Program Notes Spring 2024 DMA Recital
Antonio Vivaldi, Oboe Sonata in C minor, RV 53
Antonio Vivaldi (1678-1741) was a virtuosic composer known for his extensive repertoire of
concertos, operas, and chamber works. Among his notable compositions are twenty concertos
and at least six sonatas for oboe and basso continuo. One of his significant works is the Oboe
Sonata in C minor, RV 53, which was long considered his only surviving sonata for oboe.
Composed in the early 18th century, RV 53 was intended for two oboists associated with
Vivaldi: Antonio Besozzi (1714–1781), an oboe virtuoso who impressed Vivaldi during his visit
to Dresden in 1739, and Christoph Richter (1683–1727), a young oboist from Venice.
Although, scholars generally agree that this sonata was written for Richter. It was through his
oboe playing that Vivaldi discovered new ways to explore the expressive and timbral qualities
of the oboe.
The opening movement, Andante, introduces a dramatic and operatic melodic idea, featuring
chromatic passages and challenging cross-fingerings. The second movement, Allegro,
showcases virtuosic passages full of energy from the oboe, followed by a dialogue with the
continuo. In the third movement, Vivaldi presents a sublime melodic theme, leaving
ornamentation to the performer's discretion after the initial presentation of the main
[Link] sonata reaches its climax in the final movement, where Vivaldi unleashes a powerful
oboe line supported by the basso continuo, highlighting the expressive qualities of the
instrument.
RV 53 demonstrates Vivaldi's unique ability to compose for various instruments with beauty
and imagination, serving as one of the earliest examples of the oboe as a virtuosic and
expressive instrument.
Ruth Moreno-Calderón
Program Notes Spring 2024 DMA Recital
Gordon Jacob's Seven Bagatelles for Solo Oboe
Gordon Jacob (1895-1984) is best known for his 16 concertos and choral works, with a
particular affinity for wind instruments, for which he composed numerous chamber and
concert pieces. Among these, his two concertos for oboe and orchestra stand out, as well as
the Seven Bagatelles for Solo Oboe, considered a gem in the oboe repertoire.
Written in 1974, the Seven Bagatelles for Solo Oboe showcase Jacob's talent for crafting short
pieces with varying moods and complex musical ideas.
The first bagatelle, "March," features a repetitive motif with different articulations, including
staccato and legato. It introduces sudden changes in color and complicated interval jumps,
demanding a certain level of technical proficiency. The second bagatelle, "Elegy," presents a
contrasting melodic idea, quickly shifting the mood to one of introspection for both listener
and performer. The "Waltz," the third bagatelle, reflects the Viennese waltz tradition,
highlighting the technical and expressive abilities of the oboe. It evokes ballrooms and courtly
dances with its bright writing, capable of conveying various characters and moods depending
on the performer. In the fourth bagatelle, "Slow Air," Jacob explores the oboe's dynamic range
and color-changing abilities in a more introspective manner. It exudes nobility and tenderness
in its texture. The fifth bagatelle, "Limerick," utilizes a double harmonic scale to develop the
main theme throughout the movement, akin to the structure of a limerick poem, characterized
by its short, humorous subject matter (AB structure). The "Chinese Tune," the sixth bagatelle,
transports listeners to the memory of Jacob's wife's trip to China, capturing an unforgettable
melody. Graceful ornaments adorn this movement, reminiscent of the exotic tune. Lastly, the
"Gallop" concludes the suite with energetic rhythms and abrupt color changes. Lyrical passages
interrupt the galloping motif, altering the character briefly before the main motif returns.
Through the Seven Bagatelles, Gordon Jacob invites listeners to explore diverse musical
landscapes, demonstrating his ability to evoke a wide range of emotions in both audience and
performer alike.
Ruth Moreno-Calderón
Program Notes Spring 2024 DMA Recital
Giovanni Daelli, Oboe Fantasy on Themes from Verdi’s “Rigoletto”
Giovanni Daelli (b. 1860), an Italian composer and principal oboist at La Scala (1842), was
renowned for his exceptional oboe skills, primarily active in Milan, Italy. Despite limited
biographical information about Daelli, all sources agree on his virtuosic and prolific oboe
playing. He is best known for his Oboe Fantasy on Themes from Verdi’s “Rigoletto.”
The Oboe and Piano Fantasy serves as a tribute to Giuseppe Verdi's opera "Rigoletto," featuring
intricate virtuosic and lyrical passages. It incorporates distinctive melodic motifs from the
opera, reflecting its emotional themes of betrayal and redemption.
Written in 1851, the fantasy begins with a dialogue between the oboe and piano, leading to a
cadenza that showcases the technical and lyrical abilities of the oboe. The first aria, "Caro nome
il mio core" (my dear name that my heart cherishes), introduced by the piano, features the
oboe imitating Gilda’s coloratura. Daelli demonstrates the oboe's lyrical capabilities, conveying
Gilda’s declaration of love while the piano assumes the orchestral role.
The fantasy progresses with virtuosic passages and dramatic melodic lines shared between the
oboe and piano, culminating in Gilda’s emotional aria, "Tutte le feste al tempio" (All the
festivities at the temple), where she confesses to her father her affair with the Duke (Act II),
leading to a tragic conclusion.
The finale blends orchestral accompaniment with virtuosic oboe passages, bringing the fantasy
to a dramatic close.
Ruth Moreno-Calderón
Program Notes Spring 2024 DMA Recital
Francis Poulenc's Sextet for Piano and Winds, FP. 100
Francis Poulenc (1899-1963), one of the most renowned French composers of the 20th
century, was celebrated for his virtuosic composition abilities across various genres, including
operas, oratorios, art songs, chamber music, and sonatas. Poulenc composed several works for
the oboe, such as his Sonata for Oboe and Piano (FP 185), a trio for oboe, bassoon, and piano
from 1926, and one of his most renowned pieces, the Sextet for Piano and Winds (FP. 100),
composed in 1932.
Scored for flute, oboe, clarinet, bassoon, French horn, and piano, the Sextet showcases
contrasting moods and textures throughout. Poulenc's ability to blend different characters is
evident in each movement.
The piece opens with an energetic Allegro vivace, featuring a powerful opening statement
played by the bassoon and piano, followed by the rest of the winds. This movement can be
divided into three sections: section A introduces a powerful motif developed through
distinctive characters played by the winds in various ranges and textures; section B, initiated by
a bassoon cadenza, transitions to a lyrical theme passed among the winds, with a graceful and
serene dialogue between piano and winds; a small martial-themed section, presented by the
French horn and oboe with responses from the flute and clarinet, precedes the energetic
scherzo leading into the Divertissement.
The second movement highlights the oboe's lyrical abilities, unfolding a theme taken up by the
clarinet. Poulenc introduces new textures, reaching a climax in the middle of the movement
before the flute and clarinet introduce a peaceful character.
The Finale serves as a showcase of Poulenc's virtuosity, featuring a counterpoint played
throughout the ensemble with brightness. The energetic mood of the opening, reminiscent of
the first movement, shares the main rhythmic idea across each instrument, interspersed with
lyrical passages. The piece concludes with a sense of nostalgia and tenderness.
Poulenc's Sextet is a standard in the chamber music repertoire, cherished for its depth of
textures and characters, inviting listeners to delve into the composer's musical thoughts.
Ruth Moreno-Calderón