edition Peters, Ltd. Faber Music, Ltd.

Hinrichsen House *handled by G. Schirmer
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Editions Viento Galaxy Music Corporation

8711 SW 42 Avenue New York
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Tel/Fax: 503/244-3060
Galliard Ltd.
Edition Wilhelm Hansen AS PO Box 110 Victoria House - 23
Bornholmsgade 1 Gruneison Road
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Edwin F. Kalmus and Company, G. Schirmer, Incorporated

Incorporated 257 Park Avenue South (20th floor)
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music.com/default.htm General Music Publishing Co., Inc.
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Elkan-Vogel, Incorporated Dobbs Ferry, NY 10522
*handled by Theodore Presser Co. U.S. Agent: BOSTON
Tel: 800-304-0096 and 603-888-6444

123
Gemini Publications Heinrichshofen Verlag
58 Abinger Road Liebigstrasse 4
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Fax: 020 8994 8639 Herman, Matthew
81 1/2 E Franklin St
Gérard Billaudot Editeur Ephrata, PA 17522-2446
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75010 Paris France Email: [email protected]
Tel: (33 1) 47 70 14 46
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Email: [email protected] Email: [email protected]
Website:www.billaudot.com/__english/i Website: www.paulbowles.org
ndex_va.html
Hinrichsen Edition Ltd.
Goodrich, Joseph *handled by C.F. Peters Corp.
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Tel: 914-453-0785 Sidumuli 34
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Hal Leonard Corporation College Park, MD 20742-163
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Hansen Musik, Wilhelm Society)
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DK-1266 Copenhagen
Denmark Independent Publications
Tel: +1 –117888 P.O. Box 162 - Park Station
Fax: +1 –148178 Paterson, NJ 07513

Haney, Jason
*see Luyben Music

124
International Opus Josef Marx Music Company
P.O. Box 4852 *handled by McGinnis &Marx Music
Richmond, Virginia 23220 Publishers
Tel/Fax: 800 720-0189 (24 hours)
Email: [email protected] Kibbe, Michael
Website: 10352 Glory Avenue,
www.internationalopus.com/index.htm Tujunga, CA 91042-2024
Tel: 818- 352-4666
Israel Composers’ League Email: [email protected]
55 Menachem Begin Road,
Tel Aviv , 67137 (3rd floor), Kirlin, June
Israel 1199 N. Terry #332
Tel/Fax: +972-3-5621282 Eugene, OR 97604
Tel: +972-3-5621287 (IMC-MALI) Tel/Fax: 541-688-3186
Website:www.geocities.com/israelcomp
osers/ Kunzelmann
*handled by C.F. Peters Corp.
Janus Music
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Tel/Fax: 020 8892 1833 Studio City, CA 91604
Email [email protected] Tel: 800-762-0966
Fax: 818-956-0088
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Incorporated
#310 5th Sky Bldg., 3-3-8 Sendagaya, Leduc
Shibuya-ku, Tokyo 151-0051 JAPAN 175, rue Saint-Honore, F-75040
Tel. 03-5474-1853 / Paris, France
Fax 03-5474-1854 /
Website: www.jfc-i.org/index_e.htm Lemoine Editions
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P.O. Box 32758 France
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Tel: 800- 831-7691 or 763-754-66985 Fax: +33 01 56 68 90 66
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Email: [email protected] Website: www.editions-lemoine
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Jobete Music Company, Inc.

6255 Sunset Blvd.
Hollywood, CA 90028

125
Luyben Music Musica Rara
4318 Main Street 84170 Monteux
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1-800-258-9236 Fax: +33 90653390
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Postfach 7645
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Tel: 617-332-6398
Fax: 617-969-1079 Music Information Center Norway
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Tel: 212-243-5233 Website:www.mic.no/english
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POB 5010
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Email [email protected] Email: [email protected]
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MMB Music, Inc.
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Website: www.mmbmusic.com/ OSLO, Norway
Tel: +47 2242 9090
Murdock, Katherine Ann Fax: +47 2242 9091
Professor of Composition & Theory Email: [email protected]
School of Music, Box 53 Website:www.notam02.no/nmi/kataloge
Wichita State University r/woo7.html
Wichita, KS 67260-0053
Tel: 316-978-6272 Novello & Co.
*handled by G. Schirmer

