Album insights
During the late 18th century, as the solo concert established itself, it attracted compositions for various melody instruments, providing artists with the opportunity to showcase their musical skills in the rapidly growing realm of public concert performances. Some artists struggled to find suitable works for their instruments, leading them to borrow and adapt concertos meant for other instruments. Vivaldi and C.P.E. Bach engaged in such adaptations, while Krommer transformed a flute and oboe concerto into one for the clarinet, highlighting the necessary adjustments in orchestral parts that were not always expertly executed.
The history behind Mozart's Oboe Concerto, one of the most candid and enchanting works of his mid-career, remains shrouded in uncertainty. Facts suggest that in 1777, Giuseppe Ferlendis, an Italian oboist, arrived in Salzburg, prompting Mozart to compose an oboe concerto for him. However, Mozart's ambiguous statements make the definitive identification of the work challenging. Additionally, during his time in Mannheim, Mozart, reluctantly tasked with composing three flute concertos, delivered only two to a merchant named de Jean, who unfortunately lost them.
A later fact involves the rediscovery of the Oboe Concerto by composer and music scholar Dr. Bernhard Paumgartner in the Salzburg Mozarteum archives in 1920. Paumgartner claimed to have found parts for a concerto by Mozart for oboe in C major, "del Sigre W. A. Mozart," suggesting it may have been the one Mozart composed for Ferlendis in Salzburg. Sarah Francis, dissatisfied with certain aspects of the oboe part, compared and made adjustments based on the flute version, altering the melodic structure and harmonizing in key sections to align with Mozart's style.
Franz Vinzenz Krommer, overlooked by posterity, was highly esteemed in his time for compositions spanning symphonies, violin concertos, chamber music, and more, earning recognition across Europe. Despite his popularity, Krommer's legacy dwindled posthumously due to the overshadowing influence of Beethoven and Mozart, emphasizing the importance of artistic genius over mere craftsmanship. Born in 1759, Krommer, originally named Frantisek Vincenc Kramár, adopted his more common name after settling in Vienna in 1795, where he worked as a court composer until his death in 1831.
Krommer's orchestration for his concertos, incorporating varied instruments like flutes, bassoons, trumpets, and timpani, complements the solo passages, showcasing an evolution in orchestral dynamics and thematic depth, resonant with Beethoven's influence. The concerto's structure culminates in a lively rondo rich in contrasting themes and joyful melodies, reflecting Krommer's innovative yet resonant musical style.