Albinoni – Version for Oboe (or Flute) and Piano of the “Oboe Concerto No.2 in D minor“, transcribed in 2017 by Santino Cara from “12 Concertos Op.9” composed in 1722 around by Tomaso Albinoni.
With the complete score of the concert is also inserted the separate oboe part.
Movements: 1. Allegro non molto, 2. Adagio, 3. Allegro
The concerto that we posted here is part of the collection of 12 concertos to 5 compounds by Tomaso Albinoni probably around 1722 and published in Amsterdam in the same year nell’Op.9. Albinoni dedicated this collection of concerts to Maximilian II Emanuel of Baviera, was the period when the composer was in Baviera for the representations of some of his theatrical compositions.
Tomaso Giovanni Albinoni was born in Venice in 1671, he always lived in the city of the Venetian Republic where he also died in 1751. Albinoni is certainly one of those composers who have ennobled the Italian Baroque. Its elegant music was much appreciated by his contemporaries to the point that Johann Sebastian Bach would write some fugues on topics of her instrumental concertos, for use as low for the harmony of various exercises for his students. According to historians of the time, his works were of considerable importance to equal of Vivaldi, Corelli, etc. They have been very successful publications of his concerts and other important works in Italy, in Amsterdam, London and in the courts and noble families of Europe of that time. Albinoni was a composer particularly enamored of the oboe, instrument hitherto little used in Italy, and in Italy he wrote the first Oboe Concerto. The two concertos for violin and piano included in this publication are attributable to the 12 fifth opera concerts. Albinoni wrote them at the beginning of 1700, and were published for the first time in 1707 in Amsterdam by the publisher Pierre Mortier. In the manuscript of the Opera Quinta, it shows the instruments for two or three violins, viola high, tenor viola, cello and bass for the harpsichord. Over the years the concert instruments were reviewed and changed according to the customs and tastes of the time you have to play them with quintets, sextet, etc. We preferred to transcribe the manuscript, namely violins, viola, viola tenor and cello on which we is based our transcription for violin and piano. Allow me to point out that the complete work of the 12 concerts Op.5 was rebuilt by Santino Cara over the years, and was rewritten for flute soloist and string quartet, you can find the book with the complete scores and the separate parts of the 12 concertos here.