A VISION IN A DREAM
(2019)
Concerto for Oboe and Orchestra
Full Score
Commissioned by BBC Radio 3 and first performed in Leeds Town Hall on 8 February 2020 by BBC Philharmonic Orchestra, conducted by Ben Gernon, with soloist Jennifer Galloway.
INSTRUMENTATION
2 Flutes (II/Piccolo) Cor Anglais
2 Clarinets in B (II/Bass Clarinet) Bassoon
2 Horns in F
2 Trumpets in B
Percussion (1 player)
Crotales, Vibraphone, Tambourine, 6 Temple Blocks, 2 Bongos, 4 Tom-toms, Suspended Cymbal, Tam-tam
Harp
Solo Oboe
Strings
Duration: 20 minutes
COMPOSER’S NOTE
My Oboe Concerto is based on Coleridge’s famous poem Kubla Khan, completed in 1797 and published in 1816. The sub-title of the poem – ‘A Vision in a Dream’ – gives the concerto its title, and while not being a programmatic work in the usual meaning of that term, the concerto nevertheless follows the main narrative of the poem, the soloist acting as both narrator and character portraying. To this end, quotations from the poem have been incorporated into the score and parts so that all the musicians will have a sense of the drama nature of the poem underpinning the musical narrative.
Like the poem, the concerto is a highly dramatic work, and although the Oboe is undoubtedly the chief protagonist in the drama, the role that the solo percussionist plays is of great importance. Ideally, the percussionist should be placed centrally, near the front of the stage, between 2nd Violins and Violas, not least because of the opening few pages of the concerto (up until rehearsal fig 4), where direct visual and aural connection between the oboe soloist and percussionist is essential. Indeed, this opening passage should have the feeling of an improvisation, hence the nature of the ‘free’ notation. All of this opening section should not be conducted, except perhaps for the odd cue to coordinate entries.
PERFORMANCE NOTES
Soloist’s off-stage/on-stage positions
As the score indicates, the soloist starts the concerto playing off-stage, gradually moving on-stage to the usual solo position by the conductor (dotted bar entry before fig.1). At the end of the concerto the opposite happens, with the soloist gradually leaving the stage until the final repeated phrases fade into the distance. Depending on the nature of the venue where the concerto is being performed this plan can be adapted, as long as the main effect is retained.
Multiphonics
An important element throughout the concerto is the use of multiphonics in the solo part. Fingerings for these are incorporated into the solo part. Even if the soloist is not familiar with contemporary notation and techniques, every effort should be made to realise the multiphonics as they are an important element in the sound-world I have tried to create.
String size
I have orchestrated the concerto with a reduced string section in mind, so that it can be performed by a chamber orchestra. Although the minimum number of players required is 8.6.5.4.2 it would be advantageous to have a slightly larger string section as there are numerous divisi passages which would sound better with enhanced numbers. However, because of considerations of balance, the number of players should not be the same as that in a symphony orchestra.
Edward Gregson
B.
Senza Tempo
Senza