126
O'Riordan, Kirk Pizzicato Verlag Helvetia
Website:members.aol.com/khduo/home. Albisstrasse 57
htm CH-8134 Adliswil
Switzerland
Osmund Music, Inc. Tel: +41 1 710 62 52
P.O. Box 451112 Fax: +41 1 710 61 53
Los Angeles, CA 90045 Email: [email protected]
Tel: 213-368-6418 Website: pizzicato.ch/E/aboutus.shtml
Fax: 310-215-9924
Email: [email protected] Polish Music Information Centre
Website: Rynek Starego Miasta 27
members.aol.com/Osmundmus/ 00-272 Warsaw, Poland
tel.: (+48 22) 831 16 34 ext. 33, 635 91
Oxford University Press 40
Great Claredon St. Fax: (+48 22) 831 17 41, 831 06 07
Oxford OX2 HDP Email: [email protected]
UK Website: www.polmic.pl
Email: [email protected]
Website: www.oup.org Providence Music Press
251 Weybosset St.
Parker, Michael Providence, RI 02903
Sir Wilfred Grenfell College
University Drive Rahbee, Dianne Goolkasian
Corner Brook, NL Seda Publications
A2H 6P9 45 Common St.
Tel: 709- 637-6243 Belmont, MA 02178-3022
Email: [email protected] Tel: 617- 489-1848
Website: www.swgc.mun.ca/mparker/ Fax: 617-489-6474
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Peer Music Classical
810 Seventh Avenue Ricordi Edizioni
New York, NY 10019 Via Salomon 77
Tel: 212-265-3910 20138-Milano MI
Fax: 212-489-2465 Italy
Email: [email protected] Tel:+02 8881 4314
Website: www.peermusic.com/classical Fax: +02 8881-4280
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Robbins, Scott
789 Glendalyn Avenue
Spartanburg, SC 29302
Tel: 864-596-9001
Email: scott.robbins@converse .edu

127
Sam Fox Music Corp. Smith Publications and Sonic Art
1540 Broadway Editions
New York, NY 10036 2617 Gwynndale Ave
Baltimore, MD 21207
Schmitt, Hall & McCreary Co. Tel: 410-298-6509
527 Park Avenue Fax: 410-944-5113
Minneapolis, Minnesota 55415 Email: [email protected]
Website: www.smith-publications.com/
Schott & Company, Ltd.
48 Great Marlgorough Street Soundspells Productions
London W1V 2B, England 86 Livingston Street
Rhinebeck, NY 12572
Seesaw Music Corp. Tel: 914-876-6295
2067 Broadway, Suite 58 Email: [email protected]
New York, NY 10023
Tel.: 212.874.1200 Southern Music Publishing Co.
P.O. Box 329
Sforzini, Mark 1100 Broadway
215 S. Hale Ave San Antonio, TX 78206
Tampa, FL 33609 *handled by Theodore Presser Co.
*music available through Luyben
Sowash, Rick
Shawnee Press, Inc. 338 Milton Street
P.O. Box 1250 Cincinnati, OH 45202
Jay Park Plaza Tel: 513- 721-1241 or
9 Dartmouth Drive Bldg. 4 1-888-255-2764.
Marshalls Creek, PA 18335 Email: [email protected]
Tel: 800- 962-8584 Website: www.sowash.com/index.html
Fax: 800- 345-6842
Email: shawnee- Spears, Gay Holmes
[email protected] 2304 Eagles Glen Ct.,
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Tel: 636-527-8458
Skandinavisk Musikforlag
Gothersgrade 9-11 Stainer & Bell Ltd
DK-1123 Copenhagen Victoria House - 23 Gruneisen Road
Denmark London, England N3 1DZ
Website: www.stainer.co.uk
Smaldone, Edward
LK Music
228 Manhasset Avenue
Manhasset, NY 11030
Email: [email protected]

