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Vol. 24 NO.

4 2001
THE DOUBLE REED

103

What Every Oboist Should Know:


Methods and Repertoire Selections
A Survey Conducted by Susan M. Lundberg
Chico, California

here are several lists of oboe repertoire created


and published for various audiences and
purposes. A comprehensive list of solo oboe
repertoire is short compared to those of some
other musical instruments (piano or violin, for
example). However, there is still more music than most
can study and perform well in the course of a four-year
degree. Teachers must choose, with their students,
what repertoire the student will study and perform.
The objective of this survey was to determine
what a representative sample of professional oboists
and oboe professors considered to be the most
important works for an undergraduate oboe student
to study and perform. Another objective was to find
out which oboe methods and studies these teachers
use in their lessons. These collective opinions will
help developing oboists choose repertoire to study
and assist beginning oboe teachers in becoming
familiar with the common body of oboe teaching
repertoire. This survey may also be an aid to music
departments and music librarians selecting sheet
music and recordings to add to their collections. The
survey results may especially help secondary music
teachers, who may not be familiar with the standard
oboe repertoire, to know what is ahead for their oboe
students at the university.
REVIEW OF PRELIMINARY RESEARCH
Several books and articles have been published
which contain lists of oboe repertoire. William Dietzs
Teaching Woodwinds, a resource handbook for music
teachers, contains a graded list of repertoire by Dr.
Mark Weiger, and it includes some helpful
annotations. Frederick W. Westphals Guide to
Teaching Woodwinds also contains a thorough list of
study materials and graded solo repertoire. Both of
these texts seem to be aimed at the secondary music
teacher who needs guidance with all the woodwind
instruments, and both books contain good
information about teaching how to play the oboe.
In an article in the International Double Reed
Societys To the Worlds Oboists, Florian Mueller
(former principal oboist of the Chicago Symphony)
listed works that he considered crucial for the oboist
in a four-year undergraduate program. Wilkins The
Index of Oboe Music and Woodwind Music Guide: Solo
and Study Material in Print lists music for oboe, many
of which are arrangements (originally composed for
another instrument). There are extensive lists of

works in Bruce Haynes Music for Oboe, 1650 to 1800


and in Miroslav Hoseks Oboen Bibliographie. Other
repertoire listings for oboe appear in Evelyn
Rothwells Oboe Technique, Phillip Bates The Oboe:
An Outline of its History, Development and Construction,
and Leon Goossens Oboe.
By combining these lists and sources, one can
arrive at a fairly complete catalogue of works for
oboe. The results from this survey are unique in that
they are the current, collective ideas of many
professional oboists regarding the works that should
be studied at the undergraduate level.
METHOD OF RESEARCH
This survey was conducted over the Internet,
using InfoPollTM online survey software. The software
was used to create a survey that could be accessed at
InfoPolls website by clicking on the hyperlink in the
e-mail letter sent to the potential respondent. This
online survey method was chosen for its convenience
for the respondent. It also facilitated prompt data
collection.
The pieces of music were organized by type:
concerto, sonata, chamber music, other solo works,
and oboe studies and methods. In James Prodans
1979 survey of oboe teachers, which addressed many
issues of oboe teaching besides repertoire,
respondents were given space to list pieces of music
that their students perform, rather than marking
choices from a list of over 150 works, as in this
survey. A space was provided at the end of each
category for respondents to type in works which
were not listed. Survey participants were instructed
to mark as many choices as they desired.
The lists of concertos, sonatas, chamber music,
other solo works, and study methods for this survey
were compiled from the sources mentioned above as
well as from lists of recorded music in libraries and
on the Internet, and from articles in International
Double Reed Society (IDRS) publications.
The study population for this survey was all
professional oboists and oboe teachers who are
available through electronic mail. The respondents
level of education and/or oboe teaching and
performing experience were important to provide
credibility to the study. Web sites of universities,
conservatories, record companies and orchestras
provided biographical and professional information
about potential respondents.

