Something of Vagn Holmboe's approach to writing concertos may be discerned in his numeration: they are not grouped according to the solo instrument (e.g., Piano Concerto No. 1), but counted merely as Concertos in the sequence of their composition, regardless of the featured instruments. This suggests that the soloist's role is somewhat altered: still central as a leading part, but frequently incorporated into the orchestral mass as a coloristic instrument among many others. The Concerto No. 1 for piano and orchestra, Op. 17 ...
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Something of Vagn Holmboe's approach to writing concertos may be discerned in his numeration: they are not grouped according to the solo instrument (e.g., Piano Concerto No. 1), but counted merely as Concertos in the sequence of their composition, regardless of the featured instruments. This suggests that the soloist's role is somewhat altered: still central as a leading part, but frequently incorporated into the orchestral mass as a coloristic instrument among many others. The Concerto No. 1 for piano and orchestra, Op. 17 (1939), clearly demonstrates Holmboe's procedure, for the piano switches back and forth between lyrical solos and more emphatically rhythmic passages as a percussion instrument. Holmboe's Concerto No. 3 for clarinet and orchestra, Op. 21 (1940-1942), also presents interesting mixtures of the instrument's distinctive tone with other timbres, most strikingly with the brass section. The Concerto No. 7 for oboe and orchestra, Op. 37 (1944-1945), is most beguiling in the many...
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Add this copy of Concertos to cart. $21.80, new condition, Sold by Importcds rated 4.0 out of 5 stars, ships from Sunrise, FL, UNITED STATES, published 2005 by BIS.
Add this copy of Vagn Holmboe: Concertos for Piano, Clarinet, and Oboe; to cart. $59.32, new condition, Sold by Entertainment by Post - UK rated 3.0 out of 5 stars, ships from BRISTOL, SOUTH GLOS, UNITED KINGDOM, published 2005 by BIS.
