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Music for Sunday: Albinoni. Oboe Concerto #2 in D Minor Op. 9

Music for Sunday: Albinoni. Oboe Concerto #2 in D Minor Op. 9

Albinoni. Oboe Concerto #2 in D Minor Op. 9

Music for Sunday Albinoni. Oboe Concerto #2 in D Minor Op. 9

Music for Sunday Albinoni. Oboe Concerto #2 in D Minor Op. 9

Woof, woof, my dear friends! Another day and another piece of great music. This time, we will enjoy Albinoni’s Oboe Concerto #2 in D Minor Op. 9. This version is performed by Il Fondamento and onducted by Paul Dombrecht, oboe. Albinoni was in his time a famous opera composer but now is best known as his instrumental music.

We have selected this piece as an example of his music.

About Albinoni’s Music (From Wikipedia)

He wrote at least fifty operas of which twenty-eight were produced in Venice between 1723 and 1740. Albinoni himself claimed 81 operas (naming his second-to-last opera, in the libretto, as his 80th).[2][3] In spite of his enormous output of operas, today he is most noted for his instrumental music, especially his oboe concertos. He is the first Italian known to employ the oboe as a solo instrument in concerti (c. 1715, in his 12 concerti a cinque, op. 7) and publish such works,[4] although earlier concerti featuring solo oboe were probably written by German composers such as Telemann or Händel.[3] In Italy, Alessandro Marcello published his well known oboe concerto in D minor a little later, in 1717. Albinoni also employed the instrument often in his chamber works.

His instrumental music greatly attracted the attention of Johann Sebastian Bach, who wrote at least two fugues on Albinoni’s themes (Fugue on a Theme by Albinoni in A, BWV 950, Fugue on a Theme by Albinoni in B minor, BWV951) and frequently used his basses for harmony exercises for his pupils. Part of Albinoni’s work was lost in World War II with the destruction of the Dresden State Library. As a result, little is known of his life and music after the mid-1720s. The famous “Albinoni Adagio in G minor” for violin, strings and organ, the subject of many modern recordings, was actually a musical hoax composed by Remo Giazotto.

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