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Table I
Concertos Oboists Should Study
Concerto
Mozart C major, K. 314
Cimarosa C minor
Marcello, A. (key not specified)
Handel No. 3 in G minor
Haydn C major (attributed)
J.S. Bach C minor (oboe/violin), BWV 1060a
Vaughan Williams
Albinoni op. 9, D minor
Bellini Eb major
Strauss
Assuming the information provided at these sites
is reliable, over 95 percent of the respondents have
either an MA in Music with a concentration in oboe
performance or an extensive professional oboe
performance resume. Over 30 percent have doctoral
degrees in music. While this convenience sample is
not statistically representative of all professional
oboists and oboe teachers at universities and
conservatories (some of them are not available by
electronic mail), it is a reasonable representation of
that population.
The respondents names and e-mail addresses
were gathered by way of searching the world wide
web especially university, conservatory and
professional orchestra sites. Particularly helpful was
Brian Moses list of oboists on the Internet, Double
Reed Players in Cyber Space, where many e-mail
addresses were found and used.
The respondents were given a date by which to
respond (about 30 days). If they did not respond by
the deadline, a duplicate e-mail was sent. They were
told they would receive the results of the survey if
they participated. The response rate for the survey
was 35.9 percent, with 42 responding out of 117
surveys sent. This response rate is lower than

Percentage of
Respondents
95
88
86
81
79
71
69
57
52
50

Number of
Respondents
40
37
36
34
33
30
29
24
22
21

Schaefer and Dillman reported in their e-mail survey


study (390).
FINDINGS
Tables I through 5 illustrate the ten works under
each category that survey respondents chose most
frequently. The survey found these works the most
important for the undergraduate oboist to study and
perform. The categories are concertos, sonatas,
chamber music, other works, and methods and
studies. Tables 6 - 15 list complete response data for
every category, including those works filled in by
survey respondents.
DISCUSSION
The Baroque and Classical periods of music
(approximately 1600-1750 and 1750-1825,
respectively) are best represented on the concerto
list. Baroque pieces dominate the sonatas most
frequently selected. In the chamber music section,
works from the Classical period appear most often
(see Table 3). Works composed during the Romantic
era (1825-1900) and the 20th century dominate the
choices for the Other Works category (see Table 4).

Table 2
Sonatas Oboists Should Study

Sonata
Saint Sans
Poulenc
Hindemith
Handel C minor
Handel G minor
Handel Bb major
Telemann A minor
J.S. Bach G minor, BWV 1020
Vivaldi C minor
Handel F major

Percentage of
Respondents
95
95
93
88
79
67
67
57
57
55

Number of
Respondents
40
40
39
37
33
28
28
24
24
23

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Table 3
Chamber Music Oboists Should Study
Chamber Music Work
Mozart Oboe Quartet, K. 370
Beethoven Trio (2ob, EH)
Beethoven Quintet for Piano and Winds
Mozart Quintet for Piano and Winds, K.452
Danzi Woodwind Quintet, op. 56, no. 1
Britten Fantasy Quartet
Arnold Trio (fl, ob, cl)
Reicha Oboe Quintet in F, op. 107
Hindemith Woodwind Quintet
Nielsen Woodwind Quintet
The chamber music category contained the most
filled-in answers, and many of them were mentioned
more than once. This is especially true in the area of
woodwind quintets, only one of which was listed as
part of the online survey. This indicates that the list
of chamber works provided was not as complete as
the other lists. Including more chamber works on the
list might have influenced the results for that
category.

Percentage of
Respondents
100
79
76
69
60
52
33
29
24
24

Number of
Respondents
42
33
32
29
25
22
14
12
10
10

and it was the students responsibility to transfer


this knowledge to whatever literature was put in front
of him. Further, Light says that it is important for the
teacher to make very certain that all the (music)
majors have exposure to good examples of repertoire
from the Baroque, Classical, Romantic and
20th-century periods. Light also mentioned that it
depends somewhat on the students abilities and
inclinations.

