Gustav Schreck: Oboe Sonata, Op. 13 (1889)

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00:00 - I. Allegro
04:42 - II. Andante quasi allegretto
08:29 - III. Allegro di molto
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Oboe: Alessandro Baccini
Piano: Alessandro Cappella
Year of Recording: 1995
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"This is a pleasant and entertaining oboe sonata by a minor composer German Romantic composer, but one who clearly deserves some exploration. Gustav Schreck (1849 - 1918) was a product of the conservative Leipzig Conservatory and returned there to teach music theory and composition in 1887. He was an organist and in 1892 stepped into the historic position of Cantor of the Thomasschule, which was once Johann Sebastian Bach's job.
The occasion for writing this sonata does not appear known, but Schreck added a good piece to the oboe recital repertoire that ought to provide a welcome contrast to programs that are overloaded with music of the twentieth century, when wind solo music attracted the attention of more leading composers than had been the case in the preceding century. Although it is not innovative or tremendously imaginative, this sonata does display considerable skill and inventiveness in its handling of tonal centers. For instance, the modulation in the middle movement, an ABA song in a sad mood, is a strikingly distant one, from A minor to F sharp minor.
The opening movement, Allegro, contains the least surprises, though it is diverting in its dancing, folk-like quality and light touch. It is in the standard sonata-allegro form, and Schreck takes care to mark the arrival of the second subject with a full cadence and a preparatory pause. That middle movement, Andante quasi allegretto, exploits the dark qualities of F sharp minor in the center section to take an elegiac mood into darker territory.
The finale, whose initial tempo is Allegro di molto, returns to the light-footed qualities of the opening movement, but, in the sonata's most notable break from the standard sonata form, includes a long central episode in Lento tempo. The first element in it is a kind of emotional transition, breaking the initial mood for a chorale section. Then comes a melody whose expressive directions translate into English as melancholy, very tender, which allows the oboist a good opportunity to demonstrate his command of emotional nuance. The sonata concludes with a brief return to the opening material of this movement." (Joseph Stevenson)
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