CSU Oboe Studio performs technique-based repertoire

Mckenzie Moore

CSU Oboe Studio students showcased their skills in a varied repertoire on March 29, featuring the compositions of Mozart, Beethoven and more modern musical influences such as Benjamin Britten. Madoka Asari accompanied the soloists on piano.

The concert began with Maggie Korbelik, playing “Fantasia No. 2 in A minor” by Georg Philipp Telemann in four movements. The moderate tempo of the first movement allowed for a series of arpeggios that opened the theme of the piece for a faster tempo in “Vivace.” The third movement, a slower ballad decorated with trills, contrasted the opening with a minor key. The fourth movement ended the piece in an impressively high register.


Olivia Martin took the stage next for “Oboe Sonata in A minor” by Georg Philipp Telemann, also in four movements. It presented a unique style by starting off in a minor key with a melancholy feel and slow syncopation. The next movement, with a higher volume and more spirited tempo, showcased staccato articulation before the extensive pitch range and major key of the third movement. The piece closed with a “bouncy” movement driven by complex runs.

With “Oboe Concerto in B-flat major, Op. 7 No. 3” by Tomasi Albinoni, Sonja Barber took the stage for three movements in varying tempos. Grace notes and trills ornamented the first movement, and a dark key signature created the second. The third movement introduced even more trills in a lively melody.

Right before a brief intermission, Matt Heimbegner played “Oboe Concerto in C Major, K. 314” by Wolfgang Amadeus Mozart. The single movement featured sustained notes and a generally high-skill series of runs, high registers and arpeggios.

Oivia Martin then returned with “Piece en forme de habanera” by Maurice Ravel, a soft and mysterious-sounding melody with a long, downward chronological scale at the conclusion.

Maggie’s second performance, “Fantasy Pieces for Oboe and Piano, Op. 2” by Carl Nielsen, allowed for a more prominent piano accompaniment with an extended range in the oboe. A peaceful ending fell away for the second movement, “Humoresque.” A smooth but articulated melody halted before starting back up at a faster tempo, leading to the end of the piece with a more lively dynamic.

Kyle Howe then presented “Six Metamorphoses after Ovid (Op.49)” by Benjamin Britten in four movements. The piece featured only oboe with no piano accompaniment, adding a level of difficulty. A wide-ranged, somewhat disconnected melody in the first movement created a strange aesthetic that the faster but more brief second movement continued to uphold. The minor key of the third movement changed the mood, and long pauses between phrases created tension in an unusual but effective style. A full sound with dynamic contrast and arpeggios, a standard for oboe due to the technicality, finished off the final movement and thus the final solo piece for the night.

To conclude the recital, Maggie Korbelik, Olivia Martin and Sonja Barber joined together for “Trio in C Major, Op. 87” by Ludwig van Beethoven. The three musicians harmonized in the sustained chords throughout the piece, then bounced off each other to move through the phrases at a steady tempo. The lively beat and major key provided an enjoyable finale to the concert.

Collegian reporter Mckenzie Moore can be reached at entertainment@collegian.com and on Twitter @mkenziemoore172.