Table 4
Other Works Oboists Should Study

Name of Composition
Britten 6 Metamorphoses After Ovid
Schumann Romances
Nielsen Fantasies
Telemann Partitas
Paladilhe Solo
Francaix The Flower Clock
Barlow Winters Passed
Hummel Variations, op. 102
Mozart Sinfonia Concertante, K.297b
Telemann Fantasies for Flute
The survey found that the Ferling Studies were the
most frequently used method or study in the survey
participants own teaching; Barret received nearly as
many responses.
A few teachers who were asked to fill out the
survey were reluctant to create a list of repertoire.
Professor Jay Light of Drake University chose not to
make any repertoire selections, saying, Im
vigorously opposed to such lists, believing that they
are a specious way of getting a teacher off the hook
for turning students into true musicians. When he
was a student, Lights teachers taught him to be
expressive and understand the grammar of music
through the use of Barret, Ferling, and other studies,

Percentage of
Respondents
93
81
62
55
52
50
45
43
43
41

Number of
Respondents
39
34
26
23
22
21
19
18
18
17

According to information obtained anecdotally by


the author from conversations with various oboe
students over the past year, several prominent oboe
teachers do not work with their students on
repertoire during lessons or not until very late in
the students schooling. These teachers continue
with Ferling, Barret, and other methods and studies
found in Table 5 and Table 15. If students of these
teachers have recitals or juries to do as part of their
academic program, the students are given the
opportunity to interpret the musical literature
themselves, armed with what theyve learned from
studying etudes with their teacher.
This issue of what material to use in lessons raises

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106

WHAT EVERY OBOIST SHOULD KNOW: METHODS AND REPERTOIRE SELECTIONS

Table 5
Methods and Studies Respondents Use With Their Students
Oboe Method/Study
Ferling Studies
Barret Oboe Method
Vade Mecum (Andraud)
Gillet Studies
Brod Etudes
The Art of Oboe Playing, Sprenkle/Ledet
Bozza Etudes
Rothwell Oboe Technique
Prestini
Sellner
an important question about motivation and what
part study and performance of the musical literature
plays in inspiring an oboe student to keep studying,
playing and improving. Some teachers may find it
important to work on standard repertoire sooner
with some students than others, while continuing
work with etudes and other exercises. This question
of pedagogy invites further study. However, it is
important to point out, that, as Marilyn Zupnik of the
Minnesota Orchestra states on her CD, A Guide to
Classic Oboe Etudes, many of these studies are not
just exercises, but interesting and beautifully-written
compositions.

Percentage of
Respondents
95
88
57
48
29
29
26
24
14
14

Number of
Respondents
40
37
24
20
12
12
11
10
6
6

Structure. Journal of the International Double


Reed Society 12 (1984): Online.
Light, Jay. Letter (e-mail) to the author. 17 July 1999.
Moses, Brian. Double Reed Players in Cyber
Space. Brians Double Reed Page. http://www.
uky.edu/~moses/bdrp.cyber (1 Jul. 1999).
Mueller, Florian. A Four Year Undergraduate
Course of Study for the Oboist. To the Worlds
Oboists. 1.2 (July 1973): Online.
Prodan, James. Oboe Performance Practices in
the United States and Canada. Greensboro, NC:
Spectrum Music Publishers, 1979.
Rasmussen, Mary and Donald Mattran. A
Teachers Guide to the Literature of Woodwind
Instruments. Milford, NH: The Cabinet Press, 1966.
Rea, Louis M. and Richard A. Parker. Designing
and Conducting Survey Research: A Comprehensive
Guide. San Francisco: Jossey-Bass Publishers,
1997.
Rothwell, Evelyn. Oboe Technique. 2nd ed.
London: Oxford University Press, 1962.
Schaefer, David R. and Don A. Dillman.
Standard E-mail Methodology. Public Opinion
Quarterly. Fall 1998: 385-393.
Westphal, Frederick W. Guide to Teaching
Woodwinds. 4th ed. Dubuque, IA: Wm. C. Brown
Company Publishers, 1985.
Wilkins, Wayne. The Index of Oboe Music.
Magnolia, AR: The Music Register, 1975.
Zupnik, Marilyn. A Guide to Classic Oboe
Etudes. DLM Records, 1998.

CONCLUSIONS
Certainly, learning proper technique and
musicianship must not be sacrificed in order to cross
works off a repertoire list. As one respondent from
Prodans 1979 survey said, I dont feel that repertoire
is any indication of level of playing. Making top ten
lists of concertos and sonatas may seem a bit
offensive, and no teacher wants to allow recitals,
auditions, nor juries much less any list to
determine what is covered during lessons and
practice. However, there are points when one has to
decide which pieces to prepare for a performance or
audition. This compilation, which was gathered from
some of the best oboists and oboe teachers
practicing the art of oboe playing today, should be
used to assist with those decisions.

