Introduction
Phase I, Antonio Vivaldi: Ritornello Form

• Variants to Vivaldi's Basic Structure
• Tomaso Albinoni's Operatic Structure

Phase II, The Modern Creations of Carl Philipp Emanuel Bach
Phase III, The Perfect Proportions of Mozart
Phase IV, The Dissolution of Ritornello Form In the First Movement of the Oboe Concerto
Phase V, Neo-Classicism
Bibliography and Discography

• Phase I Concerti
• Phase II Concerti
• Phase III Concerti
• Phase IV Concerti
• Phase V Concerti

After finishing my work on Mozart's F Major Oboe Concerto, I began to wonder exactly how the first movement of the late 18th century oboe concerto had evolved from the early 18th century types. Therefore, utilizing my collection of oboe concerto repertoire, both scores and recordings, I began a systematic inquiry into this fascinating realm.

It is my hope that the survey presented here might be used by oboists to help in coping with articulation, ornamentation, phrasing, and memorization of 18th century concerti, since implementation of these concepts is so very closely related to the understanding of the formal structure presented in each work.

Phase I
Antonio Vivaldi: Ritornello Form

Sometime after 1700, Antonio Vivaldi began composing oboe concerti in the three movement: fastslow-fast. The structure he used for his first movements, (many times in final movements also), has come to be known as ritornello form. This structure as it appears in his famous C Major Oboe Concerto, RV 447 (PV 41) can be diagrammed as in figure 1.

Now for a short explanation of the symbols used above, beginning with the Roman numerals 1, V, vi, and 1. These are the tonalities of the various ritornelli over which they are placed (R1, R2, R3 and R4). In minor key concerti the normal order will be i, III, v, i.

The letters Al, A2, A3, A4 and C represent the various parts of the ritornello which, in fact, is the main thematic material played by the Tutti. In Vivaldi's oboe concerti the usual Tutti is Violin I, Violin Il, Viola, and Continuo. The letter C represents a very special ending or closing theme in a ritornello, and in many cases (like in the PV 41) it repeats. In other concerti there might be several closing themes; if so, I will label them C1, C2, C3, etc.

I have given the measure numbers for each of the five thematic ideas and also the measures between which each of the four ritornelli may be found. And finally, El, E2, and E3 designate the episodes which contain material derived from the ritornello either in whole or in fragmentary form. The episodes are designed to be played by the soloist, in this case, the solo oboe, and this soloist may be accompanied in several ways: by the continuo only, by the Violins I and II and Viola, or by the entire ensemble. Episodes often contain figuration which is totally unrelated to the ritornello and PV 41 is no exception. The overriding point is that the episodes will be used to modulate to the following ritornello which then establishes the new tonality. Take note that R2, R3, and R4 are often incomplete, particularly R2 and R3. In many cases the opening and closing ritornelli are identical, but in PV 41, R4 lacks its opening theme Al!

Variants to Vivaldi's Basic Structure

Perhaps the most telling variant is the inclusion of yet one more episode followed by a fifth ritornello. Vivaldi proceeds in this manner in at least two of his oboe concerti: D Minor, RV 454

(Op.8, No.9: 1725) and F Major, RV 455. In both cases the fourth and fifth ritornelli are each in the tonic. This process of multiplying the number of ritornelli for a given tonality was exploited by one Vivaldi fan, none other than Johann Sebastian Bach, in order to greatly extend the first movement structure. In the Concerto for Oboe and Violin in D Minor, BWV 1060, Rl, R2, and R4 are each presented two times with ensuing episodes while R3 is presented three times with three episodes! Bach's F Major Concerto has multiples of RI and R4 in the opening section of the first movement, and includes yet a middle section (like a Da Capo Aria) with yet two more double presentations of the ritornello!

The Bach oboe concerti, therefore, present many more episodes than the usual Vivaldi plan, making for all sorts of wonderful development of fragments derived from the ritornello. Also Bach has the habit of keeping the soloist busy with a descant during the playing of the ritornello by the Tutti: a trait Vivaldi also practiced in his F Major Concerto, RV 455.

