During the 1990s, Collegium Musicum 90 and Simon Standage released several volumes of Albinoni concertos, which proved popular with critics and public alike. The concertos were released as discs of single oboe concertos, double oboe concertos, and string concertos. In this re-issue on the Chaconne label, the concertos are presented in opus number order, showing the contrasting colours and tonalities of the concertos as they originally appeared.
During the eighteenth century music publishers, and occasionally composers themselves, adapted sonatas originally intended for string instruments, for wind instruments. The adaptation of Albinoni's violin sonatas for woodwind instruments has a historical precedent set by one of the great musicians of the French Baroque. The composer, flautist, bassoonist, gambist and instrument maker Jacques Hotteterre Le Romain (c. 1680-1761) adapted some of Albanian's violin sonatas for the flute….
As a glance at the titles for this release indicates, this is pretty much an album of reconstructions. In his learned and usefully comprehensive booklet notes, Geoffrey Burgess describes how Bach’s concertos for harpsichord can be shown to have had other intended solo instruments, the oboe in particular, in mind. Bach wrote more solos for the oboe into his cantatas than for any other instrument, and so the lack of concertante works for the instrument argues that several may have been lost or have only survived in other guises.
Johann Gottlieb Graun became a member of the small court orchestra of the Prussian Crown Prince Frederick in Ruppin in 1732, which Carl Heinrich also joined in 1735. With Friedrich's ascension to the throne in 1740, Johann Gottlieb was appointed concertmaster and Carl Heinrich kapellmeister of the royal court. Johann Gottlieb remained until the end of his life closely linked to Frederick the Great, as concertmaster and chamber musician. Whilst his brother Carl Heinrich became an important figure at the new Berlin Court Opera, Johann Gottlieb strongly influenced the musical life of Berlin and early classicism in general as a violinist and composer.
This double CD compiles recordings of 20th century oboe concertos made in recent years with the RSO Frankfurt's solo oboist Fabian Menzel. The selection does not attempt to be representative of oboe composition at the end of the last century, since such a repertoire is to extensive and varied. The five pieces presented in this edition, however, are interesting and significant contributions to the genre and vary greatly in terms of their conception.