Johann Sebastian Bach

Though the manuscript to this concerto was lost, a reconstruction of it was made possible because, in 1736, Bach had arranged it as the Concerto for two harpsichords and orchestra in C minor (BWV 1060), a work whose score survived and served as a model for the original. The identical relationship exists between the Concerto for three violins, strings & continuo in D major (BWV 1064R), and the Concerto in C major for three harpsichords (BWV 1064). Though the (modern-day) reconstructions are not the work of Bach, they are arguably as authentic a treatment of the music as the harpsichord transcriptions the composer later made.

The Concerto for oboe & violin in D minor is cast in three movements, with the opening Allegro ushering in a sense of joy in its rhythmic vibrancy and thematic catchiness. The striking main theme is introduced by the string orchestra, but the delightful second subject and related material are delivered by the oboe and solo violin. In fact, the oboe rarely takes up the main theme, content to busy itself with essential contrapuntal commentary and other colorful writing.

The Adagio second movement is lovely in the dreamy serenity of the main theme, which is introduced by the oboe and then taken up by the violin. Again, the plentiful contrapuntal writing is deftly imagined throughout. The strings are subdued in their accompaniment in this gentle movement, but in the finale they recapture a more integral role. Here the music is busy and bright, a bit less joyous than in the first movement, but with a sense of energetic playfulness, the soloists presented with all sorts of challenging, colorful writing.

-- AllMusic.com