45 Etudes by Ludwig Wiedemann Oboe Solo - Sheet Music

By Ludwig Wiedemann

Little is known about Ludwig Wiedemann, the composer of the present 45 Etuden , without which the teaching of oboists would be unthinkable. Upon closer examination, the designation "Etuden" does not really do justice to the works: they are nothing less than genuine little character pieces. This has undoubtedly contributed to their great popularity. Also noteworthy is the structure of the collection: From nos. 1 to 29 Wiedemann strolls leisurely through the loosely disposed flat keys (there is no Etude with four flats!) with a rising number of accidentals up to nos. 16 and 17, before descending in sharp keys and finding his way back to C major. Technically and musically more demanding pieces follow from no. 30 on, whereby Wiedemann only once supplies a concrete reference to a genre with the term "Bolero" (no. 34).

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Details

Instrument:
Oboe Solo
Genres:
Romantic Period
Composers:
Ludwig Wiedemann
Publishers:
Breitkopf and Haertel
ISBN:
9790004160664
Format:
Score Collection / Songbook
Item types:
Physical
Instructionals:
Etudes and Exercises Exam Prep Pieces
Musical forms:
Etude
Artist:
Ludwig Wiedemann
Usages:
School and Community Sacred
Size:
9 x 12 inches
Number of Pages:
40
Shipping Weight:
0.48 pounds

Oboe(s) solo

SKU: BR.EB-1717

Composed by Ludwig Wiedemann. Solo instruments; Softcover. Edition Breitkopf.

Little is known about Ludwig Wiedemann, the composer of the present 45 Etuden, without which the teaching of oboists would be unthinkable. Upon closer examination, the designation Etuden does not really do justice to the works: they are nothing. Romantic period. Score. 40 pages. Breitkopf and Haertel #EB 1717. Published by Breitkopf and Haertel (BR.EB-1717).

ISBN 9790004160664. 9 x 12 inches.

Little is known about Ludwig Wiedemann, the composer of the present 45 Etuden , without which the teaching of oboists would be unthinkable. Upon closer examination, the designation "Etuden" does not really do justice to the works: they are nothing less than genuine little character pieces. This has undoubtedly contributed to their great popularity. Also noteworthy is the structure of the collection: From nos. 1 to 29 Wiedemann strolls leisurely through the loosely disposed flat keys (there is no Etude with four flats!) with a rising number of accidentals up to nos. 16 and 17, before descending in sharp keys and finding his way back to C major. Technically and musically more demanding pieces follow from no. 30 on, whereby Wiedemann only once supplies a concrete reference to a genre with the term "Bolero" (no. 34).