Master’s Recital: Franz Krommer - Oboe Concerto Op.52

Concerto for Oboe Op. 52 Franz Krommer (1759-1831)
i. Allegro
ii. Adagio
iii. Rondo - Allegretto
Franz Krommer was a Czech composer living in Vienna in the time and space of other great contemporaries like Mozart and Beethoven, later moving to Hungary due to the competitive music scene of Vienna. Although he left the scene of Vienna, Krommer was one of the most successful Czech composers in the artistic city. He too was just as popular as his contemporaries and had the distinction of being the last person to hold the position of Court Composer for the Habsburg emperors (shortly after his death, the emperors stopped employing composers as personal staff). He studied both violin and organ, composing over 300 works for many instruments, specifically wind instruments. He is primarily known for his solo instrumental works such as concertos and string quartets.
In his second concerto for Oboe in F major, Krommer has the oboe begin the solo in a very unusual way. Most concertos try to show off the instrument immediately, whereas Krommer begins the oboe’s entrance with a very simple and easy melody of 5 notes repeated 3 times. This is almost deceptive as the further the piece goes on, the trickier and more difficult the oboe part begins to sound. In the first movement, we have the traditional sonata form (exposition, development, and recapitulation). The first theme is very perky with the 5-note opening being embellished throughout the piece. The second theme is more contrasting and lyrical with lots of runs and fluidity. After a long transition, we enter the development in a minor key and half time feel. This is the most lyrical section of the movement. We then return to the original themes in the recapitulation. The piece ends with flashy oboe articulation patterns and a high F (very unusual for the classical era) right before the final cadence.
In the second movement, we get a very lush but dark melody. This piece remains in the dark heavy ambiance until the tempo speeds up. Here we enter a new key, and the oboe changes the character of the piece to be more light and free.
In the third and final movement, we have a scherzo, which is supposed to be the most fun and jolly movement of the piece. The oboe is very playful in this movement, being light and bouncy with light articulations. This is a rondo form where we come to the A theme several times in the piece. The end is similar to the opening movement with many flashy notes for the oboe and a big accelerando at the end.