Although Vivaldi's concept of the three movement concerto would win universal acceptance in Europe by mid-century, there were in his day still many composers who made use of the four movement concerto in which case the ritornello form will be found as the basis of the second and/or fourth movements. Handel's Bb Major Concerto (the one often referred to as No. 1) is such a work, and it is the second movement which displays the structure in question. But it is strange: all of the appearances of the ritornello are in the tonic key!

Other works in the four-movement style are:

Johann Friedrich Fasch: Concerto in A Minor
Georg Philipp Telemann: Concerto in C Minor
Georg Philipp Telemann: Oboe d'Amore Concerto in G Major
Georg Philipp Telemann: Concerto in E Minor

Fasch's second movement is very mainstream while Telemann's C Minor Concerto includes only three appearances of the ritornello. Also, Telemann's G Major work for Oboe d'Amore is unusual: an extra E4 forms a center section after which there is a da capo. We have already met with this idea in Bach's F major Concerto but on a vaster scale. The second movement of Telemann's E Minor Concerto presents E2 as a wonderful recitativo!

A number of concerti flirt with the concept of presenting the R3 in the tonic, an idea which became essential after mid- century for the creation of a recapitulation of Rl-El as R3-E3. In the cases listed below there is no real recapitulation being set up and in several situations the R3 begins in another tonality before switching to the tonic:

Antonio Vivaldi: Concerto in C Major, RV 447 (vi-I) Antonio Vivaldi: Concerto in C Major, RV 451 (vi-I) Gottfried Stoelzel: Concerto in D Major Giovanni Platti: Concerto in G Minor (iv-i) Jean Marie Leclair: Concerto in C Major (iv-I) Francesco Biscogli: Concerto for Trumpet, Oboe & Bassoon

In the example by Leclair, R3 begins with A6 and A3 in iv before presenting Al in 1. The same idea is followed by Platti. Perhaps both were aware of Vivaldi's concept of starting R3 in the middle of the A material before reverting to the opening of the A material in the tonic as in RV 447.

Some concerti get quite involved in the concept of presenting more than just one closing (C) theme. The Biscogli Concerto is a good case in point with C 1, C 2, and C3, the sort of thing that became the norm in the latter part of the 18th Century. Biscogli compounds the problem of having a bit too much thematic material for the players and listeners to keep track of by introducing no less than five parts to the A material, making a total of eight themes in the ritornello!

Tomaso Albinoni's Operatic Structure

The Albinoni version of Vivaldi's ritornello form forms kind of an interlude in our search back into the early 18th century for the roots of the kind of oboe concerti that Dittersdorf, Vanhal, and Mozart would write at a later time. The Albinoni type found its most complex expression in J.S. Bach's fabulous D Minor Oboe Concerto BWV 1059 recently recorded by Stephen Hammer and also Heinz Holliger.

But perhaps the best-known oboe concerto composed to the Albinoni plan is the one by Alessandro Marcello in D Minor (first published in 1717). The structure of the first movement is diagrammed in figure 2.

Albinoni's own concerti for solo oboe fall into two sets of four: Op. 7, Nos. 3, 6, 9, 12 published in 1715 and Op. 9, Nos. 2, 5, 8, 11 published in 1722.

Others besides Bach and Marcello who composed concertos utilizing the Albinoni plan are:

Johann Fasch: Concerto in G Minor
Georg Philipp Telemann: Oboe d'Amore Concerto in A Major
George Frederick Handel: Concerto in G Minor (c.1703)
Anonymous (attributed to Handel): Concerto in Eb Major

The Telemann, Handel, and Anonymous concerti are of the four movement type. As a result, the Albinoni style of ritornello form is found in the second movement of the Telemann and in the fourth movements of the Handel and Anonymous works.

The Bach Concerto in D Minor, BWV 1059, mentioned earlier in this section, uses multiples of tonalities to add extra ritornelli. The plan is ingenious:

Phase II
The Modern Creations of Carl Philipp Emanuel Bach

Despite Johann Sebastian Bach's interest in its possibilities, the structure utilized by Tomaso Albinoni and his followers for the first movement of the concerto did not find favor in the later part of the 18th century when Bach's children, Carl Philipp Emanuel and Johann Christian were active. Therefore, Vivaldi's ritornello form with its four ritornelli for the tutti and three episodes for the soloist reigned supreme.