128
Stim Svensk Musik United Music Publishers
Box 27327 33 Lea Road, Waltham Abbey, Essex
Sandhamnsgatan 79 EN9 1ES, UK
102 54 Stockholm Tel: 00 44 (0)1992 703 110
Tel: 08-783 88 00 Fax: 00 44 (0)1992 703 189
Fax: 08-783 95 10 Email: [email protected]
Email: [email protected] Website: www.ump.co.uk/
Website: www.mic.stim.se
Universal Editions AG
Studio Music Publishing Co. Inc. Bosendorferstrasse 12
4153 Brick Church Park A-1015 Vienna
Whites Creek, TN 37189 Austria
Tel: +431 5058695
Thames Publishing Fax: +431 5052720
14, Barlby Road
LONDON Universal Edition
W10 6AR A-1010 Vienna
Tel: 020 8969 3579 Postfach 130
Karlsplatz 6, Austria
Theodore Presser Co.
588 North Gulph Road University of California, San Diego
King of Prussia, PA 19406-2800 Library
Tel: 610-525-3636, ext. 41 9500 Gilman Drive
Fax: 610-527-7841 #0175-Q
Email: [email protected] La Jolla, CA 92093
Website: www.presser.com Tel: 858-534-1267
Website: roger.ucsd.edu/
Thomi~Berg
Verlag & Verlagsauslieferungen Uusinta
Pasingerstr.38 a P.O.Box 16
D-82152 Planegg bei München FI-00271 Helsinki
Tel:+49 (0)89 / 859 99 44 Finland
Fax: +49 (0)89 / 859 33 23 Tel: +358442945522
Website:www.thomi- Fax: +358-9-588 1935
berg.de/ThB/indexx.htm Email: milla.tommila(at)uusinta.com
Website: www.uusinta.com/contact.html
Tundradogs Music Publishing
13753 360th Street Washington State University
Onamia, MN 56359 Libraries
Tel: 320-532-3577 Manuscripts, Archives, and Special
Email: [email protected] Collections
Website: www.tundradogsmusic.com Pullman, WA 99164-5610
Tel: 509- 335-6691

129
Watkins, Bedford
217 North Bayshore Drive
Eastpoint, FL 32328
Tel: 850-670-8088

Wehr’s Music House

3533 Baxter Drive
Winter Park, Florida 32792
Email: [email protected]
Website: www.wehrs-music-house.com
/index.htm

Western International Music

3707 65th Avenue
Greeley, CO 80634-9626
Tel: 970-330-6901
Fax: 970-330-7733
Email: [email protected]
Website: www.wiminc.com

Vandoren Sheet Music Shop

Espace Partitions Vandoren
56 rue Lepic
F-75018 PARIS
Email: [email protected]
Tel: +33 1 53 41 83 03
Fax: +33 1 53 41 83 04

Zonn, Wilma
122 Bayview Drive
Hendersonville, TN 37075

130
 APPENDIX E

ADAPTED ENGLISH HORN PART FOR MOZART TRIO, K.V. 498

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141
 LIST OF REFERENCES

Adler, Samuel. (2002). The study of orchestration (3rd ed.). New York: W.W. Norton &
Company, Inc.

Andersen, Arthur Olaf. (1929). Practical orchestration. Boston: C.C. Birchard &
Company.

Baines, Anthony. (1991). Woodwind instruments and the their history. New York: Dover
Publications, Inc.

Baron, John Herschel. (1998). Intimate music: A history of the idea of chamber music.
Stuyvesant, NY: Pendragon Press.

Baron, John Hershel. (2002). Chamber music: a research and information guide (2nd ed.).
New York: Routledge.

Beethoven, Ludwig Van. (n.d.). Symphonie Nr. 3, Op. 55. Leipzig/Wien: Ernst
Eulenburg.

Blatter, Alfred. (1997). Instrumentation and orchestration. New York: Schirmer Books.

Brahms, Johannes. (n.d.). A German Requiem, Op. 45. New York: Edwin F. Kalmus.

