Oboe Concerto in Bb, RV464, Op.7, No.7

The Concerto in B flat major, Op. 7/7, for oboe, strings and continuo RV 464, opened the second volume of Antonio Vivaldi's Opus 7 concertos, as published by Estienne Roger of Amsterdam about 1720. Vivaldi scholar Michael Talbot has questioned the authenticity of this and the other oboe concerto in the set (No. 1 in B flat) in addition to four others included in Opus 7. Talbot has suggested that Vivaldi submitted six concertos instead of the requisite 12 to make up a published set, and that Roger filled in the blanks with other works he had on hand.

Nevertheless, while its overall impact falls rather short of other, authentic concertos Vivaldi wrote for the oboe, Op. 7/7 has some qualities strongly reminiscent of Vivaldi. The first movement begins with an uncharacteristically sunny and somewhat complacent melody for the oboe that is interrupted by a lengthy, aggressive, and very showy violin solo; rather like an impatient professor breaking in on a student who is performing at somewhat less the required degree of aptitude. One most un-Vivaldian aspect of the concerto is that, although duly listed as a major-key concerto, both the second-movement Largo and the concluding Allegro start off in the minor; the Largo is wholly in a minor key. Nevertheless, the accompaniment for the Largo is stated in the very sparse and simple, "barely there" textures we associate with many of Vivaldi's slow movements. In addition, the concluding Allegro starts in the minor, but backs out into the major by the end of the opening phrase in a highly unusual twist of the harmony.

Indeed, if Oboe Concerto in B flat major, Op. 7/7, attributed to Vivaldi is not by him, it will be interesting to see what kinds of suggestions might come about as to who the author might be.

© Uncle Dave Lewis , Rovi