Perhaps at some point in mid-century, Carl Philipp Emanuel Bach and his contemporaries became so fascinated with the fact that the da capo aria structure of their day had so very much in common with Vivaldi's ritornello form, that a conscious effort was made to bring the two kinds of construction more into alignment for usage in the first movements of concerti. A look at da capo aria structure in figure 3 is helpful at this juncture.

In the da capo aria there are two major ritornelli (Rl and R2), and they are presented in the tonic. The ritornello itself, is composed of a main theme or themes (A) and ends with a closing theme (C). There are two episodes of which the second, E2, forms a middle section which tends to modulate to more distant realms than the first, El. After E2 there is a da capo of R1, El (now ornamented), and R2.

Composers of concerti after mid-century began to use a modified version of Vivaldi's first movement structure which maintained the four ritornelli and three episodes of his ritornello form while mixing in the new exciting ideas found in the da capo aria, particularly the roving modulations of E2 and the recapitulation of RI, El, and R2. just as in the aria, the first movement of the "modern" concerto would present in the da capo or recapitulation, a variant of El, complete with cadenza.

Carl Philipp Emanuel Bach's Oboe Concerto in Bb Major, Wq 164 lays out the new plan diagrammed in figure 4.

Let us walk through this structure:

The opening RI presents us with five themes in the tutti, two of which are closing material. El continues with the soloist developing a good chunk of those themes: A 1, A2, and Cl, the last of which is presented in the dominant. It is very significant here that we see the inclusion of the C material in an episode of a concerto. This concept will be further manipulated by later composers, sometimes with overburdening results, as we shall see!

The next tutti (R2), which is in the dominant presents all but A2 of the complete ritornello. At this point we have reached what is comparable to the middle section of a da capo aria, E2, and not only are wider-ranging modulations to be found, but also complex development of the materials originally heard in the opening R 1. A new bit of material, z, introduced after A 1, is followed by C1. Then C1 and C2 are developed by the tutti. Finally the soloist works through Al and A2.

This mid-section or development as it was to be called by theorists in the 19th century, is followed by a da capo or recapitulation of Rl, El, and R2. This recap is labeled R3, E3, and R4 and there are several points to be noted:

First of all, R3 includes but a fraction of the opening ritornello (RI), a trait which is typical of the da capo aria where the structure prior to the return to El includes only the short ritornello (R3). What follows this is a new version of El (E3: Al, z, Cl) which maintains the tonic key throughout. Note that in the original version (E 1), C I was given in the dominant. At the end of E3 there is a place for a cadenza which then leads into the final R4 which is similar to R2 in all but the fact that it omits Al.

Other compositions which show these traits for the first movement are:

Carl Philipp Emanuel Bach: Concerto in Eb major, Wq 165 (c. 1765)
Johann Gottlieb Graun: Concerto in C Minor
Johann Wilhelm Hertel: Concerto for Trumpet and Oboe in Eb Major

Carl Philipp's Eb Major Concerto includes an idea that was to become typical later in the century as concerns the location of the cadenza: rather than locating it at the end of E3, it is put in R4 shortly after the beginning of the Al material. In the Eb Major Concerto, the Al material of R4 does not begin in the tonic and therefore only acts as a cadenza lead-in but in the analogous place in Mozart's C Major Concerto, K.314, the Al is solidly in the tonic!

Phase III
The Perfect Proportions of Mozart

In moving into this third phase, there was somewhat of a preparation of what was to be considered standard, namely the introduction of a contrasting theme (B) between the A and C groups contained in R I, El, and E3. This idea occurs at measure 34 of E I and at measure 88 of E3 in an Oboe Concerto in C Major composed at the Court of Mannheim by Johann Stamitz. In this work, the opening R 1 does not include this B theme at all: only El and E3 have it. And it must also be noted that the contrast between the A material and that of B is not as obvious as it would become in the hands of composers later in the century. In many ways, B seems to be the first of a series of closing themes in this Johann Stamitz work, and, to be sure, the presentation of B in El occurs at the dominant just as was the case of the start of the C material in El with C.P.E. Bach. Stamitz' plan can be seen in figure 5.