The author wishes to thank all the oboists who


participated in this survey, most of whose names
are listed below. Special thanks to Dr. James M.
Bankhead, Chairman, Department of Music,
California State University, Chico.

WORKS CITED
Dietz, William, ed. Teaching Woodwinds: A
Method and Resource Handbook for Music
Educators. New York: Schirmer Books, 1998.
Goossens, Leon and Edwin Roxburgh. Oboe. New
York: Schirmer Books, 1977.
Haynes, Bruce. Music for Oboe, 1650 to 1800.
Berkeley, CA: Fallen Leaf Press, 1994.
Hosek, Miroslav. Oboen-Bibliographie.
Wilhelmshaven: Heinrichshofen, 1975.
Lehrer, Charles-David. The Repertory of the
Oboe Soloist in the 19th Century: The Hidden

SURVEY RESPONDENTS:
Dr. Ann Adams, Stetson University, Florida
Dr. Nancy Ambrose King, University of Illinois at
Urbana-Champaign
Lauren Baker, University of South Florida
Dr. Mary Ashley Barret, University of North
Carolina at Greensboro
James Caldwell, Oberlin Conservatory
Dr. Stephen Caplan, University of Nevada, Las
Vegas
Brian Charles, Charles Double Reed Company

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Peter Christ, Crystal Records


Frederic T. Cohen, University of Massachusetts,
Amherst
Dr. Jose A. Diaz, Principal Oboe, Fresno
Philharmonic Orchestra
Jonathan Dlouhy, Principal Oboe, Atlanta
Symphony Orchestra
Dr. Dan Duncan, Eastern Kentucky University
Dr. Michael Ericson, Western Illinois University
Dr. Sally B. Faulconer, University of Oklahoma
Paul Goodwin,
Merrill Greenberg, English Horn, Israel
Philharmonic
Dr. John W. Goodall, Stephen F. Austin State
University, Texas
Dr. Henry Grabb, West Chester University,
Pennsylvania
Denis Harper, California State University Hayward
Pamela Hakl, Principal Oboe, San Jose Symphony
Rebecca Henderson, University of Washington
Dr. Stephen Hiramoto, North Texas Oboe Reeds
and Cane
Lidia Khaner, Principal Oboe, Edmonton
Symphony Orchestra

Jacqueline Kovach, Temple University Music Prep


John Lawley, London Symphony Orchestra
Dr. Dwight Manning, University of Georgia
Malcolm Messiter
Carol Padgham Albrect, University of Idaho
Matthew Peaceman,
Peter-Cornelius Conservatory, Mainz, Germany
Roger Rehm, Central Michigan University
Andrea Ridilla, Miami University, Oxford, Ohio
Dr. Kevin Schilling, Iowa State University
Martin Schuring, Arizona State University
Lisa Schneider, University of Alabama in Huntsville
Harold Smoliar, English horn, Pittsburgh
Symphony
Ray Still, Principal Oboe, Chicago Symphony
Orchestra (retired)
Dr. Mark Weiger, University of Iowa
David Weiss, Principal Oboe, Los Angeles
Philharmonic
Jill West, Illinois Wesleyan University
Marilyn Zupnik, Principal Oboe, Minnesota
Orchestra

Table 6
Survey Results for Concertos
Concerto
Albinoni Concerto in B flat
Albinoni Concerto in C
Albinoni Concerto, op.9 in d minor
Albinoni Concerto in F
Alwyn Concerto
Arnold, Malcolm Concerto, Op. 39
Bach, J.C. Concerto in F
Bach, C.P.E. Concerto in B flat
Bach, C.P.E. Concerto in E flat
Bach, J.S. Concerto in C minor for oboe and violin
Bach , J.S. Concerto in d minor
Bach, J.S. Concerto in F
Bach , J.S. Concerto in g minor
Bellini Concerto in E flat
Bennett Concerto
Besozzi Concerto in G
Carter Concerto
Cimarosa Concerto in C minor
Corelli Concerto
Corigliano Concerto
Dittersdorf Concerto in G
Eichner Concerto
Fasch Concerto in G minor
Goossens Concerto
Graun Concerto in c minor
Handel Concerto No. 2 in B flat
Handel Concerto No. 3 in G minor
Haydn Concerto in C
Jacob Concerto No. 2

