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Kandinsky's Oboe |
solo oboe
Edward Cowie has in Kandinsky's Oboe been able to draw together two important strands of his life: that of composition and of painting, and, from my point of view as a performer and very amateur artist (with a particular interest in the art of Kandinsky and his contemporaries) there are similar resonances. This is of course no mere coincidence as Edward knows my interests and has reflected them beautifully in this work. Edward has taken Kandinsky's 'points/lines/planes' idea and created a work which deals with the same ideas in musical form - the result is a work of great virtuosity.
The opening movement Points is a rich exploration of very subtle nuances, especially with regard to articulation and dynamics and includes fascinating changes of time signature the momentum being 'tripped up' by the occasional fermata.
Lines is a bold exploration of musical shapes which, in part, explores the extreme high range of the instrument. The movement is enriched once again by carefully nuanced rhythmic ideas and carefully balanced climaxes sometimes giving the effect of a multiplicity of 'lines' interweaving, appearing and disappearing.
The final movement, Planes, is a virtuoso tour de force both in terms of its composition and for the performer. The movement draws together a rich tapestry of sounds; instrumental, vocal, percussive, sometimes overlaid on top of each other in order to meet the ideas Kandinsky exemplifies in his discourse. This movement is thrilling in its colours, spectacular in its virtuosity and quite startling in what Edward has managed to achieve in so short a movement.
The work is a delight to play, full of imaginative ideas - I am sure Kandinsky would have enjoyed it!
Christopher Redgate, January 2010.