Other works which maintain C. P. E. Bach's basic structure, but add a contrasting B theme to R I in addition to El and E2 are:

Anonymous (attributed to Franz Joseph Haydn): Concerto in C major
Johann Christian Fischer: Concerto in Eb Major
Johann Christian Bach: Concerto in F major, T 290/7
Carl Stamitz: Concerto in Bb Major, (c. 1779)

An unexpected trait begins to surface at this point: this is the failure of R3 to exist at all! To be sure, the da capo aria had set forth the possibility of presenting a very shortened version of the ritornello at the point of recapitulation but this is carried to the extreme of completely omitting R3 in the abovementioned concerti by J.C. Fischer and J.C. Bach. In the concerti by Anonymous (Haydn) and Carl Stamitz the R3 is integrated into the preceeding E2!

The four concerti mentioned above also bring forth several other problems that can make for treacherous traveling through a first movement. With the Anonymous (Haydn) work, completely different B themes are given in the ritornello and episode areas. In the Carl Stamitz, J.C. Bach and Anonymous (Haydn) concerti, the C thematic area which should follow the B theme in E I and E3, is missing entirely!

It will soon become evident to the reader just why Mozart was such a genius in dealing with the first movement of a concerto. First of all, Mozart had the intelligence to take the best of Carl Philipp Emanuel's structure while avoiding the pitfalls just mentioned. Secondly, Mozart could write the kind of thematic material that was at the same time wonderful to hear while being useful for development. And development is what the classic concerto is all about! Mozart's first movement structure for his popular C major Oboe Concerto, K.314 stands as in figure 6.

Here is how Mozart proceeded:

RI presents us with concise At and B themes and then three C themes, each of which, (with the exception of C lb), repeats. Mozart's orchestra makes use of a wind band of two oboes and two horns to reinforce the slow harmonic rhythm of this and the remaining ritornelli.

C3 in RI consists of a motive involving a trill in the continuo. The repeat of C3 is taken by the soloist who uses it to lead into El, arriving there on a high inverted pedal point while the Tutti sounds the At theme. El continues with the development of At, after which a short tutti consisting of C2 and C3 is introduced to prepare for the development of C3 by the soloist. Shortly thereafter, Mozart modulates to the dominant and introduces the remainder of the A material (A2, A3) and follows with another short tutti derived from the At theme as preparation for the B theme.

The B theme is sounded in the dominant and is followed by Cl a and a new closing theme C4, both of which have built-in repetitions. Now here is where Mozart makes a brilliant move: he finishes up the C material first presented in RI by giving it to the tutti as R2. Unlike his predecessors, he does not present the A or B themes in this spot. It seems clear that he wants to maintain the continuity of the closing material begun by the soloist and now completed by the tutti.

Next comes E2, the development of C3. This is followed by the recapitulation consisting of R3 which sounds only the opening of Al, followed by E3 which includes a short development of A3 and A2. Included here too, are the complete A2 and A3 themes first heard in E 1, the short tutti based on the end of the Rl version of the Al theme, and the B theme, this time in the home key. C1a and C4, both with internal repeats exactly as in El, end this section.

R4 begins with the playing of the A I and C3 themes and stops momentarily on the first inversion of the tonic signaling, together with a fermata, the place for the cadenza. It is clear that Mozart wants the soloist to develop the C3 at this point, and this is exactly what Heinz Holliger does in the second of his three recordings of this work. The logic here is that since the composer has indicated from the outset that C3 is a repeating theme, but has presented it at this spot in the continuo without this feature, it will now be up to the soloist to take care of the repetition!

The R4 ends exactly like R2, but this time in the tonic, with the playing of Clb, C2, and C3, the latter two of which maintain their internal repetitions.

