Baroque Ornamentation

An article by Ronald Roseman (1975)

In the past decade or so, after some hundred and fifty years of neglect, ornamentation of Baroque music has again become widely accepted. Whereas, in the early 1960's most conductors would hit the ceiling every time we added so much as a cadence trill in a Bach suite or a Handel oratorio, now they are usually delighted when players embellish, even quite elaborately.

These days students coming to play auditions have also usually done their own ornamentations of Baroque works. So, I believe, virtually all oboists recognize the necessity of ornamentation and want to do their own. The problem is how to get started, and how to create ornamentation that is stylistic, personal and for lack of a better word, beautiful.

Ronald Roseman: A Biographical Description and Study of his Teaching Methodology

A dissertation by Anna Lampidis, DMA (2009)

Directed by Dr. Mary Ashley Barret

Ronald Roseman was an internationally acclaimed oboe soloist, chamber musician, teacher, recording artist, and composer whose career spanned over 40 years. A renowned oboist, he performed in some of America’s most influential institutions and ensembles including the New York Woodwind Quintet, the New York Philharmonic, and the New York Bach Aria Group.

His contributions to 20th Century oboe pedagogy through his own unique teaching methodology enabled him to contribute to the success of both his own personal students and many others in the field of oboe and woodwind performance. His body of compositions that include oboe as well as other instruments and voice serve to encapsulate his career as a noteworthy 20th Century composer. Roseman’s musicianship and unique teaching style continues to be admired and respected worldwide by oboists and musicians.