Moving past Mozart: a critical evaluation of standard classical oboe repertoire and exploration of contemporary east Asian oboe repertoire

Abstract

Music is evolving and while more stylizations are introduced to the melting pot of art, the foundation of Western oboe technique remains centered around Eurocentric ideologies and literature. While it is important to study traditional works by composers such as Mozart and Bach, it is also necessary to see beyond Western perspectives. Although these composers were essential for the structure of Western classical music, Western compositions alone do not accurately reflect the historical context of the oboe, nor the extent of the oboist’s virtuosity. In this paper, I will explore select pieces of solo oboe repertoire written by composers from east Asia, highlighting the importance of their cultural contexts and oboe technique. The primary goal is to broaden perspectives outside of the traditional Western oboe canon. I argue that there are reasons to reach beyond traditional Western ideologies and introduce repertoire written by underrepresented composers. Chinese composer Chen Yi, South Korean composer Jean Ahn, and Japanese composer Toshio Hosokawa wrote eloquent works for the oboe, taking inspiration from nature, their cultures, and the oboe’s east Asian ancestors, the suona, piri, and hichiriki. These works give the oboe a new voice by utilizing extended techniques, non-Western modes, and free tempo. Each of these oboe solos uniquely combines the composers’ Asian identities with Western musical styles to contribute unparalleled works of art to the list of oboe literature.