Other works which display this type of structure are:

Johann Christian Bach: Concerto in F Major, T 287/4
Carl Ditters von Dittersdorf: Concerto in G Major, (c. 1775)
Wolfgang Amadeus Mozart: Concerto in F Major, KV 293 (Lehrer version)

Mozart's integration of the C I material from R I into E I and E3, because of his desire to link these episodes to the remainder of the closing material included in the ritornelli which follow (R2 and R4), shows, in my opinion, a deep awareness of what was necessary to maintain continuity in the first movement of a concerto. Also, he does not overburden the listener with a plethora of unimaginative themes as did Biscogli in an earlier time.

Many composers of oboe concerti in Mozart's day did not understand that a multiplicity of themes would greatly lessen the impact of their first movement structures. Several compositions, including those listed below, maintain a separate set of closing themes for the soloist to play in the episodes:

Johann Christian Fischer: Concerto in C Major
Johann Anton Kozeluch: Concerto in F Major
Joseph Fiala: Concerto in D Major
Joseph Fiala: Concerto in Bb Major
Francesco Antonio Rosetti: Concerto in C Major
Frantisek Kramar: Concerto in F Major, Op. 52

In the case of Fischer, Fiala, and Kramar, there are even separate B themes for the soloist to play, something we have already met in the Anonymous Concerto attributed to Franz Joseph Haydn. The plan for the first movement of Fiala's Bb Major Concerto is unusually complex; see figure 7.

Phase IV
The Dissolution of Ritornello Form In the First Movement of the Oboe Concerto

Is it any wonder then, with the confusing thematic construction practiced by some composers, that the entire concept of ritornello form as used in the first movement of a concerto would eventually selfdestruct?

The first movement of an Anonymous Oboe Concerto in Eb Major composed some time before 1825 (but attributed to Mozart!) actually shows us an overly complex structure exploding: already the recapitulation (R3, E3, R4) has lost all but three closing themes in the process (figure 8).

In an article for the International Double Reed Society, "The Repertory of the Oboe Soloist in the 19th Century", (Journal No. 12: 1984), 1 discussed the problem of structure in the 19th century concerto at some length. In a word, the Romantic Era, while a disaster for ritornello form, came up with new ways better suited to expressing the sentiments of that age. Many composers of oboe concerti simply delete the first movement structure: Bellini's Oboe Concerto in Eb Major (1823) work is an excellent example. Others proceed like the composer of the Anonymous concerto mentioned above, removing large chunks of material from the ritornello form. For example, in the first movement of Kalliwoda's Concertino of 1844, R1 gives no hint as to what are to be the B and C themes, and everything from E2 onward is missing!

By the time that Marie Comtesse de Grandval created her Oboe Concerto (1885) for Georges Gillet, the first movement consisted of a sonata form structure preceeded by a short tutti introduction. In the 1945 Oboe Concerto by Richard Strauss, there is no tutti introduction. After two measures, in which the celli present a short motive, the movement proper begins with the soloist playing the A theme of an ingenious sonata form.

There was another problem that had to be worked out after the demise of ritornello form in the 19th century: how was the oboe going to compete with the large symphony orchestra when the three episodes of ritornello form designed to bring the soloist into the foreground, no longer existed? This was not a problem for powerful instruments like the piano, violin, and cello, but for the oboe this could spell oblivion.

Phase V
Neo-Classicism

In the 20th century with the coming of the Neo-Classic movement, there was again a flurry of activity in composing oboe concerti, and a few composers even tried their hand at reviving the old ritornello form. Three works immediately come to mind:

Eugene Goossens: Concerto en un Mouvement, Op. 45 (1927) Ralph Vaughan Williams: Oboe Concerto (1944) Bohuslav Martinu: Oboe Concerto (1955)

Goossens' concerto for his famous brother Leon, is composed in four connected movements of which the first is a ritornello structure in the manner of J.S. Bach, that is to say, with multiples of the ritornelli and episodes. Vaughan Williams' work, on the other hand, is based on the type of ritornello form often called rondeau or rondo, which occurs as the final movement in the classic age, but here used as the opening movement. I have always found it peculiar that the C theme is not first heard until E3, but what a beautiful effect that makes! Vaughan Williams' first movement structure is seen in figure 9.

i		i		i		i
RI	El	R2	E2	R3	E3	R4
x	B1(II)	x	B2	x	Bl(I)	x
A solo		A canon		A canon	C	A Cadenza
Cadenza					Cadenza	C
x						x
A tutti
1-18		29-39		71-79		112-125

The opening movement of Martinu's Oboe Concerto is interesting in that we hear the B theme only once: in the E I. It is not present in the Rl (nor is C) and we wait for it in vain in E3.