Brixel, Eugen. (1978). Klarinetten-Bibliographie. Wilhelmshaven: Heinrichshofen.

Brymer, Jack. (1976). Clarinet. New York: Schirmer Books.

Burgess, Geoffrey, & Haynes, Bruce. (2004). The Yale musical instrument series: The
oboe. New Haven: Yale University Press.

Burton, Stephen Douglas. (1982). Orchestration. Englewood Cliffs, N. J.: Prentice-Hall,

Inc.

Cacavas, John. (1975). Music arranging and orchestration. Melville, N.Y.: Belwin-Mills
Publishing Corp.

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Cox, Nicholas. (1995). The professional clarinetist. In Colin Lawson (Ed.), The
Cambridge companion to the clarinet (pp. 151-162). Cambridge University Press.

Daubeny, Ulric. (1919). Orchestral wind instruments. London: Wm. Reeves.

Debussy, Claude. (1938). La Mer. Paris: Durand S.A.

Dvorak, Antonin. (1955). Carnival Overture, op. 92. Prague, Czechoslovakia: Artia.

Forsyth, Cecil. (1982). Orchestration. New York: Dover Publications, Inc.

Foster, Levin Wilson. (1940). A directory of clarinet music. Pittsfield, MA.: A.E.
Johnson & Son.

Goldron, Romain. (1994). John Linton Gardner. In The Daniel Trio (p. 8)
[CD liner notes]. Switzerland: Léman Classics.

Guy, Larry. (1996). Intonation training for clarinetists. Stony Point, NY: Rivernote
Press.

Heim, Norman M. (1984). Clarinet literature in outline. Hyattsville, MD: Norcat Music
Press.

Heller, George N. (1970). Ensemble music for wind and percussion instruments: a
catalogue. Washington D.C.: Music Educators National Conference.

Helm, Sanford M. (1969). Catalog of chamber music for wind instruments. New York:
Da Capo Press.

Hinson, Maurice. (1978). The piano in chamber ensemble, an annotated guide.

Bloomington: Indiana University Press.

Hoeprich, T. Eric. (1983). Finding a clarinet for the three concertos by Vivaldi. Early
Music Journal, 11, 61-64.

Hopkins, Anthony. (1982). Sounds of music. London: J.M. Dent & Sons Ltd.

Houser, Roy. (n.d.). Catalogue of chamber music for woodwind instruments. Indiana
University, School of Music.

Jacob, Gordon. (1965). The elements of orchestration. New York: October House.

John Anderson. (n.d.). Fiati (U.S.A.), Retrieved May 5, 2005, from

http://www153.pair.com/bensav/Interpretes/Fiati.Dirlam.html

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John McCabe. (n.d.). Program note for double concerto for oboe, clarinet and orchestra.
Retrieved April 12, 2005, from
http://www.chesternovello.com/work/8549/main.html

Johnston, Stephen K. (1988). Antonio Vivaldi and the clarinet. The Clarinet, 15, 42-44.

Joy Farrall. (n.d.). Retrieved May 4, 2005, from

http://www.haffnerwind.com/biogs/jfarrall.htm

Klöcker, Dieter. (2004). Carl Friedrich Abel. In Symphonies concertantes (p. 29) [CD
liner notes]. Georgsmarienhütte, Germany: CPO Classics.

Kroll, Oskar. (1968). The clarinet. Trans. Ed. Anthony Baines. New York: Taplinger
Publishing Company.

Lawson, Colin. (1981). The chalumeau in eighteenth century music. Ann Arbor: UMI
Research Press.

Lawson, Colin. (1989). Single reed instruments in the music of Vivaldi. CHIGIANA, 41,
185-196.

Lawson, Colin, (Ed.). (1995). The Cambridge companion to the clarinet. Cambridge
University Press.

Mac Donald, Hugh. (2002). Berlioz’s orchestration treatise: A translation and

commentary. Cambridge University Press.

Nassimbeni, Lorenzo. (2002). Introduction. In Carlo Paessler, Concerto for oboe,

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