The composer writes: "In 1981, when consulting Pierre Bernac’s The Interpretation of French Song with Winifred Radford’s elegant translations, I revisited Verlaine’s poem Pusique L’aube grandit, and I began to write the Sonata for oboe and piano, Since dawn is breaking. The three contrasting emotions expressed in the poem became my inspiration:
(1) Hope that has been absent for some time and is now ready to return.
(2) Tenderly guided by a new love, forging ahead whatever the future brings.
(3) The joy and happiness of treading that path towards a longed-for paradise.
The first two movements were completed during five weeks of February and March 1981, and the third followed in June 1982.
The first movement develops around two main themes in a free fantasy form, while the second movement is a simple tender love song in which the oboe and piano entwine and then exchange melodies. The finale is an effervescent, rhythmic ode to hope and joy. The metronome tempi are only approximate indications. The Sonata received many performances during the 1980’s by The Verlaine Duo, (Jonathan Tobutt and David Dubery) including our Manchester Midday Concerts Society debut at the Royal Exchange Theatre in 1982, with a live recording and a later broadcast on BBC Radio."
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Prologue Oboe & Piano (Emerson)
Blues For DD: Oboe & Piano
Albeniz: Suite Espagnole: Oboe & Piano
Oboe Concerto Op.9/2: Oboe And Piano (International)
Oboe Concerto Op.7/3 Bb: Oboe & Piano (B&H)
Oboe Concerto Op.7/12: Oboe & Piano (Kolneder) (Kunzelmann)
Oboe Concerto Op.9/2: Oboe & Piano (Kunzelmann)
Oboe Concerto Op.9/6 2 Oboes & Strings (Breitkopf)
Oboe Concerto Op.9/12: 2 Oboes & Piano (Breitkopf)
Oboe Concerto Op.9/5 Oboe & Piano (Breitkopf)
Oboe Concerto Op.7/6: Oboe & Piano (Peters)
Oboe Concerto Op.7/9: Oboe & Piano (Peters)