Of course, we oboists are blessed with a great number of oboe concerti written in this present century by wonderful composers. Other ways of doing it have been tried and work! I recently attended the premiere of Salvatore Macchia's new oboe concerto written for Fred Cohen and the Springfield Symphony. It is a really fabulous work! Several weeks before the first performance, I asked Sal to describe his concerto to me. I had been hoping that he would say: "I put it together just like Vivaldi. " Instead, Sal said to me: "How's my Oboe Concerto put together? Ob, you know, man, the usual: three movements, twelve notes! "

Bibliography and Discography
Recordings are denoted by*

PHASE I CONCERTI:
Alessandro Marcello (1669-1747):
D Minor Musica Rara, London: 1977
*Heinz Holliger: Monitor S-2088

Tomaso Albinoni (1671-1750):
Op. 7, Nos. 3, 6, 9, 12 Musica Rara, London
*Heinz Holliger: Archiv 2533 409
Op.9, Nos. 2, 5, 8, 11 Musica Rara, London
*Han De Vries: Angel SZ-37802

Antonio Vivaldi (1678-1741):
C Major, RV 447 (PV 41) Edition Euelenberg, Zurich: 1973
C Major, RV 451 (PV 44) Edition Euelenberg, Zurich: 1973
D Minor, RV 454 Ricordi, Milan: 1958
F Major, RV 455 Musica Rara, London: 1979
A Minor, RV 461 Schott Edition, Mainz: 1967
D Major, F VII, No. 10 Ricordi, Milan: 1968
F Major, F VII, No. 12 Ricordi, Milan: 1971
*Heinz Holliger: Philips 9500 044
9500 299
9500 443
9500 604
9500 742
6514 167

Georg Philipp Telemann (1681-1767):
C Minor Edition Schott, Mainz: 1956
E Minor Edition Sikorski, Hamberg: 1954
*Heinz Holliger: Philips 6514 232
G Major Edition Sikorski, Hamburg: 1963
A Major Edition Euelenburg, Zurich: 1968
*Thomas Stacy: Spectrum SR-159

Johann Sebastian Bach (1685-1750):
F Major, BWV 1053 Edition Sikorski, Hamburg: 1955
A Major, BWV 1055 Baerenreiter-Verlag, Kassel
D Minor, BWV 1059 Edition Kunzelmann, Lottstetten: 1983
*Stephen Hammer: Pro Arte PAD- 153
D Minor, BWV 1060 Edition Breitkopf, Leipzig: 1924
*Schaeftlein: Telefunken SAWT 9557B

George Frederick Handel (1685-1759):
Bb Major Baerenreiter, Kassel
G Minor Baerenreiter, Kassel
*Heinz Holliger: Philips 6500 240
Eb Major (attribution) Edition Peters, Frankfurt: 1936

Johann Friedrich Fasch (1688-1758):
G Minor Edition Sikorski, Hamburg, 1964
*Guenther Passin: Schwann VMS 2022
A Minor Edition Euelenberg, Zurich, 1975

Gottfried Heinrich Stoelzel (1690-1749):
D Major Edition Sikorski, Hamburg: 1953
*Guenther Passin: Schwann VMS 2022

Giovanni Platti (1697-1763):
G Minor Edition Sikorski, Hamburg: 1964
*Guenther Passin: Schwann VMS 2022
jean Marie Leclair (1697-1764):
C Major, Op.7, No.3 Deutscher Ricordi, Loerrach: 1957
*Andre Lardrot: Vanguard VSD-2138
Francesco Biscogli:
D Major Musica Rara, London: 1972
*Pierre Pierlot: Musical Heritage 848

