Second Book of Oboe Solos: Oboe & Piano Book

Craxton understood exactly what intermediate oboists need: pieces that feel substantial without drowning in technical demands, drawn from music that's worth learning. The collection spans centuries and styles, giving students real variety without padding filler arrangements.

You'll encounter the lyric grace of Handel and Purcell alongside whimsical character pieces by Richardson, then shift into Romantic intimacy with Schumann and Grieg. The book moves between ceremonial grandeur and quiet reflection, never settling into monotony.

Intermediate oboists ready to expand beyond method books into real repertoire, plus advanced students building a solo recital library. Teachers looking for reliable performance pieces that also develop musicality and style will find multiple options here.

• Study the piano part carefully before rehearsing; understanding the harmonic support underneath your line shapes phrasing decisions, especially in the slower movements.
• The Richardson selections benefit from character-driven interpretation. Each piece has a distinct personality, so commit fully to the marked style rather than playing them as generic recital pieces.
• In the Bach and Baroque selections, pay close attention to articulation patterns. Craxton's editing preserves historical playing conventions while keeping them practical for modern oboe technique.
• With the theme and variations, map out where you'll add subtle dynamic shaping to maintain listener interest across the multiple iterations.

Pull individual pieces for recitals or student showcases rather than performing the entire book as a suite. The Baroque selections work beautifully alongside period instrument programs, while the Richardson pieces can anchor lighter chamber concerts or junior recitals.

• Stylistic differentiation across Baroque, Classical, and Romantic repertoire
• Long-line phrasing in slow movements
• Articulation techniques in contrasting contexts (legato airs, staccato character pieces, detached hornpipes)
• Interpretation of musical character without printed expression marks
• Collaborative listening with an engaged piano partner