Three versions of the Concerto for Oboe and Small Orchestra (1945-1946, revised 1948) by Richard Strauss: An analytical and historical study for the performer
| dc.contributor.advisor | Tatman, Neil | en_US |
| dc.contributor.author | Binkley, Linda | |
| dc.creator | Binkley, Linda | en_US |
| dc.date.accessioned | 2013-04-11T08:43:31Z | |
| dc.date.available | 2013-04-11T08:43:31Z | |
| dc.date.issued | 2002 | en_US |
| dc.identifier.uri | http://hdl.handle.net/10150/279996 | |
| dc.description.abstract | Richard Strauss's Concerto for Oboe and Small Orchestra (1945-46, revised 1948) is one of the most challenging works in the oboist's repertoire. It requires a high level of musical artistry, great technical command of the instrument, and disciplined use of breath control in order to achieve a successful performance. The intent of this study is to provide all oboists, from the student encountering Strauss's Oboe Concerto for the first time to the seasoned professional looking for new inspiration, with concise and relevant information that will enrich his or her experience in rehearsing and performing the work. Historical details are briefly discussed, including the meeting between John de Lancie and Richard Strauss that resulted in the writing of the oboe concerto. A comparison between the first (1946) and second (1948) printings of the work, including a comparative analysis of the different endings, and a thorough discussion of their revisions done by John de Lancie (1987) offers further insight into various stylistic concerns inherent to the performance of the work. Finally, a comprehensive study of the endurance issues, orchestration, related stylistic aspects, and harmonic analysis designed for performers concludes the study. | |
| dc.language.iso | en_US | en_US |
| dc.publisher | The University of Arizona. | en_US |
| dc.rights | Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. | en_US |
| dc.subject | Music. | en_US |
| dc.title | Three versions of the Concerto for Oboe and Small Orchestra (1945-1946, revised 1948) by Richard Strauss: An analytical and historical study for the performer | en_US |
| dc.type | text | en_US |
| dc.type | Dissertation-Reproduction (electronic) | en_US |
| thesis.degree.grantor | University of Arizona | en_US |
| thesis.degree.level | doctoral | en_US |
| dc.identifier.proquest | 3053862 | en_US |
| thesis.degree.discipline | Graduate College | en_US |
| thesis.degree.discipline | Music and Dance | en_US |
| thesis.degree.name | D.M.A. | en_US |
| dc.identifier.bibrecord | .b42811478 | en_US |
| refterms.dateFOA | 2018-06-24T17:46:48Z | |
| html.description.abstract | Richard Strauss's Concerto for Oboe and Small Orchestra (1945-46, revised 1948) is one of the most challenging works in the oboist's repertoire. It requires a high level of musical artistry, great technical command of the instrument, and disciplined use of breath control in order to achieve a successful performance. The intent of this study is to provide all oboists, from the student encountering Strauss's Oboe Concerto for the first time to the seasoned professional looking for new inspiration, with concise and relevant information that will enrich his or her experience in rehearsing and performing the work. Historical details are briefly discussed, including the meeting between John de Lancie and Richard Strauss that resulted in the writing of the oboe concerto. A comparison between the first (1946) and second (1948) printings of the work, including a comparative analysis of the different endings, and a thorough discussion of their revisions done by John de Lancie (1987) offers further insight into various stylistic concerns inherent to the performance of the work. Finally, a comprehensive study of the endurance issues, orchestration, related stylistic aspects, and harmonic analysis designed for performers concludes the study. |