PHASE II CONCERTI:
Johann Gottlieb Graun (1703-1771):
C Minor Edition Sikorski, Hamburg: 1953
*Heinz Holliger: Archiv 2533 412

Carl Philipp Emanuel Bach (1714-1788):
Bb Major, Wq 164 Leuckart, Munich, 1954
Eb Major, Wq 165 Edition Sikorski, Hamburg: 1959
*Helmut Hucke: RCA VICS-1463

Johann Stamitz (1717-1757):
C Major Edition Sikorski, Hamburg: 1957

Johann Wilhelm Hertel (1727-1789):
Eb Major Musica Rara, London: 1972
*Helmut Hucke: Nonesuch H-71270

PHASE III CONCERTI:
Anonymous (attributed to Haydn):
C Major Edition Breitkopf, Wiesbaden: 1926
*Heinz Holliger: Philips 9500 564

Franz Joseph Haydn (1732-1809):
Sinfonia Concertante Breitkopf und Haertel, Wiesbaden
*Helmut Winschermann: Nonesuch H-71024

Johann Christian Fischer (1733-1800):
C Major Augener, London: 1955
Eb Major Edition Breitkopf, Wiesbaden: 1963
*Andre Lardrot: Vanguard VSD-2138

Johann Christian Bach (1735-1782):
F Major Edition Schott, London: 1963
*Heinz Holliger: Philips SAL 3723
F Major Nova Music, London: 1980

Johann Anton Kozeluch (1738-1814):
F Major Nova Music, London: 1982

Carl Ditters von Dittersdorf (1739-1799):
G Major Edition Breitkopf, Wiesbaden: 1948

Carl Stamitz (1745-1801):
Bb Major Simrock, Hamburg: 1962

Joseph Fiala (1748-1816):
D Major Boosey & Hawkes, London: 1969
Bb Major Nova Music, London: 1980

Francesco Antonio Rosetti (1750-1792):
C Major Southern Music, San Antonio: 1982
D Major Southern Music, San Antonio: 1982

Ludwig August Lebrun (1752-1790):
C Major (No.3) Musica Rara, London
*Heinz Holliger: Archiv 2742 005

Wolfgang Amadeus Mozart (1756-1791):
F Major, KV 293 Atlanta, McFarland: 1986
C Major, KV 314 Boosey & Hawkes, London: 1948
*Heinz Holliger: Philips 6500174

Frantisek Vincenc Kramar (1759-1831):
F Major, Op. 52 Editio SHV, Prague, 1956
*Heinz Holliger: Claves D-8203

Ludwig van Beethoven (1770-1827):
F Major, H 12 Nova Music, London: 1983
*Charles-David Lehrer: Orion 82432
Anonymous (attributed to Mozart as K 279b):
Sinfonia Concertante Breitkopf und Haertel, Wiesbaden
*Heinz Holliger: Philips 411 134-1

PHASE IV CONCERTI:
Anonymous (attributed to Mozart!):
Eb Major Southern, San Antonio

Vincenzo Bellini (1801-1835):
Eb Major Leuckart, Munich: 1969
*Heinz Holliger: Philips 9500 070

Johann Wenzeslaus Kalliwoda (1801-1866):
F Major, Op. 110 Musica Rara, London: 1974

Marie Contesse de Grandval (1830-1907):
D Minor, Op. 7 Southern, San Antonio

Richard Strauss (1864-1949):
D Major Boosey & Hawkes, London
Heinz Holliger: Philips 6500 174

PHASE V CONCERTI:
Ralph Vaughan Williams (1872-1958):
Oboe Concerto Oxford University Press: 1947
*Neil Black: DGG 2530 906

Bohuslav Martinu (1890-1959):
Oboe Concerto Max Eschig, Paris: 1960
*Frantisek Hantak: Supraphon 50 486

Eugene Goossens (1893-1962):
Concerto en un Mouvement Leduc, Paris: 1927

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