Oboe Catalog
OctandreOther Oboe books that may be of interest:
- Diesendruck, Tamar; Stevens, Wallace The palm at the end of the mind T. Diesendruck [S.l.] 1984; c1984
Tamar Diesendruck ; on a poem by Wallace Stevens. For alto, flute/piccolo, oboe, bassoon, trumpet, percussion, harpsichord, violin, and double bass.; Reproduced from holograph. 28 x 44 cm. 1 score (47 p.) 28 x 44 cm. Songs (Low voice) with instrumental ensemble; Stevens, Wallace; Music; Diesendruck, Tamar
- Harbison, John.; Williams, William Carlos; Fried, Michael.; Upshaw, Dawn.; Sylvan, Sanford.; Kalish, Gilbert.; Boston Symphony Chamber Players. Simple daylight Elektra Nonesuch New York, N.Y. 1993; p1993
John Harbison. Acc. of the 1st work for flute, oboe, English horn, viola, violoncello, harp, and piano.; Words of the 1st work from William Carlos Williams' Paterson, book 5; of the 2nd by Michael Fried.; Dawn Upshaw, soprano (2nd work) ; Sanford Sylvan, baritone (1st work) ; Gilbert Kalish, piano (2nd-3rd works) ; Boston Symphony Chamber Players (1st and 3rd works).; Recorded at Symphony Hall, Boston, Mass., Nov. 1990 (1st work) and May 1988 (3rd work) and at Richardson Auditorium, Princeton, N.J., Sept. 1991 (2nd work).; Compact disc.; Program notes by Richard Dyer and texts of the songs ([24] p.) in container.; Words from Paterson (26:47) -- Simple daylight (16:00) -- Piano quintet (22:56). 4 3/4 in. 1 sound disc digital 4 3/4 in. Songs (Medium voice) with instrumental ensemble.; Williams, William Carlos; Songs (High voice) with piano.; Fried, Michael; Piano quintets.; Song cycles.
- Hartway, James; Thoreau, Henry David Impressions of Walden J. Hartway, [United States] :
James Hartway "Multimedia piece that may be performed with slides and live narration, without slides, or with the narrative on prerecorded tape"--PrefFor narrator, flute, oboe, clarinet, bassoon, and hornNarrative taken from Walden, A week on the Concord and Merrimack Rivers, The journal, and Ktaadn and the Maine woods, by Henry David ThoreauReproduced from holographDuration: ca. 18:00 Country -- Sun -- Butterflies -- Owls -- Wind -- Silence -- Night; c1979 1 score (19 leaves) ; 27 x 35 cm Dewey:
- Philidor, André; Goodwin, Paul; Petit, Marie-Ange.; Lully, Jean Baptiste; London Oboe Band. Le mariage de la grosse Cathos Harmonia Mundi France Arles 1994; p1994
Philidor. Le bourgeois gentilhomme ; Les nopces de village ; Cadmus et Hermione / Lully. Ballet and opera excerpts ; vocal pieces performed instrumentally.; For oboe band, with percussion parts added.; London Oboe Band ; Marie-Ange Petit, baroque percussion ; Paul Goodwin, conductor.; Recorded Jan. 3-4, 1994, Abbey Road Studios, London.; Compact disc.; Durations: 15:29; 14:32; 15:21; 12:40.; Program notes in English, German and French (26 p. : ill.) inserted in container. 4 3/4 in. 1 sound disc digital 4 3/4 in. Operas; Ballets; Oboe ensembles.; Oboe ensembles, Arranged. Predica
Quotes
from A Time of Gifts
No janitor was about. A young Benedictine, finding me loitering in the gatehouse, took me in tow, and as we crossed the first great courtyard, I knew I was in luck. He spoke beautiful French; he was learned and amusing and the ideal cicerone for all that lay ahead.Partick Leigh Fermor
Afterwards, it was in confused musical terms that the stages of our progress strung themselves together in my memory. This is how they resound there still. Overtures and preludes followed each other as courtyard opened on courtyard. Ascending staircases unfolded as vaingloriously as pavanes. Cloisters developed with the complexity of double, triple, and quadruple fugues. The suites of state apartments concatenated with the variety, the mood and décor of symphonic movements. Among the receding infinity of gold bindings in the library, the polished reflections, the galleries and the terrestrial and celestial globes gleaming in the radiance of their flared embrasures, music, again, seemed to intervene. A magnificent and measured polyphony crept in one’s ears. It was accompanied by woodwinds at first, then, at shortening intervals, by violins and violas and ’cellos and then double basses while a sudden scroll-work of flutes unfurled in mid-air; to be joined at last by a muted fanfare from the ceiling, until everything vibrated with a controlled and pervading splendour. Beyond it, in the church, a dome crowned the void. Light spread in the painted hollows and joined the indirect glow from the ovals and the lunettes and the windows of the rotunda. Galleries and scalloped baldachinos and tiered cornices rose to meet it; and the soft light, falling on the fluted pilasters and circles of gold spokes, and on the obelisks wreathed with their sculpted clouds, suffused the honeycomb side-chapels and then united in a still and universal radiance. Music might just have fallen silent; unless it were about to begin. In the imagination, instruments assembled—unseen cymbals just ajar that would collide with a resonance no more strident than a whisper; drums an inch below their padded sticks with palms ready to muffle them; oboes slanting, their reeds mute for a moment more; brass and woodwind waiting; fingers stretched motionless across wires of a harp and fifty invisible bows poised in the air above fifty invisible sets of strings.