Evaluation of Oboe Concerto by Vaughan Williams
The oboe is a challenging instrument, and composing for it poses many difficulties. To truly do the instrument justice, it must shine and blend all at once, and this piece certainly does the oboe justice. The limitations of the oboe are considered in the writing of the Concerto, but it still pushes some barriers. There are many difficult passages for an experienced player to master; some through endurance, others through a firm control of pitch. There are parts that are quite pleasing to the ear, while others are a little much. Also, consideration must be given to the instrumentalist herself, Celia Nicklin. There are aspects of her performance which do the part justice, while others are lacking. First an analysis of what seems challenging about the piece. Right from the beginning Vaughan Williams seems determined to use the full capabilities of the oboe. From the quietest dip into the low notes, to the soaring upper register, it is a stunning intro. The arpeggiated passages are of particular concern. The jumps and skips over fift
The oboist is fully in control of these passages, never rushing the easier parts, or slowing on the more difficult transitions. To sustain a good pitch while holding the long notes in the minuet section would require enormous breath control. hs, sixths and greater are hard to play on the oboe smoothly. These passages of leaps, skips and scalar motions do not allow for many breath breaks. The stamina of the player is phenomenal. The ending of the second movement is haunting. Any of those challenges are required of the professional oboe player at different times, but to combine it into one large piece is a true challenge. The player seems to be able to maneuver this easily. The jazzy influence of this piece is also challenging, as it is a style of playing that is unfamiliar to oboe players. This concerto is not only showcasing what an oboe is capable of, but challenging performers to rise to this level. The early harmonies are not as pleasing to the ear as the slower melodies, but are necessary to showcase the writing style. Everything that is possible is shifted to the next level in this piece. This breath control is possible, but to sustain a constant sound that rises above the symphony requires full breaths as well. There were a few too many jumps and skips for some tastes, they were a little much and tended to take away from the concerto feel.
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