The solo concerto became established in the 18th century, offering musicians the opportunity to showcase their skills publicly. When suitable pieces were unavailable, concertos were often rewritten for other instruments. While Vivaldi rearranged his own compositions, C.P.E. Bach and his contemporaries adapted harpsichord concertos for various instruments. Krommer transposed flute and oboe concertos for clarinet. These adaptations also required changes to the orchestral parts, which were not always executed expertly.
The genesis of Mozart's oboe concerto from his middle period remains disputed. An Italian oboist received a concerto specially composed by Mozart. During his stay in Mannheim, Mozart referred to this work as "Ramm's warhorse." Since Mozart provided few details, the precise identification of the work remains difficult. A musicologist later discovered fragments of an oboe concerto that Mozart had composed for the same oboist.
Mozart found the commission for flute concertos burdensome and delivered only two, which were later lost. The alleged rediscovery of a Mozart oboe concerto is doubtful. Sarah Francis made changes to improve the oboe part and achieve a smoother voice leading in Mozart's style.
Franz Vinzenz Krommer, highly regarded during his lifetime, later fell into obscurity. As court composer in Vienna, he created a substantial body of work including symphonies, violin concertos, and chamber music. Despite his musical versatility and genius, he was overshadowed by Beethoven and, to some extent, by Mozart.
Krommer's oboe concertos differ significantly from Mozart's works in orchestration and style. They are characterized by melodic richness and strong contrasts. Krommer preferred larger orchestras for his concertos, which provided powerful accompaniment. The development from Op.37 to Op.52 shows clear progress, with the orchestra in the former reminiscent of Beethoven's power.