Surely every oboist is familiar with the Oboe Concerto in C major, Hob. VIIg:C1. It occupies a special place in the oboe literature, indeed in the entire woodwind literature of the 18th century. Its scope and its wealth of contrasting moods and melodies are exceptional and unparalleled in classical music.

The authorship of the Oboe Concerto remains unclear to this day. None of the surviving manuscripts contains an author’s name. Only in a Dresden manuscript is there a reference to Haydn, whose name appears above several other crossed-out or scratched-out names. Conjectures range from Ignaz Malzat (MGG/Haynes catalog) to Karl Stamitz to prominent representatives such as Beethoven and Mozart.

The origin of the Oboe Concerto is also obscure. It probably dates from around 1800, and no original cadenza has survived. But thanks to the famous composer and former oboist of the Vienna Philharmonic, Alexander Wunderer, who arranged the work, prepared a piano reduction and provided a virtuoso solo cadenza, Hob VIIg:C1 has become the classic “Haydn Concerto” of the oboe repertoire.

Movements:

I. Allegro spirituoso: A lively, spirited opening movement in sonata form, typical for its time.

II. Andante: A beautiful slow movement, often in F major, highlighting the oboe’s song-like qualities.

III. Rondo: Allegretto: A fast and playful finale, using the recurring Rondo form to end the concerto with brilliance.