OK
Technical Notice
| Classical Composer: | Albinoni, Tomaso Giovanni |
|---|---|
| Work: | Oboe Concerto in D Minor, Op. 9, No. 2 |
| Year Composed: | 1722 |
| Instrumentation: | 0.1.0.0 - 1 hpd, 8.7.6.5.4 str, |
| Publishers: |
Edition Kunzelmann Edition Kneusslin Edwin F. Kalmus The Edwin A. Fleisher Music Collection |
| Duration: | 00:08:00 |
| Period: | Baroque (1600-1750) |
| Work Category: | Concerto |
Work Information
Available Recording(s)
Despite its origins in France, the oboe was to flourish most spectacularly in Italy and nowhere more so than in Venice. Vivaldi, the Red Priest, wrote concertos for oboe but they were largely little different from his violin concertos. Indeed, he sometimes specified the instrumentation of such works to be played on violin or oboe. It was left to Tomaso Albinoni, an almost exact Venetian contemporary of Vivaldi (though there's no indication the two men knew each other) to take the evolution of the oboe concerto one important stage further. For Albinoni, the oboe was a truly independent instrument, one capable of all the beauty and allure of the human voice, and his concertos became almost operatic in their lyricism. Significantly, his wife was a singer. His concertos were the first of their kind to be published by an Italian composer and his Op. 9 set followed in 1722. Those for oboe are even more magnificent than the earlier set, and of them No. 2 is the most deservedly popular. It is everything a great concerto should be: in the now standard fast-slow-fast formula, the first movement is full of charm and excitement, and the last has plenty of room for echo or imitation effects and counterpoint. But it's the slow movement that is the most astonishing—over simple accompaniment the oboe soars, singing its song like an operatic soprano. One is even tempted to think of a text—love, loss, longing—so perfect is it.
Writer: Richard Whitehouse
| No. | Catalogue No. | Album Title | Label | Featured Artist |
|---|
