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The Oboe Concerto No. 1 in B flat major (HWV 301) was composed by George Frideric Handel for oboe, orchestra and basso continuo. It was first published in the fourth volume of Select Harmony by Walsh in 1740. [1] Other catalogues of Handel's music have referred to the work as HG xxi, 85; and HHA iv/12,17. [1]
A number of concertos (as well as non-concerto works) have been written for the oboe, both as a solo instrument as well as in conjunction with other solo instrument(s), and accompanied by string orchestra, chamber orchestra, full orchestra, concert band, or similar large ensemble. These include concertos by the following composers:
Download QR code; Print/export Download as PDF; Printable version; In other projects ... Oboe Concerto No. 1 (Handel) Oboe Concerto No. 2 (Handel) ...
Download QR code; Print/export Download as PDF; Printable version; In other projects ... move to sidebar hide. The oboe concerto No.1 in F major, opus 37, is an oboe ...
Vaughan Williams began work on the Oboe Concerto in 1943, immediately after completing the Fifth Symphony, with which it shares a great deal.Amongst other things, the concerto began as a revision of a scherzo movement originally intended for the symphony. [1]
The Flute Concerto No. 2 in D major, K. 314 (285d) is an adaptation of the original oboe concerto. Dutch flautist Ferdinand Dejean [ Wikidata ] (1731–1797) commissioned Mozart for four flute quartets and three flute concerti, of which Mozart only completed three quartets and one new flute concerto.
The work is composed of three movements: [2] Allegro spirituoso; Andante; Rondo: Allegretto; Full performances last about 22 minutes. [2]Charles-David Lehrer believed that the first movement of the concerto was similar to the oboe concertos of Johann Christian Fischer, Johann Christian Bach, and Carl Stamitz, also arguing that it was similar in structure to the Johann Stamitz and Carl Philipp ...
The Oboe Concerto has been praised by music critics. Peter Dickinson of Gramophone wrote, "The Oboe Concerto [...] is unusual in creating a jazz personality, including real bent notes, for the soloist—notably in the bluesy section of the first movement from 3'15"—and big band effects in the finale. Harbison creates a series of decorative ...