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Franz Wilhelm Ferling: 48 Übungen Für Oboe, Op. 31

The document discusses Franz Ferling's Op. 31 No. 1 for oboe. It describes the piece's form, ornamentation, prominent rhythmic figures, wide range, and challenging high notes that would test even modern oboe players' skills.

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Adrian Paiba
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366 views2 pages

Franz Wilhelm Ferling: 48 Übungen Für Oboe, Op. 31

The document discusses Franz Ferling's Op. 31 No. 1 for oboe. It describes the piece's form, ornamentation, prominent rhythmic figures, wide range, and challenging high notes that would test even modern oboe players' skills.

Uploaded by

Adrian Paiba
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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Download as PDF, TXT or read online on Scribd
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Franz Wilhelm Ferling (1796-1874)

48 bungen fr Oboe, Op. 31 (c. 1840)


Edition for Oboe and Piano by Charles-David Lehrer
Oboe part from the original Bachmann publication, Plate 959

No. 1 in C Major

Oboe

&

Adagio con espressione.

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p
1

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Cresc.

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11

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17

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20


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14

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ad libitum

Ritard.

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No. 1: The first of Ferling's famous Op. 31 informs us that the master of Braunschweig was well acquainted
with the Italian Bel canto composers Rossini, Bellini, and Donizetti. The etude's rounded binary form structure
is generously supplied with both florid and stenographic ornamentation, the latter having been realized in
modern notational values. Although the eighth note is prominent, Ferling taking every chance he can to
subdivide it into duplets, triplets, quadruplets, and octuplets (trills), the actual tactus is the quarter note. In
addition, the range is very wide, reaching from B to F3. The passage involving the high F, E, and D must have
been quite a challenge on the early mechanized German oboes of the day. In fact, this same spot still makes for
considerable angst among players utilizing fully mechanized modern instruments. Certainly a word is in order
concerning the wide intervals liberally utilized by Ferling: at the outset, the dominant 7th on G is spelled out in
the tritone descent from F2 to B1, perhaps as a portend of what is to follow. The perfect 4th in measure 3
reappears in the rounding of the binary form, followed by florid ornamentation. But, needless to say, the minor
6th up to the high F3 causes the most anxiety, preceded as it is by the trill A2-G2 which is difficult to execute
until the muscles of the third finger have been strengthened. This is not an etude for the faint-hearted!

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