Thom Ritter George

CONCERTO FOR OBOE AND ORCHESTRA, CN 350 (1990-1997)

PROGRAM NOTES

Thom Ritter George's CONCERTO FOR OBOE was written for Robert Stephenson, the principal oboist of the Utah Symphony.  George and Stephenson had met and become friends while playing at the Elkhorn Music Festival in the 1980s.  When Stephenson suggested writing a concerto for him, the composer was delighted with the idea and started working on the score.

In writing a new concerto, there are two considerations which precede the search for melodies and harmonies.  The first is to think carefully about the basic nature of the solo instrument, what it can do well and what might prove to be less effective.  In the case of the oboe, it is at its best in lyric passages and can tell a musical story well.  Yet at the same time, it retains a good deal of virtuoso agility.  While its tone color projects well, the oboe is not a powerful instrument in the sense that a piano or a trombone is.  These characteristics influence both the solo writing and the instrumentation.

The second consideration is to develop an effective plan for the concerto as a whole.  A good plan takes into account both the formal scheme and the expressive content of the piece.

Since listeners hear a score from the first measure to the last, it may come as surprise that composers often do not work in the order that the music will be played.  In many cases, best results are obtained by working out of order, thinking of the musical score as an architect would plan a
building.

The CONCERTO FOR OBOE is a four movement composition, and its creation spanned seven years (1990-1997).  The second movement, the Intermezzo, was created first (1990-1992).  This was followed by the third movement, Ballad (1992-1994); then the fourth movement, Rondo alla Danza (1993-1997); and
finally the first movement, Allegro moderato (1997).

When put in the correct order, the CONCERTO takes the form of a four movement symphony, rather than that of a traditional three movement concerto.  The first movement is expository.  After the opening three measures are played by the orchestra, the solo oboe enters with the main theme.  This is followed by a bold second theme which is shared by the oboe and the orchestra.  Both major themes are developed during the course of the movement which draws to a close with a mysterious coda featuring the oboe, harp, and glockenspiel.

The second movement, Intermezzo, is relaxed and lyric in tone.  Here we often hear the solo oboe weaving the main idea back and forth with the woodwind instruments in the orchestra.  The middle section, marked "capriccioso," is jaunty in temperament and colored with the use of the tenor
drum, a deeper pitched relative of the snare drum.

The expressive center of the CONCERTO and its third movement is the "Ballad."  The opening measures combine the warm beauty of the strings with hymn-like responses from the winds in preparation for the oboe entry.  When the solo instrument plays, it brings with it a new theme, languid,
introspective, and built around long tones.  The Ballad has a middle section in a much faster tempo.  This episode builds to a excited climax before suddenly stopping and returning to the poetic ideas of the first section.

The final movement is titled "Rondo alla Danza."  Rondos are musical forms which are generally lighter in character than other concerto movements.  Also, rondos achieve their effect by having short themes placed in contrast to each other.  The term "alla Danza" (in the style of a dance) specifies a genre which Thom Ritter George has developed in many works, particularly his chamber music for brass.  His use of "alla Danza" ideas is typically rhythmic music in mixed meters.  For example, a 7/8 measure is followed by a 2/4 measure, then another 7/8 measure, then a 4/4 measure, and continuing in a similar way.  This mosaic of meters stands in contrast with the traditional regularity of most dances.  The "Rondo alla Danza" concludes with a fast, sparkling coda which shows the oboe at its virtuoso best.

The CONCERTO FOR OBOE is score for two flutes (flute II alternates piccolo), two clarinets, two bassoons, two horns, percussion, harp, and strings.

The first performance was given July 25, 2008 at the Deer Valley Music Festival, Park City, Utah.  Robert Stephenson was the oboe soloist with the Utah Symphony led by conductor David Cho.
 

(TRGcm: 2008.07.29; Pocatello, Idaho)