You are cordially invited to an evening of impressive home-grown talent. And, The Young Artist Competition winner joins the Symphony. The Symphony’s own principal oboist, Nancy Olney, performs the Peter Schickele Oboe Concerto.
Sponsored by Senator Stan and Lynda Clark Adelstein
Bruce Knowles, Conductor
Featured Guest Artists: Nancy Olney – Oboe
Young Artist Competition Winner -- TBA
Overture to “La gazza ladra” – Gioacchino Rossini
Concerto for Oboe and Orchestra – Peter Schickele
Soloist: Oboe – Nancy Olney
Young Artist Competition Winner – TBA
Le Coq d’or Suite – Nickolai Rimsky-Korsakov
1. Tsar Dodon in his palace
2. Tsar Dodon on the battlefield
3. Tsar Dodon as the guest of Queen of Shemakha
4. The wedding and lamentable end of Dodon
Concerto for Oboe and Orchestra Peter Schickele
July 17, 1935, age 82
Program Notes courtesy of Peter Schickele and the Theodore Presser Company
The concerto has always seemed an especially attractive medium to me, not necessarily because of its expectations of virtuosity (although flaunting it when you’ve got it certainly has its place), and emphatically not because of the perception of a concerto as a contest, but because so much of what I write feels song-like; I’m very much at home with the age-old texture of melody and accompaniment. I hope, before I move on, to have the opportunity to write concertos for all the major instruments, and perhaps some of the rarer ones as well.
The oboe is not only one of the major instruments, it is one of my favorite instruments. I’ve always loved its sound, but since moving to New York I have gotten to hear and, in some cases, know some extremely fine oboists who broadened my appreciation of the instrument’s possibilities. I especially remember a concert, probably in the late 1960’s, in which Humbert Lucarelli played a Handel concerto, filling out large melodic leaps with cascading scale passages in a way that raised the hair on the back of your neck, somewhat in the way that John Coltrane’s “sheets of sound” did. The sweeping scales in the second movement of my concerto were definitely inspired by Bert Lucarelli’s performance.
The first, third and fifth movements of the Concerto for Oboe and Orchestra are song-like, whereas the second and fourth have strong scherzo and dance qualities, including a couple of sections that sound like out-and-out pirate dances to me. The hymn-like tune at the beginning of the middle movement was originally begun as a vocal piece to be sung by my wife, son and daughter at my brother’s wedding, but I couldn’t come up with good words for it, so it ended up as an instrumental chant. The opening and closing of the concerto make use of the oboe’s uniquely soulful singing.
The work was completed on October 13, 1994. The first performance of the work took place on July 21, 1995, at the American Music Festival in Duncan, Oklahoma, with Mark Parker conducting the Festival Orchestra.