Percentage of
Respondents
23.8
16.7
57,1
11.9
0
7.1
7.1
7.1
14.3
71.4
7.1
16.7
11.9
52.4
0
14.3
4.8
88.1
9.5
2.4
7.1
19
4.8
21.4
4.8
47.6
81
78.6
4.8

Number of
Respondents
10
7
24
5
0
3
3
3
6
30
3
7
5
22
0
6
2
37
4
1
3
8
2
9
2
20
34
33
2

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108

WHAT EVERY OBOIST SHOULD KNOW: METHODS AND REPERTOIRE SELECTIONS

Table 6
Survey Results for Concertos, cont.
Krommer Concerto in F major
Marcello, A. Concerto for oboe
Martinu Concerto
Matthias Concerto
Milhaud Concerto
Mozart Oboe Concerto
Pasculli Concerto
Pergolesi/Barbirolli Concerto
F. X. Richter Concerto in F major
Righim Concerto in C
Rosetti Concerto in C major
Rosetti Concerto in D
Sammartini Concerto in E flat
Strauss Concerto
Telemann Concerto in C minor
Telemann Concerto in D
Telemann Concerto in d minor
Telemann Concerto in e minor
Telemann Concerto in f minor
Tomasi Concerto
Vaughan Williams Concerto
Vivaldi Concerto in a minor
Vivaldi Concerto in C
Vivaldi Concerto in D
Vivaldi Concerto in d minor
Vivaldi Concerto in F
Weber Concerto in C
Zimmermann Concerto

11.9
85.7
16.7
0
4.8
95.2
11.9
4.8
2.4
0
0
2.4
7.1
50
23.8
14.3
19
19
28.6
0
69
42.9
33.3
21.4
35.7
23.8
7.1
2.4

5
36
7
0
2
40
5
2
1
0
0
1
3
21
10
6
8
8
12
0
29
18
14
9
15
10
3
1

Number of
Respondents
9.5
33. 3
57.1
11.9
0
7.1

Respondents
4
14
24
5
0
3

Table 7
Concertos Filled In by Respondents
Ferlendis
Hidas
Kozeluch
Lebrun D minor
Soderlundh
Wolf-Ferrari

Table 8
Survey Results for Sonatas
Percentage of
Sonata
Babell Sonata in f minor
C.P.E. Bach Sonata in g minor
J.S. Bach Sonata in g minor
Besozzi Sonata in C major
Besozzi Sonata in D
Bissoli Sonata in g minor

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Table 8
Survey Results for Sonatas, cont.
Percentage of
Sonata
Boni Sonata in G
Cooke, Arnold Sonata
Donizetti Sonata in F
Dutilleux Sonata
Evans, Peter Sonata
Galliard Sonata in C
Geminiani Sonata No. 3 in e minor
Geminiani Sonata No. 1
Gregson Sonata
Handel Sonata in B flat
Handel Sonata in C major
Handel Sonata in c minor
Handel Sonata in F
Handel Sonata in g Minor
Hindemith Sonate
Holliger Sonata for Oboe and Harp
Loeillet Sonata in C
Loeillet Sonata in e minor
Loeillet Sonata in g minor
Matthes Sonata in C major
Poulenc Sonata
Raphael Sonata, op. 32
Saint-Saens Sonata
Sammartini Sonata in G
Telemann Sonata in A major
Telemann Sonata in a minor
Telemann Sonata in c minor
Telemann Sonata in e minor
Telemann Sonata in g minor
Telemann Sonata in B flat
Vivaldi Sonata in c minor
Vivaldi Sonata in g minor
Wolpe Sonata

Number of
Respondents
11.9
11.9
19
40.5
2.4
2.4
7.1
7.1
2.4
66.7
47.6
88.1
52.4
78.6
92.9
2.4
21.4
19
16.7
2.4
92.9
2.4
95.2
31
31
66.7
31
40.5
33.3
2.4
57.1
26.2
0

Respondents
5
5
8
17
1
1
3
3
1
28
20
37
22
33
39
1
9
8
7
1
39
1
40
13
13
28
13
17
14
1
24
11
0

Table 9
Sonatas Filled In by Respondents
Bach Sonata in Eb Major and e minor
(especially Ist and 3rd movements)
Bach Sonata for unaccompanied flute
York Bowen Sonata
Bush Dialogue
Gabaye Sonatine

Rubbra Sonata (mentioned twice)


Telemann Bb major Sonata
Telemann Eb major Sonata
Tessarini D major Sonata
Tessarini F major Sonata

Table 10
Survey Results for Chamber Music
Chamber Music Work
Arnold, M. Trio, Op. 37 (fl ob cl)
Bach, J.C. Divertissement
Bax Quintet

Percentage of
Respondents
33.3
7.1
11.9

Number of
Respondents
14
3
5

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Table 10
Survey Results for Chamber Music, cont.

