The figure of Eugenia Osterberger, the forgotten Galician romantic composer
(2025)
author(s): Mariña Palacio Fernández
published in: KC Research Portal
Throughout our musical history, many female composers’ figures and legacies have always remained overshadowed in the male-dominated realm of 19th- and 20th-century music. Eugenia S. Osterberger (1852–1932) is one of them: a remarkable and overlooked Galician composer who blended Galician and Spanish traditional music with European academic styles. This research aims to shed light on Osterberger's life and work by performing her compositions with my instrument addressing the central question: “How can I share it engagingly with the audience?”. To carry out this project, the methodology involves a literature review of Eugenia’s context, story, and compositions; archive fieldwork to find the scores; the process of arranging and adapting her music for oboe or English horn; identification of Galician and Spanish folklore footprints and other styles in her pieces; and revision of tools for engaging audience. The culmination of this research will be to have all the essential tools to be able to create a performance that combines narration and music to bring Osterberger's legacy to life, making the audience enjoy and connect with my emotional engagement and with the composer. In addition, it is intended to make a new contribution to the repertoire for oboe and English horn and raise awareness of under-represented voices in music history, which may inspire others to rediscover forgotten composers.
A LIST OF GRACIELA PARASKEVAIDIS' WORKS, INCLUDING INSTRUMENTS OF THE OBOE FAMILY (April 2023).
(2023)
author(s): Christos Tsogias-Razakov
published in: Research Catalogue
A list of Graciela Paraskevaidis' works, including instruments of the oboe family [with a total number of performers per piece, does not exceed eight (8) musicians], was published for the first time, in the frame of a Ph.D. research, about Hellenic (Greek) Oboe Repertoire, of the Ph.D. candidate: Christos Tsogias-Razakov.
All the used principal sources for this article (scores, pictures, etc.) are possible to be found
at the archive “La Fundación Archivo Aharonián-Paraskevaídis”.
A LIST OF NIKOS KOKOLAKIS WORKS, INCLUDING INSTRUMENTS OF THE OBOE FAMILY.
(2023)
author(s): Christos Tsogias-Razakov
published in: Research Catalogue
A LIST OF NIKOS KOKOLAKIS's WORKS, INCLUDING INSTRUMENTS OF THE OBOE FAMILY (March 2023).
A list of Nikos Kokolakis's works, including instruments of the oboe family, was published for the first time, after a personal interview with the composer Nikos Kokolakis about his works, in the frame of a Ph.D. research, about Hellenic (Greek) Oboe Repertoire, of the Ph.D. candidate: Christos Tsogias-Razakov.
OBOETRY – French poetry played in melody: a poetical & vocal approach to French 'mélodie' on oboe
(2022)
author(s): Anna Marieke Zijlstra
published in: KC Research Portal
This interdisciplinary research presents a contextualisation and musico-literary analysis on the French poem and art song “Colloque sentimental” from Paul Verlaine and Claude Debussy, followed by a full-fledged transcription of this ‘mélodie’ for English horn, expanding the existing oboe repertoire. In the annotation and interpretation of “Colloque sentimental”, a poetical and vocal approach has been applied, aiming to communicate a deeper understanding of the ‘poésie’ and ‘mélodie’ for performance practices. The studying and singing of the song resulted in an experimentation and reflection of playing the ‘mélodie’ on English horn, a process of musically translating the poetry into an instrumental transcription that takes into account the particularities and possibilities of the language and voice as well as these of the instrument in question, with the aim of providing useful material for fellow oboists and those who are interested. For example, it was demonstrated during the research process how the understanding of literary and vocal phrases enhances horizontal and legato phrasing on English horn. Consequently, an important challenge in this case consisted of writing the transcription in a feasible notation that would be playable for any oboist, even without prior knowledge of the French language and poetry, hopefully leading to a poetical and purposeful performance of the piece.