Concerto for Oboe and Piano Cover Image

Concerto for Oboe and Piano: Oboe Part(s)

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Concerto for Oboe and Piano Cover Image

Concerto for Oboe and Piano: Oboe Part(s)

In One Movement

By Mario Lombardo

Item: 00-EL9544

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Description
This one-movement piece begins with a beautiful melody which exhibits the tone and lyricism of the oboe. Allegro sections allow the oboist to showcase his or her technique, while rubato sections give the performer the opportunity for unrestrained interpretation. The climax leads to a brilliant finale and an exciting finish. An excellent work for festival, recital or audition.

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Additional Details
Publisher: Alfred Music
Page Count: 24
UPC: 029156167030
SKU: 00-EL9544

More about this title

Why we love this

Lombardo writes for the oboe's strengths without overselling its technical demands. The structure moves deliberately from lyrical storytelling into passages where technique becomes musical rather than gymnastic, and the rubato sections trust the soloist's musicianship in ways that feel genuinely collaborative rather than indulgent.

What to expect

Lyrical and expressive, with moments of virtuosic brilliance that feel earned rather than gratuitous. The piece lets the oboe sing its most beautiful register while giving you room to breathe and interpret, then builds toward a satisfying climax that justifies everything that came before.

Who it's for

Advanced high school oboists and college students preparing for auditions, festivals, or solo recitals. This work suits musicians ready to balance technical display with genuine musical storytelling.

How to get the most out of it

  • Shape the opening melody as a conversation rather than a display. Let the beauty of the oboe's tone carry the line while you listen to how the piano responds.
  • Mark your rubato moments clearly in rehearsal. Know exactly where the flexibility begins and ends so that freedom doesn't become uncertainty.
  • Build intensity gradually through the Allegro sections. These passages are your technical showcase, but they should feel inevitable rather than inserted.
  • The climax needs air and space around it. Resist the urge to rush; clarity in the final brilliant section comes from confident pacing, not speed.

How to use it

A natural fit for solo recitals or festival competitions where you need a single substantial work to demonstrate range. It also works well as an opening piece for a chamber concert, establishing an intimate tone before moving into ensemble works.

Skills your students will build

  • Sustained lyricism across long melodic phrases
  • Pacing and control in fast passagework
  • Expressive use of rubato and tempo flexibility
  • Dynamic shaping and tonal color transitions
  • Collaboration with piano accompaniment in both leading and supporting roles

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