Chamber Music Work


Beethoven Piano Quintet in E flat, Op. 16
Beethoven Trio (2 obs, EH)
Bliss Quintet
Boccherini Quintets
Bochsa, Karl 3 Quartets in d minor
Britten Phantasy Quartet
Castelnuovo Tedesco Concerto de Camera
Chedeville Pastoral Sonatas for 2 Oboes
Danzi Woodwind Quintet, op. 56, no. 1, no. 2
Dorati Duo Concertante
Dring Trio for Oboe, Flute, Piano
Fiorillo Sinfonia Concertante in F
Jacob Quartet
Mozart Oboe Quartet
Mozart Quintet in E flat, K452
Reicha Oboe Quintet in F major, op. 107

Percentage of
Respondents
76.2
78.6
9.5
2.4
0
52.4
0
2.4
59.5
0
14.3
0
9.5
100
69
28.6

Number of
Respondents
32
33
4
1
0
22
0
1
25
0
6
0
4
42
29
12

Table I I
Chamber Music Filled In by Respondents
Agay Dances
Andriessen Sciarada (mentioned 2 times)
Arnold Quintet (3)
Arrangement of Tombeau for Quintet
Bach Cantatas 1, 12, 21, 56 (4 times), 72, 82 (3 times),
84, 102, 105, 156, 159, 187, 199, 202 (4 times),
Wedding Cantata
Barber Summer Music (4)
Barthe Passacaille
Beethoven Octet
Berio Quintet
Cambini quintets
dIndy Sextet
Donizetti Dixtour
Dvorak Serenade
Farkas Quintet
Fine Partita
Francaix Quartet and Trio
Francaix Quintet (4)
Gatti, Luigi Quartet
Haydn Divertimento
Hindemith Kammermusik (mentioned 10 times)
Ibert Quintet (6)
Jacob Trio
Klughardt Quintet
Krommer Octet
Laderman Quartet (ob, vl, via, vc)

Lefebvre Quintet (2)


Liadov Quintet
Ligeti Bagatelles (4)
Loeffler Trio (2)
M. Haydn Divertimento in G (2)
Michael Haydn Trio (ob, vla, bass)
Milhaud Quintet (3)
Mozart Divertimenti
Mozart Octet
Mozart Serenades (4)
Nielsen Quintet (10)
Persichetti Quintet
Pierne Sextet
Poulenc Sextet (5)
Poulenc Trio (8)
Prokofiev Quintet
Rameau
Reicha E-flat (6 times)
Roussel Sextet
Schuller Quintet
Stamitz Quartet (ob, vl, via, vc)
Strauss Serenade
Taffanel Quintet (3)
Vaughan Williams Blake Songs
Wanhal Quartet (ob,vl,vla,vc)
Washburn Suite
other quintets by French and American composers

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Table 12
Survey Results for Other Works for Oboe
Composition
Agostini - Canzonetta
Arnold, Malcolm - Sonatina
Bach, J.S. - 3 Small Pieces - arr. Gillet
Bach, J. S. - Study on Aria from Cantata 93
Barber - Canzonetta
Barlow - Winters Passed
Berio - Sequenza VII
Berkeley - Sonatina
Bozay - Tetelpar
Bozza - Fantasie Pastorale
Britten - Two Insect Pieces
Britten - 6 Metamorphoses After Ovid
Britten - Temporal Variations
Castiglioni - Alef
Cherubini - Andantino, and Polonaise
Colin - Third Solo de Concert
Copland - Vocalise
Couperin - Premier Concert Royal
Debussy - The Little Shepherd
Donizetti - Concertino
Dring - Italian Dance
Elgar - Soliloquy
Etler - Introduction and Allegro
Francaix - The Flower Clock
Franck - Piece V
Gibilaro - Four Sicilian Miniatures
Globokar - Atemstudie
Godard, Benjamin - Legende Pastorale
Guilhaud - 1st Concertino
Hanson - Pastorale
Head - 3 Pieces
Hotteterre - Suite in D
Hummel - Variations, op. 102
Ibert - Symphony Concertante
Isang Yun - Piri
Jacob - Sonatina
Jacob - 10 Little Studies
Jacob - 7 Bagatelles
Kalliwoda - Concertino
Krebs - 8 Chorale Preludes
Krebs - Fantasy for Organ and Oboe
Krenek - 4 Pieces
Lutoslawski - Epitaph
Maderna - Solo
Martin - Petite Complainte
Mihalovici - Sonatina
Milhaud - Sonatina
Molique - Concertino in g minor
Mozart - Sinfonia concertante in E flat, K297b
Nielsen - Fantasies
Paladilhe - Solo
Parcham - Solo

Percentage of
Respondents
0
26.2
2.4
11.9
31.0
45.2
26.2
9.5
2.4
26.2
11.9
92.9
31
2.4
0
19
4.8
7.1
0
19
9.5
7.1
7.1
50
14.3
0
2.4
16.7
16.7
21.4
26.2
7.1
42.9
16.7
2.4
26.2
9.5
11.9
33.3
0
14.3
11.9
14.3
7.1
7.1
0
19
11.9
42.9
61.9
52.4
0

Number of
Respondents
0
11
1
5
13
19
11
4
1
11
5
39
13
1
0
8
2
3
0
8
4
3
3
21
6
0
1
7
7
9
11
3
18
7
1
11
4
5
14
0
6
5
6
3
3
0
8
5
18
26
22
0

Vol. 24 NO. 4 2001

112

WHAT EVERY OBOIST SHOULD KNOW: METHODS AND REPERTOIRE SELECTIONS

Table 12
Survey Results for Other Works for Oboe, cont.
Composition
Piston - Suite
Ravel - Pavane
Ravel - Piece en Forme de Habanera
Reicha - Air for Oboe and Piano
Ridout - Concertino
Schickele - Gardens
Schumann - 3 Romances
Spohr - Nocturne in C, op. 34
Still - Incantation and Dance
Szalowski - Sonatine
Telemann - Heldenmusik
Telemann - Partitas
Telemann - 12 Fantasies for Flute
Telemann - Suite in G minor
Verroust - Souvenir of Old Quebec

Percentage of
Respondents
33.3
7.1
35.7
2.4
0
7.1
81
2.4
21.4
2.4
0
54.8
40.5
11.9
7.1

Number of
Respondents
14
3
15
1
0
3
34
1
9
1
0
23
17
5
3

Table 13
Other Works for Oboe Filled In by Respondents
Bach Easter Oratorio
Bach St. Matthew Passion (mentioned 2 times)
Bach B minor Mass (2)
Bach Magnificat
Bitsch Suite
Brandenburg Concertos (3)
Copland Quiet City (EH, trpt, orch),

Damase Rhapsodie
Dring Suite
Krenek Sonatina
Mozart Gran Partita
Persichetti Parables (2)
Varese Octandre

Table 14
Survey Results for Oboe Methods/Studies
Oboe Method/Study
Andraud Practical and Progressive Oboe Method
Andraud Vade Mecum
Barret Oboe Method
Bozza Etudes
Braun 18 Caprices
Brod Etudes
Ferling Studies
Gillet Studies
Holliger Studies
Rothwell Oboe Technique
Sprenkle and Ledet The Art of Oboe Playing

Percentage of
Respondents
11.9
57.1
88.1
26.2
4.8
28.6
95.2
47.6
9.5
23.8
28.6

Number of
Respondents
5
24
37
11
2
12
40
20
4
10
12

Table 15
Oboe Methods/Studies Filled In by Respondents
Crozzoli
De Lancie 20th Century Orchestra Studies
Dubois
Gekeler Volumes I and 2
Hewitt Method
Hinke Method
Hite Studies

Karg-Elert Studies
Marcel Moyse Scales and Arpeggios
Rothwell Difficult Passages
Small Melodious and Progressive Studies
Voxman Studies
Whitney Tustin Daily Scales
my own (teachers) exercises

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